#when a black widow film should have been done earlier | Explore Tumblr Posts and Blogs

kurt-nightcrawler · 4 years

Text

Fairytale

Warren Worthington III x Female Reader

Request 1: Omg I just read the I have a boyfriend and the opposites attract and I'm aksjksjeje. Idk if ur taking requests, but in case u are I need more on that mother nature reader and Warren pleaaaaseee!!! Maybe something with angst, like some conflict in their relationship, but with a happy would be greatttttt I absolutely love ur writing

Request 2: Hi love!:D idk if you’re taking requests or if you’re in the works of smth, but like, I’ve had this idea in my head about your fic of Mother Nature with what she said about the weather affecting her. Like it’s winter season or smth and the sun has not been out for days (and maybe Ororo is not around to help??) so she’s feeling weak and Warren is doing all he can so she can get better🥺 I reaally love your writing💕 💕

Warnings: swearing and angst

Word Count: 12.5k

“How long will you be gone?”

“A few weeks. We should be back before December 21st.”

(Y/N) huffed, that was almost two weeks, plus the holidays were coming up. “Stay safe, okay? All I want for Christmas is you.”

Warren rolled his eyes and kissed her forehead, “I already got you a gift.”

(Y/N) thanked him and he just held her tighter.

Warren went on a mission with Raven, Alex, Kurt, Ororo, and Jean. They were going to Italy to stop some mafia mutant issue. “Which is stupid,” Scott retorted. “We live in New York. Surely the mafia isn’t only terrorizing mutants in Italy.”

(Y/N) shrugged, “Probably.”

Her mind wandered as Jubilee talked to Scott about their final for Dr. McCoy. I need to water the plants in the greenhouse. (Y/N) yawned, she felt a sudden wave of drowse come over herself. I’ve been so tired lately…

It wasn’t a mystery why (Y/N) had been so tired lately. It was because of the weather. The earlier it got dark, the less energy she had— and with it getting colder, her abilities were limited. Most of the plants in her room had gone dormant. (Y/N) was worried she would too, but it hadn’t gotten cold enough.

“I think we should go skating tomorrow,” Jubilee suggested.

“Just the four of us?” Peter asked.

“Do you see anyone else? They’re all in Italy.” Peter squinted his eyes at Jubilee as she was sarcastic. “The rink is open, it’s December, and I’m bored! I wanna pick up cute girls.”

“Isn’t ice skating like a go-to in Hallmark Christmas movies?” Scott asked.

“Why do you know that?” Jubilee asked.

“We watch those all the time on nights with the boys,” Peter explained. “They’re awful and all the same. There was one where a girl was in love with a ghost and another where a girl texted her dead mom to grieve… I’m so lucky I don’t celebrate Christmas.”

(Y/N) laughed, hallmark Christmas films were pretty cheesy and cliche.

“I mean yeah, you’re right, but that doesn’t mean we can’t go skating, or do something. Everyone is gone and we need to stay active.”

Peter and Scott both looked at Jubilee with confusion. “But we’re all in pretty good shape.”

“No, I mean (Y/N),” She whispered to the boys.

“What’s wrong with her? She looks fine.” Scott said, quickly checking her out as she was preoccupied with her phone.

“Around winter, she tends to get weaker cause it’s colder and the sun goes down earlier…”

“Yeah… We know…”

“No, you guys don’t get it. During the winter plants go into like, hibernation— and if it gets too cold and (Y/N) falls asleep she’ll go dormant. The only safe places are her room and an area set up in the lab.”

“We have to keep her awake all winter?” Peter asked curiously.

“No, we just have to make sure she only falls asleep in her bedroom and stays there. It’s the only ace place because it’s like a greenhouse sort of…”

“What happens if we don’t?...”

“She could die!”

“Who could die?” (Y/N) asked.

“Scarlett Johanson’s stunt-double. I mean have you seen the new Black Widow trailer?” Jubilee asked without missing a beat.

“Eh, I dunno. She’s a professional, plus stunt-doubles are kind of expected to get hurt… while it’s not preferable an innocent gets hurt,... they did sign up for it.”

“I never thought of it like that…” Scott said almost seeing off-handed while trying to noticeably glare at Jubilee.

“Well, I’ve got to go. I promised Catherine I’d help make gingerbread cookies.” Everyone wished (Y/N) some form of goodbye, or have fun, leaving them alone.

“(Y/N) is going to die?!” Peter almost screamed.

“No! No, no— (Y/N) is not going to die. She’s done this longer than I’ve known her. I think she was like, thirteen when these first started happening. I didn’t know (Y/N) until we were 15, but still.” Jubilee continued on, “She’ll either pass out randomly in the middle of December or January and hibernate until March or April, or she won’t go dormant and just have to spend most of the spring outside, like soaking up the sunshine or whatever. “

“Oh, okay. So this is normal. Great. (Y/N) might fucking die every winter and we just have to act like children on thin ice? Deal with it somehow?” Peter looked like he was freaking out.

“I said she’s been doing this for years, plus she hasn’t died yet. We’ll be fine.”

Scott’s gut was telling him something different, but he blamed that on his constant anxiety.

Five days after Warren left

(Y/N), Scott, Peter, and Jubilee all went ice skating. Jubilee and Peter attempted to spy on cute girls, while Scott tried to act perfect, and (Y/N) tried her best to not lean against the wall too much. It was fun, but indoor rinks are as cold as the outside ones. (Y/N) bundled up enough, but she still got chills.

Scott took everyone to some artsy coffee shop that Jean adored. He claimed they had a killer hot chocolate. Jubilee already tried it once before, being Jean’s best friend/roommate. Peter thought it was kind of watery and not that great, and (Y/N) didn’t think it was bad but…

“You overhyped it. It’s good though.” Scott pouted, and Peter laughed through Twinkie bites and hot chocolate sips. (Y/N) felt warm and fuzzy inside. Almost… sleepy…

Her mind started to drift… Warren… everything they’d do when he got back from Italy…

Their first winter holiday together… all the shitty hallmark movies we can watch with Scott and Peter… the—

“(Y/N)!”

“Huh?!” She rubbed her eyes and tried to seem awake. “What is it?”

“You were dozing off there,” Scott pointed out.

“Oh.” She scratched her head. “Sorry. Haha,” Her laugh was somewhat sarcastic. “Just don’t let me, uh… Don’t let me pass out. Wouldn’t wanna get nicknamed Sleeping Beauty.”

“Yes, ma’am.” Peter joked.

Nine days after Warren left

Peter taught everyone, or attempted to, teach everyone how to make a seven-layered cake. Jubilee and Scott kept sneaking batter, while (Y/N) was struggling to not use her powers.

“Okay, but like, I could get sugar from a plant or—“

“No!” Jubilee protested, batter on the corner of her mouth. “We— we have all these ingredients here. Why waste them?”

(Y/N) squinted her eyes, they were a bit purple, but she let it slide and grabbed sugar and other dry ingredients from the cabinets.

“If she uses too much strength she could pass out. It’s been snowing hard for the past two days, and it’s been cloudy all week.”

“Can’t she eat a protein bar or drink some coffee or something?” Peter whispered.

Jubilee shook her head, “No, she needs vitamin D. Like, from the sun. More than a normal person does.”

(Y/N) set the sugar on the counter and looked at the recipe from Peter’s mom, reading bits out loud, “We need 2 and 1⁄4 cups of sugar.” She looked at the measuring cups, trying to find the one she needed.

“Hey, Scott! We agreed no phones out,” Jubilee scolded him.

He rolled his eyes, “You sound like a teacher… I was just checking a package I ordered…”

“If you actually bought that $200 lightsaber you were telling me about,” (Y/N) joked, “I will scream.”

Peter scoffed, “Please, Jean got him that for Christmas.” His face fell soon as the words left his mouth. “Shit…”

“No, she didn’t. We had a budget and—“ Jubilee and Peter both looked at their feet, eyes wide and sheepish. “I am not worth $200.”

“You sound like Warren,” Jubilee complained, cracking eggs into a separate bowl.

“It’s true! I don’t want her to spend money on me.” He glanced at his phone again.

“She’s not going to text you. No one is allowed to bring phones on missions, because the government can like, track you and shit.” Peter reminded him.

“I know, I know… but what if something happened? What if someone died or they got stuck and stranded and—“

(Y/N) put a hand on Scott’s shoulder, “Calm down Romeo. They’re going to be fine. If something happens, Xavier will let us know.” Scott nodded, trying to believe (Y/N) was right.

Fifteen Days after Warren left

(Y/N) was getting sick and tired. Tired of her friends never leaving her alone, the panic on their faces if she so much as yawned or rubbed her eyes, she was sick of them being so nervous. More so Scott and Peter than Jubilee.

Of course, they meant well, and just wanted to make sure she didn’t fall into a coma, but she didn’t need to be doted over like a tropical plant lost in the arctic.

(Y/N) huffed as she messed with her hair in the bathroom mirror. Her leaves looked less colorful, more brown and dead, the vines around her legs were gone, and her eyes looked like she hadn’t been sleeping. She had, but it was hard, the sun went down at 5 PM, and it was cloudy and cold every day it seemed.

I just want Warren here. He’d make everything better. We could cuddle and nap together…

(Y/N)’s turned blue and red as she stopped daydreaming and ran her toothbrush underwater.

By nature, (Y/N) was not a gossip girl or a secret keeper— people saw her as a Disney princess, a few of the younger students even called her “Mother Nature”... but she had ruined her status by lying to the person she cared about most.

She didn’t tell Warren about her dormant state, about how she could sleep until possibly March. She wanted to stay awake and active all winter. She wanted to spend her time with her angel.

But he was in Italy fighting crime, and wouldn’t be back until mere days before Christmas.

She had to be awake for Christmas and New Year’s. After that, it didn’t matter.

Wait. Then she remembered Valentine’s Day.

I have to be awake for that too. And Warren’s birthday… I can’t miss those… She made herself a promise she wouldn’t go dormant this winter.

She glanced out the window as she scrubbed her teeth with the toothbrush. It was snowing again, thick heavy flakes came down almost in chunks.

Twenty Days after Warren left

(Y/N) accidentally drank out of Peter’s cup without realizing it for about thirty minutes. Why did it matter?

Peter had caffeine in his soda, and (Y/N) did not. She was planning to go to bed in her room, and wake up when the sun rose to conserve energy.

Now, she was staying up late with her friends, watching some crappy zombie movie on late-night TV.

“They could easily just move to an island. Use the old man’s boat. The zombies can’t swim!” (Y/N) argued during a commercial break.

“Yeah, but there’s never any logic in these things.” Peter drowsed.

“I guess so. It’s kind of dumb though…”

Peter shrugged and took a sip of his drink, “Yeah, but it’s like Sharknado. They make money, it doesn’t matter if it’s bad or not.”

(Y/N) didn’t retaliate, as the final commercial ended and the screen faded to black, signaling the movie was back on.

Scott couldn’t remember when he fell asleep. He rubbed his eyes and tried to see who was all around him.

Peter was passed out on the floor for some reason, Jubilee was asleep on one side of the couch… and Scott saw (Y/N), passed out with her head laying on a pillow.

“Shit! (Y/N)!” He shook her, trying to get a reaction, but nothing happened. He repeated her name trying to undo her slumber until the other two woke.

“What’s wrong?” Peter asked, hair tussled and eyes half-closed.

“(Y/N) fell asleep on the couch!” Scott was panicking. He had one job— one job from Jubilee, “Make sure she only falls asleep in her bedroom or else she won’t wake up until March.”

“Scott! Stop it!” Jubilee pulled him away from (Y/N)’s sleeping figure. “You could kill her!”

“What—” He turned to Jubilee, “What do we do then?”

“Peter, get Professor McCoy up here.”

“But it’s 4 AM…” Jubilee gave him a deadly glare and he sped off.

Scott was ordered to sit and be quiet while Peter got McCoy.

“She fell asleep. She drank some of my soda earlier, causing her to not be tired. We thought we could get her sleepy by watching a movie, but we all fell asleep before she did…” Peter was giving Hank a 30-second recap, with 3000 words.

“Peter, everything’s going to be fine.” Hank carefully scooped (Y/N) up in his arms, bridal style. He looked her over up close. Her skin looked pale, the leaves and flowers in her hair were gone, all that was left were dried twigs, and the vines usually wrapped around her legs were concealed by sweatpants, so he couldn’t take note on them. “I’m taking her to the medical bay. Everyone go to sleep, you can come back in the morning…” Hank glanced at the time, “You can come back later.”

The three mutants walked to their rooms quietly. Jubilee made a stop at a bathroom to brush her teeth, while Peter and Scott went straight to their dorm.

Peter used his speed to get changed and hop in bed. “I’ll leave the light on while you get changed.” Scott didn’t answer, he didn’t move. “Scott?”

“What if she dies?” His voice was barely above a whisper.

“Jubilee said she’s been doing this for years, (Y/N)‘s not gonna die.” Scott still didn’t move, causing Peter to sit up and face his roommate better. “Everything will be okay. McCoy knows what to do, and this is no different than when bears go hibernate for the winter or when geese fly south. She’ll be fine.”

“We don’t know that. If something interrupts her she could die—“

“She won’t.” Peter knew he knew, what Scott was thinking. Scott did what anyone would have done. Tried to jostle her awake, he didn’t know what else to do.

“Do you know what it’s like?...”

Peter hadn’t the slightest idea what Scott was referencing, he kept his mouth shut, trying to figure it out.

“To have almost killed someone? Your parents arguing with theirs, lawsuits being threatened, your life could end before theirs and the doctors think they’re on borrowed time… How you know you deserve to be punished, and instead you’re just sent away, to be with more family and start new. You try to be better than you ever were, and people— they believe it. You deserve everything you’ve worked for… and then you go and fuck up! It’s one thing to have your mutation surface and have chunks of ceiling and a bathroom door put a school bully in a coma— but to hurt someone like (Y/N)?...” Scott’s voice trembled. His cheeks were covered in his tears. “If anything happens it’s going to be my fault. Warren’s going to blame me because everyone talks me up about how responsible I am and all these leadership qualities I have, that I actually don’t. Warren is going to kill me if she doesn’t wake up—“ He choked out a sob.

Peter was quick to wrap the boy in his arms. “Hey, hey… shh… shh… You didn’t hurt her. She’s going to be fine. Hank picked her up and carried her to his lab and she did fine. You shaking her didn’t do anything.” Scott continued weeping.

“How about you take a shower, and then we can go see her, okay?” Peter talked slower than ever before and with softness, enough to be gentle, but not so much you’d think Scott was a child.

He nodded, rubbing his nose with the back of his hand.

“Okay, come on buddy…”

Hank had carefully dressed her in a hospital gown and hooked her up to various equipment. Everything seemed normal for her coma-like state. He didn’t wake her up carrying her downstairs.

Hank sat down in a chair next to her. He removed his glasses and pinched the bridge of his nose. He had no idea what to do.

This had happened before, but Hank just kept her in his lab and he wouldn’t do anything until she woke up. Sometimes students would visit to see how she was doing… Most of the time they’d just whisper and watch her for a few minutes before leaving, some made jokes about how she needed Prince Charming to kiss and wake her up.

Hank hesitated allowing Charles tell the team what happened. They wouldn’t be back for another week, and he didn’t want to cause a distraction for them.

“Hey Doc,” Peter waved. Scott was standing next to him.

Hank quickly put his glasses back on and stood up. “What are you doing awake? You should be asleep.”

“Couldn’t sleep. Figured we could come by, see how (Y/N)’s doing.”

“Yeah— she’s doing fine. Vitals are steady and her heartbeat is regular. All we have to do is wait.” Hank faked some optimism. He knew why they were there, and she was fine— except, Hank had no idea when she’d awake.

“Did you tell Xavier what happened?” Scott asked.

“Yeah, he knows. He said there’s nothing we can do until she wakes up. We have the option to wake her and keep her in the green room, but that’s easier said than done…” Scott looked pale. Hank cursed to himself for freaking the kid out. “Trust me, this is the best option for her.” Scott nodded.

“Yeah… “ Peter tried to distract him. “Why don’t we eat some leftover cake?”

“I’m not hungry Pete,” Scott answered.

“Well I am, and you’re not going to mope around down here. It’ll like, give (Y/N) a bad vibe. Come on.” Scott sighed and followed Peter out of the med bay.

Twenty four days after Warren left

Warren was exhausted, Everyone was. The mission went smoothly, or smoothly as it could, considering the number of minor injuries everyone bore.

“We’ve got a few more hours until we’re home,” Alex announced, checking in on the younger X-Men.

Ororo, Jean, and Kurt were playing go fish. Warren was watching, contributing nothing to the game but sarcastic comments and jokingly-judgemental looks.

“Great, thanks,” They replied.

Alex nodded and walked back to his seat in the cockpit. He pulled something small and rectangular out of his pocket. Warren carefully watched from the corner of his eye.

Is that a cell phone?

Cell phones weren’t allowed on missions. They were distractions, not to mention out of rage cellular fees were expensive— plus with modern technology comes tracking. Having something as minor as a cellphone on a mission could jeopardize the whole operation simply because someone wanted to use google maps and see where the nearest Starbucks was.

“Alex?”

“Yeah?” He stuck the object in his pocket.

“What is that?” Warren kept his down, as to not alert the others.

“What?”

“The thing in your pocket. What is it?”

“Warren—“

Warren was pissed. “It’s a cellphone isn’t it?”

“It’s a burner phone. In case of an emergency—“

“Why’d you take it out?”

“Hank texted me.”

“Oh, great.” Warren spat, “You bring a phone on missions in case you miss your little boyfriend.”

“Warren—“

“No!” He spoke out. At this point, everyone was watching. “You don’t get to break the rules and endanger the mission!”

“Warren, calm down.”

“You can’t tell me—“

“Someone at the mansion got hurt, bird brain. That’s why Alex’s using the burner to text Hank.” Raven rolled her eyes. Dramatic much?

“What?”

No one knew this, not even Jean. They all tuned into the conversation.

“Who did?”

“What happened?”

“Everything’s fine.”Alex lied.

“No, it’s not. You wouldn’t be texting Hank if it was.”

Jean discreetly put two fingers to her temple, trying to figure out who got hurt. Raven saw her and glared, mentally telling her to stop.

“Sorry.”

“Everyone settle down. We have a few hours left until we’re back in Westchester. Just chill out until then.”

Warren rolled his eyes and sat by himself, thinking Raven’s little distraction speech was stupid.

He couldn’t help it— acting all childish— he missed (Y/N) and he really hated having to share a bed with Kurt on missions. Kurt’s tail got all tangled and Warren’s wings were cramped.

It was different from when he’d cuddle with (Y/N). He’d wrap his wings around her, and she’d grow flowers in her sleep around them. It was soothing… He’d wake up refreshed, and looking at his wonderful girlfriend. Kurt was… a major downgrade… he was a decent roommate, but he couldn’t stand him as a bedmate.

Warren yawned, making a note to sleep for ten years and hold (Y/N) while he did it, once he got back home.

The basketball court came into view, and the ground caved in, letting Raven land the Jet in its hangar. Alex announced they were back and free to get off the ship. The rest of the team hastily grabbed their bags and ran out of the X-Jet.

Outside waiting for them was Jubilee, Peter, and Scott. Hank wasn’t there.

“Where’s your boyfriend?” Warren teased Alex.

He didn’t respond.

“Where’s your girlfriend?” Jean mocked Warren.

Warren did a double-take as Peter and Jubilee spoke to Raven and Ororo. (Y/N) wasn’t there.

“Hey, guys.” The three that stayed behind looked up with guilty expressions on their face as soon as they looked at Warren.

“Where’s (Y/N)?” He asked.

No answer.

Warren asked again, but more concerned, “Guys, where’s (Y/N)?”

“She’s not dead—“ Jubilee hit Peter and scolded him.

“What does that mean?”

The group exchanged nervous eye contact. They weren’t sure how to explain it, but if they didn’t Warren was probably going to attempt murder.

“She’s in what Hank calls a ‘dormant state’. Basically hibernation—“ Warren’s face visibly paled. “Except waking her up is way more complicated…”

“So she’s in a coma?...” He asked.

“Yeah, basically…” Jubilee admitted.

“How did this happen?”

“(Y/N)’s mutation, I thought she told you…”

“Told me what?” Jubilee didn’t answer him. “What, Jubilee?”

Alex put his hand on Warren’s shoulder. “Maybe Hank should explain it…”

“So she won’t wake up until March?”

“April at the latest,” Hank answered.

“And you let this happen?” He turned to Jubilee, Scott, and Peter. They were terrified of what Warren might do.

“No, no, they didn’t,” Hank defended them. “Her body just does this. It’s no different than that time of month…”

“A period isn’t four months long,” Warren mumbled.

“Let’s give him a moment alone with her.” Hank ushered everyone out, shutting the door behind him.

Warren sank in the chair next to (Y/N)’s body. He sighed and ran a hand through his hair.

“Fuck,” He mumbled. “Fuck, fuck,” Tears welled in his eyes. “Fuck!” He screamed. He put his fist up to his mouth to muffle his sobs.

“How could… Why didn’t she tell me?” Warren looked at (Y/N)’s figure. “Why didn’t you tell me about this?”

Warren felt his heart breaking. She looked so… so dead.

But she wasn’t. She wasn’t dead but she wouldn’t wake until March.

It was December.

“Hank said… he said, we could wake you up, but there’s a chance you’ll die. And I’d rather have you like this than dead…” He turned away and mouthed cursed under his breath.

Warren didn’t know what to do. Sure, he wasn’t necessarily one of those clingy boyfriends, whose only life purpose is to serve his girlfriend… but he really liked her.

He wanted to spend more time with her than he ever could. She understood when he had nightmares or needed space. They never fought— their biggest disagreement was on a stupid homework problem.

She made earrings out of some of his metal feathers, he learned how to take care of all kinds of plants. She showed him how to be compassionate and kind, he showed her how to be assertive and throw a decent punch.

Peter teased him all the time, saying he was “in loooove,” dragged out o and everything. He’d always tell him to shut up or piss off.

Because maybe he was in love with her.

“But I’m her first boyfriend.”

“That doesn’t mean you can’t be her first love.”

“That means I’ll hurt her…” Warren’s voice cracked. “I don’t wanna hurt her…”

He didn’t know she’d hurt him.

Warren wasn’t allowed to sit at (Y/N)’s side all day, or even all week. He had work to make up for when he was in Italy— homework, mid-terms, laundry, post-mission exam— not to mention Christmas was in five days.

He tried to keep himself busy in the first two days, and he overachieved everything he had to do. Which inevitably, left him with nothing to do.

“God, you look miserable,” Peter commented when Warren made his way into the kitchen, bags under his eyes, messy bed-head hair, sweatpants hung low, and a wrinkly t-shirt.

“I stayed up, deep cleaning my closet. I’ve got some stuff I’m gonna donate.”

“That’s nice.” Jean curtly commented.

Nobody knew what to say. They weren’t sure what would trigger Warren.

“We were all gonna see Knives Out,” Scott said. “A day off for everyone, chance to get last-minute gifts…”

“Not interested.” Warren poured himself a bowl of cornflakes.

“Come on,” Jubilee almost begged. “You haven’t left the mansion at all in the past few days.”

“I have stuff to do.” He poured milk into his bowl.

“Warren, you deep cleaned your closet at midnight. You have nothing to do and this will keep you occupied for a while.” Jubilee pointed out.

He was tired, “I don’t want to leave the mansion. What if something happens—“

“(Y/N)’s going to be fine.”

Warren held his spoon tightly in his fist. “That’s what I thought before I went to Italy— Look at her now! She’s in a coma.”

“She’ll wake up in the spring,” Kurt offered up to calm Warren down.

“This could have been prevented. I should have been here—“ Warren felt himself breakdown. He started crying, and no one knew what to do. Ororo got up from her seat and hugged him. He sobbed into her shoulder.

Ororo gave him words of comfort, “It’s okay, this is normal for her. Distance will do you good. Everything’s going to be okay… You should get out, get fresh air.”

Warren nodded and wiped his eyes with his sleeve, “Uh-huh.”

“Come see the movie with us,” She suggested.

“Okay, yeah… I’ll— I’ll go get ready.” He put his bowl in the sink and went out of the kitchen.

“Holy shit.” Peter’s eyes were wide with shock. “He’s a mess!”

Jubilee swatted him with her hand, “Hush! He’s clearly upset… His girlfriend’s in hibernation until March.”

“Yeah, but like, he just started crying,” Peter stated. “I don’t think I’ve ever seen Warren cry before… He just looked so broken, like, holy shit. I don’t think I was that upset when I got cheated on by my girlfriend, junior year on prom night…” The worst part is, we could have prevented this.”

“I think I’m gonna puke,” Scott mumbled.

“Hey!” Ororo chasted the two boys. “I don’t care what happened while we were gone, but you’re both acting pathetic. This is no one’s fault! Get your heads out of your asses and be there for Warren.”

“We should wake her up…” Everyone looked at Scott like he was crazy.

“And risk killing her?” Ororo asked.

“Yeah, no,” Peter answered. “Romeo may follow suit.”

Warren didn’t want to go outside, but he needed to keep busy, or else he’d start crying again.

He was a mess— he knew Kurt was tired of him staying up all night, doing anything and everything to keep busy… but when he closed his eyes he was face to face with nightmares— (Y/N)’s practically lifeless body lying in the hospital bed, her never waking up, or if she did she’d have amnesia and not remember anyone.

Warren couldn’t sleep, but staying up all night would eventually take its toll on him, or he’d run out of things to do.

Warren got changed and quickly ran downstairs to the medical bay. He wanted to check on (Y/N) before he left.

“How is she?”

“Same as she has been for the past few days,” Hank answered. “Everything’s normal, and she’s doing fine— great actually.”

Warren nodded, “Um, I just wanted to see how she was doing. I’m going out with the other X-Men… we’re seeing Knives Out… Ororo said it’d be a good idea for me to get out of the mansion.”

Hank blinked and then frowned in thought. “Yeah, she’s right. However, you seem to be doing really well, considering the situation. You haven’t spent all your time down here, but you do visit. You haven’t acted out with a huge wave of impulse emotions, but getting out for a little bit would be great for you.”

Warren bit his tongue, holding back from telling Hank the truth about how he was doing. “Yeah… I’ll um, see you later.”

Warren zoned out in the middle of the movie for a few minutes and had to ask Kurt what happened.

“Police chased them down.”

“Ah, okay.” Warren nodded. He glanced at his other friends. Scott had an arm around Jean, and they were cuddling, practically on top of each other, in the big recliners. Jubilee bought sour patch kids and was sharing the bag with Ororo. Peter and Kurt were really engrossed in the movie, and Warren was just kind of there…

He was lonely— The movie was good, and he was enjoying it— but Warren as a whole was lonely.

He put up the hard “I don’t need anybody,” exterior to protect himself from hurt. His poor relationship with his parents caused him to be cautious and made it hard for him to develop a steady healthy relationship with any authority figures in his life. His cage fighting days taught him, he was alone, and nobody was ever going to love him, and he’d have to fight to get anywhere in life.

Obviously, that proved to be false— he found confinement in Alex, (and sometimes Hank), as the older brother he never had. The community in the mansion proved he didn’t have to be so alone, and (Y/N) made him realize love is not some made-up fantasy, concocted in Disney’s headquarters.

(Y/N) felt like his best friend on most occasions, and while he had all his other friends, her being gone made him feel so empty inside.

On Christmas Eve he moped around in Scott and Peter’s room, one earbud in listening to sad music.

Scott wasn’t even there— he was doing God knows what with Jean, and Peter was playing Pac-Man.

“You can hang out with me tomorrow if you want. I don’t celebrate Christmas.”

“I’m good.” Warren knew Peter would probably run home and mess around with his sisters and mom, or awkwardly hang around the mansion, trying to find Erik and tell him about their relationship.

“Dude,” He awkwardly chuckled. “Okay, look— um, I know, nothing I say can fix the situation, but if you want to talk I’m here.”

Warren paused his music. “What was the last thing she said?”

Peter was awestruck, “She’s not dead!”

“I know—“

“She’s in a coma that she’s going to wake up from! She didn’t die.”

“I know that! I just want to know what she said before she went into the coma…”

Peter felt guilty for jumping to conclusions. Warren seemed so defeated, like a kicked puppy. “We were watching a crappy zombie movie on tv… and it was like, really bad, and we were mostly complaining about how bad it was. The last thing I remember was she said something about how the prosthetics sucked and she could have done it better with some mint leaves and slime.”

The corner of Warren’s lip rose up slightly. Typical (Y/N), but she was probably right.

“Wanna play Pac-Man with me?”

Warren sat up, “Sure.”

“He just started crying, like— I’ve never seen anyone so upset, and I thought you were dead at one point!” Scott was frazzled in Hank’s lab with Alex, Jubilee, Jean, Ororo, and Kurt.

“He seemed fine when he came down to visit her the other day.” Scott gave Hank a disbelieving look. “Well if he’s crying over little things, obviously he’s extremely stressed out and I’m not going to push him.”

Scott glanced in the direction of (Y/N)’s area in the lab, “Maybe we should wake her up.”

“Are you crazy?!” Jubilee asked. “She could die from that—“

“She probably won’t though… (Y/N) being unconscious has made Warren, everyone on edge.”

“You want an easy way out of this,” Jubilee raised her voice as she kept speaking, “If you really cared about how Warren was, you’d be trying to comfort him best you can despite your half-assed friendship!”

“It’s our fault she’s like this, Jubes! We were supposed to make sure she didn’t fall asleep anywhere besides her room, and we couldn’t do it.”

“Scott, she was getting weaker every day, this would have happened no matter what—“

His voice got louder, yet he was practically shaking, “No, we had the most simple task in the world! And we couldn’t do it! We’re the X-Men and we couldn’t even keep a girl from falling asleep!”

Jean hugged Scott, running her fingers through his hair. “It’s not your fault. She does this every year— and it’s not like you ignored her.”

“What if it was you instead? I’d be just like Warren…”

“Don’t say that—” She kissed the top of his head. “You’d be fine.”

“I think we should discuss this with Warren and the Professor before we do anything, drastic.” Hank’s final words were clearly aimed at Scott.

“We can wake her up…”

Everyone was still in the lab, but this time Warren and Professor Xavier were present. Warren didn’t move, he was focused on what Hank was telling him and what it actually meant.

“But… she could die if not done correctly. Waking up an animal early out of hibernation could kill it, but getting a plant out of its dormant season would just weaken it, if done too quickly though, it could kill the plant.”

“Hank,” Charles rubbed the bridge of his nose, “I thought we agreed, when (Y/N) goes dormant, we do not disturb her. We agreed with her parents several years ago.”

“Yeah, but that was when she was a kid. She’s older now, and everyone’s distraught. Her boyfriend—“

“Oh, please,” Charles scoffed. “If I got on my knees and tried to align the stars every time Erik got hurt, there wouldn’t even be a school.”

“Cut the crap. You and Erik fight and make up like some divorced couple in a soap opera. When Erik gets hurt, you’re always the first to know.”

Xavier didn’t say anything out loud, he just glared.

“Um, personally, uh, sorry,” Warren awkwardly cut in. “I think if (Y/N) might die if we wake her up, then it’s not worth it. And if her parents agreed, letting her sleep is the best thing, then it probably is.”

Warren didn’t even want to think about her folks. Could you imagine? Their daughter dies because some dumb goth boy couldn’t handle her taking a three-month-long nap without him. Yeah, that’d impress them.

Charles clapped his hands together, “Well, there! It’s settled then. (Y/N) is fine as she is. I know this is upsetting for her to not be present around the holidays, but we can all assume she would want us to have fun and be kind to others, showing compassion and always helping those in need.”

Warren couldn’t sleep. He was restless in bed— too hot, then too cold, he’d have the beginnings of a nightmare or no dream at all— he was sure Kurt would have kicked him out by now if he hadn’t made the decision to sleep in Peter and Scott’s room for the night.

His tossing and turning made him have to pee. He got up and went over to the bathroom.

Looking in the mirror as he dried his hands he sighed. Warren looked so tired, but he didn’t know what to do.

For the first time since Germany, he truly felt alone.

He grabbed the two gifts stored under his bed and he quietly walked down the halls.

None of the doors were locked, it was almost too easy for him to get into Hank’s lab.

He flicked on the light switch, even though he didn’t need to. Her sleeping figure made his heart almost burst out of his chest. Warren felt so awkward standing there.

He set the gifts down on a chair and walked over to (Y/N).

“Hi…” No response. “Um, I don’t know if you can hear me… but like, Jubilee and Kurt watch all those soaps and they always have characters talking to people in comas so I figured, maybe, just maybe, you could hear something… anyway, um… I miss you. I really miss you and I wish you’d said something about all this…” He sat on the edge of the bed. “I’ve been trying to keep myself busy, with homework and chores and training. It’s been driving Kurt crazy that I’m up all the time, but I can’t sleep most nights…”

He paused for a moment, for the thought of, Am I crazy? Flashed through his brain.

“I got you that fancy water filtered you wanted for Christmas… along with some mollisol soil in a jar…” He huffed in amusement while glancing at the gifts. “Peter made fun of me. He said, “No girl wants a jar of dirt for Christmas.” But I know you’d be happy with it— trying to divide it equally among every plant in your room, your eyes lighting up when you see improvements in them…” Warren looked at (Y/N) and smiled sadly.

“We haven’t even been dating for a whole year, but it feels like it’s been forever…” His eyes watered and his voice faltered, “And that’s love… Isn’t it?... Everyone tells me something different, but— I think I love you. No— I know I love you. I love you and, and, I don’t know… I don’t know what I’ll do while you’re here. I don’t want to wake up tomorrow and see everyone all happy like nothing’s wrong— or Scott kissing Jean when he thinks no one’s looking if I can’t put my arm around you and pull you closer and give him a look that states we’re a cuter couple…” Warren almost laughed at himself. His dumb competition with Scott.

“I know you’d want me to pretend like nothing’s wrong because it isn’t— but it is… I don’t know what to do…”

Kurt knocked on the door of his room the next morning. “Warren! Merry Christmas!” No response.

“I need to brush my teeth.” Still no answer.

Kurt opened the door himself, “Warren?” The room was empty. “Where are you?”

“Hey, Kurt,” Scott peaked in, still in pajamas. “Everything alright?”

“Warren’s gone.”

“He’s probably downstairs already. Peter and Jubilee are, I bet he’s with them.”

“Oh. You’re probably right.” Scott bid him goodbye and went to Jean’s room. Kurt still couldn’t get the feeling that Scott was wrong out of his system.

Hank and Alex were headed down to the lab, giggling and acting like kids sneaking around.

“Alex,” Hank breathed in between laughs, “I just wanna check on (Y/N).”

“I know,” He managed between the kisses he left all over Hank’s neck.

“Give me five minutes. Then we can join the others.”

Alex frowned as Hank opened the door. “I want to be alone with you.”

“Wasn’t this morning enough?” Hank joked.

Alex rolled his eyes and hugged Hank from behind.

Hank smiles and walked into the med Bay Area, where (Y/N) was put.

He was shocked, to say the least. Alex too.

“Did he wake her?” Alex whispered.

“I don’t think so. Her heart rate hasn’t changed.”

Alex gently shook Warren’s shoulder, “Hey, kid, time to get up.”

He groaned and slowly opened his eyes, squinting to adjust to the light. “Mmmmhmmmggg…”

“Merry Christmas.” Hank teased as he looked over (Y/N)’s vitals.

“Shit.” Warren rubbed his eyes, “Did I fall asleep?”

“Yeah.”

“When did you come down here? I went upstairs at around eleven.” Hank commented.

“You got into our room at 11:37 PM.” Alex corrected him.

“Uhh, I don’t remember…” Warren was too tired to think. He wanted to get something to eat and go back to bed. He didn’t want to see everyone messing around the tree Charles got the younger students to set up. He wanted to go back to sleep right in bed with (Y/N), but he knew Hank wouldn’t let him.

“Everyone’s upstairs,” Hank said.

“I know,” Warren said back.

Alex was preoccupied with his phone. Scott kept texting him where he was— for being the younger brother, he acted like an older one.

“Look, uh, I don’t want to overstep anything—” Hank said somewhat quietly to Warren. “I know we’re not that close, but—“

Warren shot him down, “I don’t need to talk to anyone. But thanks for the offer, Hank.”

Hank pushes his glasses up his nose, “No, it’s not that… When Alex was presumed dead, and we found his body and he was in a coma… I was an emotional wreck. I spent all my time down here, worried he’d wake up any second, or never wake up, or wake up and not remember who I am… We weren’t even dating at the time. I was just so heartbroken because I wasted literal decades avoiding him and my feelings and— sorry. Sorry. I got off track… the point is, I get it. I’m not going to judge you for coming down at night to sleep with her.”

“Just, just don’t tell anyone about this, okay?”

Hank nodded understandingly.

“Whatcha guys talking about?” Alex got up and wrapped an arm around Hank.

“How much I love you,” Hank stated matter of factly.

Alex chuckled and kissed Hank’s cheek. “Don’t bother him with that. I’m sure Warren doesn’t want to hear you talk about our relationship.”

“I don’t care,” Warren told him.

“Still— go upstairs. Scott and Kurt think you got kidnapped or something.”

“Alright, alright,” Warren had to laugh, “I will.”

“We’ll meet you up there.”

Neither of the older men spoke until the door shut.

“He loves her.”

“Hmm?” Alex looked at Hank curiously.

“Warren, he loves (Y/N).” Alex hummed in agreement.

“They’re good for each other.”

Warren walked into the common room while chaos was in full motion.

Kurt was teleporting from place to place in the room, Ororo was focusing on making it snow outside, surprisingly, Peter was asleep on the couch, and Jean and Scott were cuddled under a blanket by the fireplace, obviously feeling each other up.

“Warren!” Kurt jumped down and landed at his feet. “Where have you been?”

He shrugged, “Workout.”

“Okay…” Kurt wasn’t convinced, but

“Hey, Warren! I made these brownies, they’re really good—“ She handed him one. “Here!”

“Uh, thanks.” He took a bite out of it. Gooey. Rich chocolate flavor. Yet, it also crumbled. Not half bad.

Warren smiled and nodded, telling Jubilee it was delicious. She was thrilled.

After a round of greetings to everyone, Warren sat on the couch next to Peter. “There’s a present for you…” He murmured, half asleep.

Warren furrowed his brows and looked at the tree. There was one gift left. The wrapping paper was black, with two silver bows on it. Warren smiled sadly at it, as he held it in his arms.

“Aww… It’s you!” Peter teased. Warren laughed a little, before opening it.

It was a box. Obviously, not empty. Warren removed the lid and looked through it. Inside was a disposable camera, an empty photo book, and a letter. He grabbed the letter first and read it.

Warren,

If you’re reading this, I’m either dormant or will be soon. I didn’t tell you anything about it because I’m scared. I’m scared you’d want to break up because I’m not conscious for part of the year. To most people, I’m sure it’d be a major turn off. But as Jubilee sometimes puts it, you’re ‘a little too attached’ to me to break up with me over a long nap. :) Or at least I hope so.

Anyway, I don’t want you moping over me the whole time, because you’ll just be sad and closed off and lose a lot of progress in your mental health. And I worry about you. I’ll be worrying about you quite a bit while I’m hibernating.

Uh, I can also hear everything you say to me. In case you wanna chat. I can’t say anything back, but it’s nice to listen.

I got you the camera and photobook to give you something to do. When I wake up you can catch me up on everything I missed. Take some pictures, save some memes for me, make a playlist of songs you think I’d like, movies I need to watch— Jubilee did it my first year here, and I liked it. I didn’t feel like I was wasting my time sleeping… I sometimes feel that way— I could do schoolwork, or spend time with my plants that still trudge through winter, or hang out with my friends… don’t feel sad, this is a normal bodily function… for me… You’re gonna think it sucks, which is kind of does, but I’ll try to make up for lost time… I love you…

(Y/N)

Warren couldn’t read the last few words, they’d been scratched out. He rubbed his eye, trying not to cry.

“What’d you get?” Peter asked.

“Uh, camera… So (Y/N)’s got photos for when she wakes up…”

“Aww…” Peter cooed. “That’s so cute— Hey guys! Let’s get a group photo!”

“Peter, I don’t— I don’t think that’s necessary—”

“Too bad!” Peter snatched the camera from Warren’s hands and started motioning and yelling at people to get in the frame. “I used to use these all the time as a kid— these little disposable cameras. I loved them!” Peter pressed the button, and a light flashed for a moment. He turned the dial on it and then handed it back to Warren. “You know how to use these, right?”

“Uh…”

“Great! You’ve totally got this.”

Peter was gone in a flash, leaving Warren alone.

He huffed, what was he really going to do with a camera? He didn’t want to bring his girlfriend up to speed with pop culture and all the drama she missed. He wanted to live through it all with her.

But he couldn’t…

Warren went back downstairs to the lab. Nobody stopped him from leaving or even asked where he was going. It was like he had no value in the group without (Y/N), just someone they tolerated, if that even.

He wanted to scream, knowing she could hear, but he couldn’t bring himself to do it. He couldn’t find his voice… no words came out… just tears…

He fell down to the floor and cried. That’s all he could do.

You’re so weak! Pathetic! You can’t spend a moment away from her and you cry like a fucking baby! You don’t deserve her…

His sobs were the only things you could hear in the room.

New Year’s came and gone. The X-Men threw a party. Warren took a photo since he knew (Y/N) would have wanted to be there.

He didn’t want to be there. Soon as he took his photo he wanted to leave. He never liked parties, not as a kid, not in Berlin, and not when he came to the mansion— until he started dating (Y/N).

She got invited to several parties. Some were just dorm get-togethers with different groups of kids, others were house parties from the kids at the public school down the road, some were like this… real parties. She always wanted Warren with her when she went, and he never said no. He didn’t always enjoy them, but he didn’t mind. If (Y/N) had a good time, so did he.

But here Warren was, moping in the corner of Xavier’s ballroom.

He didn’t leave his room on Valentine’s day, despite still having classes. He trained for three hours a day, not including the group workouts and training required for all members of the X-Men.

He volunteered to go on more missions. He didn’t want to be stuck in the mansion for more than two days at a time. No one objected, he was a valuable member of the team, and the more experience the better he would get.

He was to go to London for three weeks with Ororo, Hank, Jean, and Scott.

Jean and Scott were excited because this just meant they’d somehow end up in a hotel room alone together at night, while everyone else was sleeping.

Warren was not too thrilled, as he was jealous. No need to sugarcoat it. Warren was jealous that Scott got Jean all 365 days of the year, that he never had to be away from her for more than a week, that they could flaunt their relationship and how happy they were together.

It made his stomach churn, but there was nothing he could do.

“I’m going to London for a few days… If I meet Harry Styles I’ll tell him you’re a fan…” (Y/N) laid in bed, lifeless. Warren tucked his hair behind his ears, making a note to get a haircut soon. “I’m going with Scott, Jean, and Ororo…”

He hated this. He hated talking to her, knowing she could hear him but not say anything back. It was different the few days before Christmas, but now it was all just a mess.

“Bye.” He threw his duffle bag over his shoulder and walked out.

One week.

One week with no cell phones, no homework, nothing. Sure, Warren would probably have to punch a few bad guys, but other than that he just wanted to sleep. He didn’t really care for much anymore. He tried his best to stay engaged and involved, keep himself busy, but it was extremely challenging.

A five-hour flight, with nothing to do.

“You guys excited?” Hank asked.

“Yeah!”

“Definitely.”

“I’m hoping I can use some new moves Mystquie’s been teaching me.”

“Mhmm…” Warren mumbled.

Hank glanced at him. He looked depressing.

“We’re in London for a week, I bet we’ll have some time to do sightseeing or go out.”

“Ooo!” Jean nudged Scott. “That’ll be fun, right babe?”

He nodded, “Oh yeah.”

Warren brought Peter’s walkman with him, and put in his earbuds and closed his eyes, assumingly taking a nap.

Once they arrived and checked into their rooms, Warren was still tired. He wanted to take another nap.

“So, I think we should go out tonight—” Hank handed everyone their room keys, “—You guys have been working really hard, and not much praise is given by Alex or Raven, or Erik when he occasionally shows up… but we’re proud of you.”

“Aww…” “Thanks, Hank…”

Warren just offered a smile.

“We can unpack and get changed if you guys want, we can go out and get some dinner?”

Everyone thought Hank’s plan was good, and they separated into their rooms.

“You doing okay?” Scott asked while unpacking his bag.

“Yeah… Why?”

“You didn’t say anything the whole ride here.”

“I took a nap,” Warren unzipped his bag.

“Oh.”

“I’m not going to unexpectedly burst into tears.” Warren snapped.

“I didn’t say you were—”

“Everyone thinks I am, I’m not stupid. I know you think I’m emotionally unstable and Hank’s been acting all nice on this mission because of it.”

“Are you?”

“What?”

Scott sat down on his bed, “Are you emotionally unstable?”

Warren glared at him, “I’ve been working my ass off for this mission. I’ve trained longer and harder than anybody else. Do I look unstable to you?”

“No! I just thought—”

“Doesn’t matter. I’m gonna shower and get dressed for dinner.” He walked into the bathroom and slammed the door.

Hank had asked the woman at the front desk a good place to eat. She recommended some local place down the road. He rounded up the kids, despite there only being four of them.

“A night out will do us good.”

“You’ve been saying that,” Warren mumbled.

“You didn’t have to come you know,” Ororo stated.

“I have nothing better to do with my time.”

Ororo kept her mouth shut, knowing she could have said something back, but knowing Warren, it was better not to.

The restaurant was pretty crowded, despite it being the middle of the week, but the group still managed to get a table.

Their server was friendly. They got drinks. They ordered their food.

“You okay, Warren?” Hank noticed he hardly touched his food.

“Mhmm… Just not that hungry. I’ll probably get a box.”

“Oh, okay,” Hank nodded, a little unsure.

They left the restaurant and went back to the hotel. Warren took his shirt off and laid on his bed.

“I’m gonna hang out with Jean… You gonna be okay?”

Warren let out a breathy laugh, “Yeah, yeah. Go have fun, Cyclops… I’m going to bed.”

Warren couldn’t sleep. He didn’t really want to. He turned on the tv, trying to find something to watch.

Someone knocked on the door while he was in the middle of some cooking show. Warren got up and opened his door. “Hey, Ro.”

“Hey, Jean kicked me out. Wanna go for a swim in the pool?”

“Sure.”

He quickly got changed and followed Ororo downstairs.

The got into the elevator and were quiet at first.

“I think they have a hot tub.”

“Cool.”

Ororo glanced at Warren and sighed. “I’m here for you if you want to talk.”

He nodded, “I know.”

“For real. You’re allowed to talk about your feelings.”

“I don’t want to.”

Ororo sighed, “Warren…”

He looked back at her. “I want this all to be over.”

“(Y/N)—”

“It’s not fair! Everyone in my life has left me or used me somehow— and I know she’s different, but it’s not fair! I was so happy with her and—”

The elevator stopped. It wasn’t their floor. The doors opened the reveal a young woman. She had a familiar glow to her and leaves in her hair.

Warren looked at her, feeling lightheaded at seeing her.

“(Y/N)?”

Warren woke up in his hotel bed. He wasn’t sure how he got there. He didn’t even remember going to the pool with Ororo. All he could remember was her.

(Y/N).

He looked over to his left and saw Scott peacefully asleep in his bed, sleep mask on and everything. The TV was off, and so were all the lights. Warren couldn’t go back to bed, it wasn’t an option.

He quietly got out of bed and slipped on his shoes, slowly opening the door, as to not wake Scott.

He went out to the halls. He had no plan, no idea where he was going, but he needed to get out.

He walked around, lost in the halls late at night. He wasn’t tired, but he was upset. He didn’t want to keep crying, he didn’t want to be so dependent on (Y/N), but without her—

The sound of thunder interrupted his thoughts. He looked outside and saw it was raining. It reminded him of (Y/N)— without her, all it did was rain and snow.

Hank said they were looking for someone. Someone Xaiver wanted to bring back to the mansion. This type of mission was more stealth and would require little physical fighting.

Hank got told from an anonymous source she’d be at some socialite gathering.

“Scott, Jean, you’re going to pretend to be some young, rich, American couple. Get in there, find our target, and get her alone. Convince her to come back with us if that doesn’t work let us know on the comms.”

“What does she look like?”

“Her name is Betsy Braddock—” Hank pulled up a file with all her information on his tablet.

“What does Xavier want with her?” Warren asked, anger rising in his tone.

Betsy… She left him to die in Egypt. She got him wrapped up in the Apocalypse cult nonsense. He didn’t want to see her again, he didn’t want to see her ever.

“She knows something about the attacks in Italy we dealt with around Christmas, plus she’s somewhat telepathic… I know your past with her is messy, but—”

“It’s fine. I don’t care.” Everyone looked at Warren, surprised at his statement.

“Alright. You guys know what to do— Jean, Scott, get dressed and ready for the party. I’ll get you an uber— Ororo, Warren, You guys are going to a hideout location not far from the location of the party, in case backup is needed. I’m going to stay and operate things here.

The first few hours of the mission went as expected. Jean and Scott made small talk with people, trying to find Betsy.

Warren didn’t want to see her, or more, he didn’t want her to see him in his current emotional state. But it didn’t matter what he wanted. He argued and insisted on joining this mission, and now he could see why Xavier was hesitant to let him go.

“I see her,” Jean said. “She’s not with anyone.”

Jean’s earpiece was quiet after that.

Warren and Ororo sat there for what felt like forever. Jean and Scott talked occasionally, but it was never directly to them.

The young couple eventually lured Betsy into an empty room.

“You didn’t really bring me up here to sleep with me, did you?” She asked, messing with her hair in the slight reflection from a window.

Jean shook her head, “No. But we want you to come back with us… You’ve heard of Charles Xavier…”

Betsy nodded.

“He wants you to help him with the attacks on the mutant community in southern Italy.”

“What will he give me in return?” Scott and Jean exchanged a quick glance. They weren’t exactly sure.

Scott’s voice faltered slightly, “You can…”

Jean finished his sentence. “—You can discuss that with him when we get to New York.”

Betsy turned her head to look at them, “And what if I say no?”

“We’ll chase you down until you do,” Scott stated with more confidence than before.

“Alright. I’ll go with you.”

Betsy had no idea Warren was in London, or even alive for that matter. Warren had no idea how she was going to react, and he didn’t really want to find out.

But he didn’t really have an option.

“Give us time to pack up and we can leave for Westchester,” Jean explained in the ride back to the hotel.

“Who else is with you?”

“Dr. McCoy is back at the hotel, and Ororo and Warren should be there too.” Betsy’s expression changed. “You probably know them as—”

“I know exactly who they are. I thought Warren died…”

Scott shook his head, “Nope. He’s doing great.” Scott blinked away the uncertainty hidden behind his words.

Betsy nodded, unsure what to say. She thought about maybe jumping out of the car, and never seeing these people again. She knew Warren would be angry when he saw her. She couldn’t blame him.

“He’s not upset with you…” Betsy looked at Jean, a bit shocked. “He’s hurting from something else… Don’t ask about it… just trust me...”

“Easy for you to say.” Betsy scoffed.

Jean shook her head, “You’ll see…”

“We’re here.” The driver stopped the car and the three got out.

Betsy looked up at the hotel the group was staying at, “Nice place.”

They walked in and headed to the nearest elevator. Jean was fidgeting with the comm in her ear.

“We got back about twenty minutes ago,” Ororo said.

“We’re on our way to our rooms,” Jean replied.

The elevator dinged, signaling it was at the destined floor.

They packed up quickly, and stood out in the hall, bags in hand.

Hank introduced himself to Betsy. Her response was short, she was preoccupied with her ex-boyfriend standing less than five feet away from her.

“Hi.”

He looked sad and more tired than usual. Seeing him sober was mind-blowing to Betsy, but people change. She hadn’t seen him in a few years— sure they saw each other during the Apocalypse incident, but that was a few days— she was really going to see him this time.

He didn’t respond to her. She frowned.

The plane ride was long and tedious. Betsy had nothing to do and wanted nothing more than to leave. So, she decided to try and talk to Warren again.

“Hey.” He turned his head around best he could and looked at Betsy questioningly. She nodded. “What’s up?”

“Not much.” Warren wasn’t exactly in the mood to talk.

“Cool… Cool…”

There was a pause before Warren spoke up, “Do you need anything?”

“Just wanted to talk…”

“You have other options.”

Betsy rolled her eyes.

“I don’t really wanna talk to you right now… And I don’t need you poking around in my head either.”

“I wasn’t going to,” She said calmly.

Warren didn’t respond. Betsy sighed, he was useless. Warren wasn’t going to talk even if she forced him. And she couldn’t really blame him, but she had a lingering feeling in her stomach.

Probably just my dinner digesting…

At some point, Betsy fell asleep, for when the plane landed Hank had to wake her up. She rubbed her eyes and undid her seatbelt.

“Do we have to go through security again?” Scott asked.

“Yeah, we left the country,” Hank told him while glancing at his watch.

Scott was not too thrilled. Everyone was tired to some degree. It was extremely late, and they went back a few hours due to the time zone.

“It won’t be that long. There’s hardly anyone here.”

Everyone went through security and headed to the baggage claim to get their stuff.

Jean was the first to get her suitcase— a medium-sized, teal one— Warren was next, and his was all black, to no one’s surprise, but the nametag on it looked drastic tied to the handle.

It was clear, with glitter and flowers trapped inside it. It didn’t seem like Warren at all to Betsy, but what did she know?

Hank took Betsy to an empty room and told her she could sleep there for the time being. She set her bags on the floor and looked around. There was a dated-looking wallpaper upon the walls, and the bed took up a little under half of the room.

It was alright.

Betsy rummaged through her bag for some pajamas when she heard footsteps.

Hank had left almost immediately after he showed her the room, so it couldn’t be him. She opened the door only to see Warren walking down the hall. She quietly followed him, staying several steps behind.

He went down to the main floor, and even further down into the basement.

This place is huge! Betsy said to herself.

The basement looked different from the rest of the mansion, for the walls and floor were made of metal.

Warren turned right, into a room within the basement. Betsy held her breath as she got closer.

What is he doing down here?

Betsy caught sight of a girl laying in a hospital bed. Warren sat down next to her and started talking…

That’s why he’s on edge… Betsy had accidentally bumped into something, making a loud noise.

Warren shot up, “Who’s there?”

Betsy tried to sneak out, but Warren caught her.

“Betsy!”

She froze.

“Why were you following me?”

“Why are you visiting a coma patient at three in the morning?” She asked back.

“She’s my girlfriend.”

“I mean I figured as much—”

“So leave.” He cut her off and was sharp. “Please…” He pleaded more in his last word.

She looked at her unconscious figure, “I could help…”

“No,” He was stern.

“I could—” “—You’d kill her.”

“No, I wouldn’t,” She defended.

“Yeah, you would. Her mutation makes her basically hibernate until March, so she’s fine.”

“I could still help— I’ve helped you before…”

“No, you didn’t! You were constantly going in and out of my life whenever it was convenient for you and came back when I didn’t need you too! You— you ruined my life!”

Betsy felt a wave of guilt wash over her.

“Look…” Warren sighed. “Betsy… I’m sorry. I don’t want your help… I don’t want you to hurt her.”

Betsy nodded, she knew Warren wasn’t going to change his mind.

“Okay.”

“What?”

“I won’t help you.” She left the medical room, leaving Warren alone with his thoughts.

Over the next few days, Betsy accommodated herself to the mansion, giving Xavier the information he wanted, and exploring the grounds.

She was almost always accompanied by Jubilee, per some people’s request, seeing as her past wasn’t spotless.

Jubilee was full of energy, and always willing to tell Betsy whatever she asked about.

“Who’s Warren’s girlfriend?”

“Her name is (Y/N). She controls plants. She can also grow them from her body. And her eyes change color based on her mood… She’s uh, she’s not around at the moment, but that’s not important.”

Betsy nodded along as Jubilee spoke. “Is he happy?”

“Do you miss him?”

Betsy struggled to let out a straight answer, “No— ugh— I just— I ruined his life.”

“You didn’t ruin his life!” Betsy glared at her. “Okay, okay, maybe you kind of did ruin his life, but he’s fine now. He’s just a little on edge you’re here and (Y/N) isn’t.”

“I don’t need to stay here—”

“Bullshit!” Jubilee exclaimed. “You’ve got nowhere else to go, really.”

“It’s more complicated than that.”

Betsy was rarely ever alone. She was too busy helping the X-Men.

She had a few moments to herself though. She was never sure what to do. She couldn’t just up and leave and go out to some bar and sulk in a corner and come back drunk and angry— that’d paint her as extremely irresponsible. She didn’t want to bore or impose on the X-Men if she didn’t have to.

She wandered around the mansion. It was massive and somewhat old and stuffy looking, but also gave off those classic school vibes.

Betsy wandered into the basement at some point and quickly learned, that was where the X-Men trained, made battle and mission plans, stored their jet, Hank worked on costumes and more in his lab, and where their medical bay was kept.

She knew she shouldn’t be down there alone. Betsy wasn’t going to do anything bad, but it felt wrong.

She was watching a girl in a coma sleep. There were so many things wrong about that.

Of course, no one would really care, except for maybe Warren— but he had every good reason to.

“You keep visiting me.”

Betsy almost jumped. The voice had startled her. She thought she was alone.

“Jean?” But didn’t sound like Jean. Betsy couldn’t decipher who it was.

She sat there for another thirty minutes, hoping the voice would return, but it didn’t.

So she got up and left.

It was probably just a student. My telepathic abilities aren’t the strongest. It was probably just a student somewhere on the grounds…

She didn’t tell anyone about the voice. She didn’t want to seem crazy, because it probably didn’t mean anything.

“Hey, guys! I found this on my google drive! It’s a bunch of videos from Xavier’s fourth of July party!” Peter had his laptop open at a table, with a few papers spread about.

Everyone, including Betsy, gathered around Peter as he played a few video clips.

It was Warren, Peter, Scott, and (Y/N) all together in the first one. They were walking in a parking lot with shopping bags in their hands.

“We just spent—” Peter cut Warren off.

“We just spent $2,000 on fireworks! Holy fuck!” Everyone else is laughing at his enthusiasm.

“Can’t Jubilee just produce fireworks? Why did we need this many anyway?”

“It’s for the American aesthetic, (Y/N)!”

They got into the car and Peter was still recording.

“Weren’t you born in Poland or something?”

“America was founded on immigration—”

The clip was cut off, and the next one played automatically. But Betsy remembered the voice. The female one. It was like the one she heard in the basement… was (Y/N) trying to contact her?

She tried to focus as the next few clips played, she needed to hear (Y/N)’s voice again.

“Kurt, look—” Peter was still recording with his smartphone, he had zoomed in on a darker part of Xavier’s. It was a tree, and two people were leaning up against it— clearly making out.

“Jean told me she went to get more popsicles!” Kurt whined.

Everyone watching was laughing, except for Scott and Jean, who were extremely embarrassed they got caught.

“You ain’t slick, Summers.”

“Shut up.”

Footsteps could be heard. “What are we doing?” (Y/N) asked.

“Look—” Kurt motioned to the couple at the tree.

“Oh, gross. They don’t even know we’re watching! And to think… Warren went inside to see what Jean was doing…”

“Well, he won’t find out,” Kurt joked.

Betsy knew she heard (Y/N) voice in the basement… but why? Was she a ghost? Did her unconscious state allow her to communicate telepathically?

She needed to go back there, alone, but she knew that was almost impossible. Hank was almost always down in the lab, and Warren was almost always visiting (Y/N).

That didn’t really matter to her. Betsy needed to talk to her or hear her voice again. She thought about asking Jean, but she thought that would be fruitless.

She went to visit (Y/N) again, but this time she spoke to her.

“Can you hear me?”

No response.

“My name is Betsy Braddock. I know who you are and I’m not going to hurt you.”

Betsy huffed, “This is stupid!” She got up and began to walk out.

“Wait!” Betsy froze. (Y/N) said something. “You keep visiting me…”

“I’m just curious about you,” Betsy responded.

“Why?”

“I don’t know I—”

“Betsy?” Warren’s voice was stern and almost angry. “What are you doing here?”

“I can hear her. Like, with my abilities… I know you didn’t really want me down here and I understand—”

“Then why are you here?”

“I wanted to see if I could communicate with her telepathically…” She admitted. “That’s all. I’m not trying to wake her or anything.”

“I’m sorry… but I can hear people and it’s nice to have someone who can hear me back…”

Betsy, plagued with guilt, looked over at (Y/N), whos lifeless form hadn’t changed a bit, despite the obvious sadness in her words.

“I just feel, so bad and I don’t know why and… I ruined your life. There’s no shortcut, without me you would have left the fighting ring in less than three weeks… You’d have your feathery wings still… but I loved you and I couldn’t let go, and I thought bringing Apocalypse to you would make up for all the shit I did…”

“I was a kid. I didn’t even know what love meant! And I’m not avoiding you on purpose, I don’t resent you as much as I did when I first came here… but I don’t know what you want, okay? Our lives aren’t connected anymore, and I just want (Y/N) back...” Warren was biting down on his lip to keep himself from breaking down crying.

“Tell him I’m sorry.”

“(Y/N) said she’s sorry…”

Warren’s gaze shifted between the two girls.

“Why is she sorry?”

“All I’ve done since Christmas is make him unhappy and upset. He deserves someone who isn’t asleep for part of the year.”

“She said, you deserve someone who isn’t asleep for part of the year.”

Warren walked over to (Y/N)’s body, he held her hand in his. “It’s not about what I may or may not deserve. It’s about what I want and love.”

“I love him…”

Betsy was about to repeat what she said, but Warren was crying. He had let a single tear drip down.

It landed on (Y/N)’s hand. And soon as it did, her eyes flew open.

She was gasping for air, eyes squinting up at the fluorescent lights. (Y/N) heard voices.

“She’s awake…”

“It’s almost March, that might be too early—“

“—I’ll be fine,” (Y/N) interrupted. She rubbed her eyes and turned her eyes away from the lights, looking over at Warren, who was at her side, tears in his eyes.

“Betsy, go get Hank.” He instructed. Warren looked back at (Y/N), holding her hand in his, and his other cupping her cheek.

“Hi.” She murmured in a groggy tone.

“Hi.” He kissed her forehead. “I missed you.”

“I know… I’m sorry…”

“Sorry?” Warren was perplexed. “What for?”

“I couldn’t stay awake, and I hurt you, Warren. I made you cry and think you weren’t good enough for me…” She snuffled her nose.

“That’s bullshit. You could never hurt me. I was crying because I couldn’t do anything. The last time I saw you was before I went to Italy on some dumb mission— I missed you… I missed your smile, I missed how you’d make flower crowns and put them on my head, how I could go to you after a nightmare no matter what time of night it was, or how you told me I helped you become more assertive and learn it’s okay to say no, or you showing me the beauty in everything— I…” His voice was breaking, but all (Y/N) could see in his eyes was happiness. “I can’t live without you… I love you.”

“Oh, Warren, baby…” She squeezed his hand.

Warren cupped her face with his free hand and kissed her.

That one kiss said everything he wanted to say. It let out his feelings. It had passion and swiftness backing it up, followed by his undying love for (Y/N).

She kissed him back, trying to make up for the time they’ve lost. Her lips fit prefectures against his.

It was like the first time they kissed, full of everything she wanted, except much longer, with more meaning to it.

They broke apart slowly, almost as if they didn’t want to.

“I love you too…” She murmured.

#warren worthington iii x reader #x-men x reader #warren worthington x reader #warren x reader #warren worthington iii #warren worthington #angel x reader #archangel #archangel x reader #ben hardy x reader #ben hardy #x-men spinoff #ben jones #angel #ben jones x reader

383 notes · View notes

aion-rsa · 3 years

Text

Marvel’s Black Widow: MCU Easter Eggs and References Guide

https://ift.tt/eA8V8J

This article contains Black Widow spoilers. We have a spoiler-free review here.

The MCU is finally back on the big screen! Marvel’s Black Widow was supposed to be the official kickoff of Phase 4 of the Marvel Cinematic Universe, but then the pandemic happened, it got bounced around the release calendar, and Disney managed to release three MCU TV shows before Natasha got to take her curtain call on the big screen.

But that’s thankfully behind us, and Black Widow delivers terrific blockbuster action in the mighty Marvel manner. And you know what that means! Let’s try and spot all the cool MCU references and Marvel Comics Easter eggs in Black Widow.

The Prologue

Setting this prologue in 1995 gives us the approximate age of Natasha. If she’s supposed to be about 11 or 12 here, that conveniently makes the character the same age as Scarlett Johannsson, who was born in 1984.

The general premise of Natasha’s childhood, in which she was the daughter of two Russian spies is highly similar to that of the FX series The Americans.

This seems to be the late summer of 1995, which puts it roughly around when Captain Marvel was taking place (the official word on that is 1995, but little details in it, like Stan Lee reading a Mallrats screenplay could place it in 1994).

Young Natasha is played by Ever Anderson – the daughter of actress Milla Jovovich and Event Horizon director Paul W. S. Anderson. You will not be able to unsee her resemblance to Milla.

The first song choice in the movie is young Yelena’s fixation on Don McLean’s fixation on “American Pie,” a song about (among other things) the death of Buddy Holly, Ritchie Valens, and “The Big Bopper” J.P. Richardson. That being said, “American Pie” is about a larger loss of innocence, a theme that weighs heavily throughout this film.

Before Alexei turns the radio off to play “American Pie”, the station is set to 105.1 FM. This is WQXK, a country station based in Salem, Ohio that serves the Youngstown market. Natasha and Yelena’s American home is likely based in Eastern Ohio.

There’s an episode of DuckTales playing on TV in the background while they have dinner. We can’t tell what episode it is, but DuckTales ruled, and the new series was even better. And hey, we get some payoff later in the movie when they play an aircraft crash for laughs while having everyone just casually walk it off.

Alexei was working undercover in the US at the North Institute, which he burned to the ground before making his escape. In Black Widow Vol 3 #1, Natasha decided to retire to Arizona but she and other Red Room victims were hounded by the North Institute. Spurred to investigate the situation, Natasha returned to Russia where she discovered much of the terrible truth behind her past Red Room manipulation. This was a story that also featured Yelena (and Daredevil, believe it or not).

There’s definitely an early SHIELD logo on the trucks chasing the family to the very end there.

The plane number is 258. In Incredible Hulk #258, we get the first appearance of the Soviet Super-Soldiers (later named the Winter Guard), a communist superhero team created for the sake of rivaling the Avengers. The original lineup was Ursa Major (more on him in a minute), Darkstar, Vanguard, and the fifth Crimson Dynamo (more on this, too). Over time, Red Guardian joined their ranks, though it was Josef Petkus and not Alexei Shostakov.

This is a perfect cold open, the kind that James Bond movies excelled at, and it’s far from the only Bond parallel we’ll get in the film.

The Opening Credits

There’s all kinds of stuff happening in the opening credits, including the film’s villain Dreykov being inserted into photos with various world leaders, including President Bill Clinton, President George W. Bush’s Secretary of State Condoleeza Rice, and others. The Red Room’s influence knows no national boundaries, it seems.

The overall effect is to imply that Dreykov and the Widows have been putting their fingers on the scale for quite some time.

It’s also a nice touch that many of the “news broadcasts” we see here are from MCU staple WHIH.

There’s a shot of some vials with blue liquid, which allude to the Red Room’s attempt to create Captain America-esque super soldiers, which they succeeded with to some degree with the Red Guardian, but also makes us wonder if they tried enhancing any earlier Widows.

Smells Like Teen Spirit

The opening credits are set to a version of Nirvana’s “Smells Like Teen Spirit” by Malia J. You may have heard her covers of Seal’s “Crazy” and Buffalo Springfield’s “For What It’s Worth” in trailers for shows like Bloodlines and The Handmaid’s Tale.

We wrote more about the Black Widow version of “Smells Like Teen Spirit” here.

When Does Black Widow Take Place?

This movie takes place in 2016, shortly after the events of Captain America: Civil War. General “Thunderbolt” Ross (William Hurt) is here to remind us all that Natasha is still in trouble with the government.

What’s kind of neat about this is that it’s the first Marvel “prequel” that feels like it is designed to be watched in its chronological sequence (minus that post-credits scene, of course). Captain America: The First Avenger makes more sense as a flashback interlude between Thor and The Avengers, while Captain Marvel makes more sense as a breather between Avengers: Infinity War and Avengers: Endgame. But Black Widow feels like it should be watched right after Civil War.

Thunderbolt Ross

Natasha brings up Ross having his second triple bypass. In Captain America: Civil War, Ross talks about how he had his first heart attack while playing golf and it gave him perspective and convinced him to retire from the US Army. It seems chasing down Cap’s allies hasn’t been so good for his health.

Red Guardian

We know that Alexei has been active as Red Guardian since at least 1983 or 1984 based on the tales of fighting Captain America he tells while in jail. He was apparently sent to the USA for undercover work in 1992, and then imprisoned a few years after their 1995 escape back to Russia.

Red Guardian’s knuckle tattoos say “Karl Marx” which is kind of adorable but…shouldn’t they be in Cyrillic/Russian characters and not Latin/English? Is this to troll his capitalist opponents so they can read them as he beats their asses?

Red says he fought Captain America in 1983 or 1984. The simplest explanation is that he’s lying but…what if he isn’t?

Let’s give him the benefit of the doubt and say that he’s telling the truth and there really was yet another secret Captain America active in the ‘80s. Now that The Falcon and the Winter Soldier is done, we know that there was at least one “replacement Cap” and the comics indicate there were others. Or maybe it’s just Steve in the timestream…maybe we’ll find out one day, but we wrote much more about some possibilities for this here.

Ursa

Red Guardian breaks the arm of a man named Ursa… Ursa Major (Mikhail Ursus) is the name of another Russian superhero in Marvel Comics, whose mutant power caused him to turn into a literal talking bear. He became a staple member of the Soviet Super Soldiers/Winter Guard along with a Red Guardian. While the movie doesn’t depict him like the comics, Red Guardian does joke about him being a bear.

Taskmaster

This is a very different version of Taskmaster than the one we got in the comics. Marvel Comics Taskmaster has “photographic reflexes” and is a man named Anthony Masters. Here, in addition to the new gender (Dreykov’s daughter is named “Antonia” as a nod to the comics character), Taskmaster is cybernetically enhanced to make those “photographic reflexes a little easier.

There is precedent for a female Taskmaster. The series Deadpool MAX reimagined Deadpool in a cynical, dark, and very adult (albeit absurd and humorous) way. This lent itself to Deadpool-adjacent characters. Taskmaster was depicted as a woman roughly in her ‘50s who trained Deadpool and warped his mind.

There’s also Finesse, a member of Avengers Academy, whose powers are so similar to Taskmaster that she believes him to be her biological father. Unfortunately, due to memory problems, Taskmaster doesn’t know for sure and refuses to offer any DNA to find out the answer.

In the course of Taskmaster’s action scenes, we see her mimic a number of Marvel heroes, with a particular focus on those who played a part in the recent (by this movie’s timeline) Captain America: Civil War including Hawkeye, Captain America, Black Panther, and even Natasha.

We have more on Taskmaster here.

Who is Mason?

Rick Mason first appeared in his own 1989 graphic novel called Rick Mason: The Agent. Mason was a SHIELD agent mostly remembered for being the son of Phineas Mason, the Tinkerer. Granted, the Tinkerer we saw in Spider-Man: Homecoming isn’t nearly old enough to be Rick’s father in the movies and he looks nothing like him, so I wouldn’t expect any secret connection.

In the comics, Rick was practically forgotten about and killed off-panel. His son was one of the victims of Nitro’s explosion in Stamford, Connecticut from the beginning of the Marvel Comics version of Civil War.

Melina Vostokoff

The Melina Vostokoff of the MCU is pretty different from the one in Marvel Comics (who created by Ralph Macchio and George Perez in 1983). There, she was known as (we shit you not) Iron Maiden, and she was at least a former Widow-esque agent as she is here in the film.

Yelena Belova

Yelena and Natasha’s first meeting being over a bio-weapon/agent is very faintly similar to Yelena’s proper introduction in the comics, a 1999 Black Widow comics story where they were explicitly fighting over a bioweapon, not a “mind control antidote” as we see in this film.

The “face swap” trick that Natasha and Melina pull in the film’s final act also has the faintest of echoes of another early Yelena story, where Natasha “swapped faces” with Yelena to try and break her mind and get her on the side of the angels.

What Happened in Budapest?

“You and I remember Budapest very differently,” Clint Barton famously told Natasha in The Avengers during the Battle of New York. But now we know what went down…

Basically, Taskmaster’s origin story is tied to Natasha’s superhero origin. To fully defect from the Red Room and go to work for SHIELD, Natasha had to assassinate Dreykov…which meant the collateral damage of Antonia.

Of course, that led to Clint and Nat getting hounded by Red Room agents, which led to them hiding out for days together.

And before that, they were in that safe house apartment that was currently occupied by Yelena, hence the arrow damage to the walls.

Crimson Dynamo

Yelena (probably on purpose) refers to Alexei’s superheroic days as when he was “the Crimson Dynamo.” Sure, this is cute, but there really was a Crimson Dynamo in Marvel Comics! Crimson Dynamo is primarily an Iron Man villain, lots of different Russian agents have worn the Crimson Dynamo armor. It…didn’t end well for any of them.

The original Crimson Dynamo was Anton Vanko, otherwise known as the old man dying in the beginning of Iron Man 2. Although his son was known as Whiplash, Ivan Vanko was more of a cross between Whiplash and Crimson Dynamo. In the comics, “Ivan” was an alias Anton used.

We’re gonna choose to believe that Yelena isn’t just making this name up and that the Russians really did have an armored hero called the Crimson Dynamo, and if we’re lucky we’ll get to see him in a flashback of some future MCU project. After all, there’s that Armor Wars series on the way…

Also, there’s one thing that Crimson Dynamo has over the Red Guardian: he was immortalized in the lyrics of a song by a member of The Beatles. Paul McCartney and Wings have a tune called “Magneto and Titanium Man” which involves “a robbery” where “the Crimson Dynamo came along for the ride.” It’s great, and it’s on Wings Venus & Mars album.

Thor

Yelena’s line about how a “god from space” doesn’t “need to take an ibuprofen” after a fight is kinda priceless.

Mutants in the MCU

Dreykov tells Natasha that they were searching for the “genetic potential in infants.” Sure, this could mean anything like how athletic someone might grow up to be, but is there a chance they could also have been searching for a mysterious x-factor in a baby’s DNA?

James Bond

Natasha is watching one of the lesser-regarded Bond flicks, Moonraker. Of course, she still knows every word.

Dreykov gets a classic “Bond villain monologue” wherein a baddie spells out his plans for world domination before a hero who he surely thinks is either neutralized or could be swayed to their cause.

Antonia/Taskmaster is a Bond Girl! Olga Kurylenko played Camille Montes, a Bolivian agent with a vendetta in Quantum of Solace.

Remnants of the Red Room

Black Widow was written by Eric Pearson, who also wrote Thor: Ragnarok.

So… Natasha probably couldn’t taste that peanut butter and jelly sandwich from Endgame, right? That’s too bad.

It doesn’t seem that “Fanny Longbottom” is a thing from Marvel Comics, but as Mason points out it is most certainly a real name. Also, Yelena’s dog in the post-credits scene is named “Fanny.”

We get an explanation for Natasha’s blonde look in Infinity War here, as Mason gave her the hair dye. But the way it’s presented here feels slightly like a sisterly tribute to Yelena, which is really sweet.

Natasha makes a crack about “the cavalry” as Ross’ troops close in, but folks hoping that’s an Agents of SHIELD reference are probably going to be sorely disappointed.

Dreykov’s pheromone trick that he has implanted in the Widows (and Natasha in particular) leads to this scene playing out like when RoboCop tries to arrest Dick Jones in the classic 1987 film.

“Thank you for your cooperation,” Natasha tells Dreykov with a smirk after getting him to monologue his evil plans. This is as close as we get to a Black Widow catchphrase – she also ended a veiled interrogation with Loki using the exact same words in The Avengers.

The Post-Credits Scene

Valentina Allegra de Fontaine (Julia Louis-Dreyfuss) is back after her appearances in The Falcon and the Winter Soldier. If we had to hazard a guess, she’s putting together a team of “Dark Avengers” or “Thunderbolts” for the MCU.

Florence Pugh is indeed confirmed to appear in the upcoming Disney+ Hawkeye series, as well.

We went into much more detail about what the post-credits scene means for the future of the MCU right here.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Spot anything we missed? Let us know in the comments!

The post Marvel’s Black Widow: MCU Easter Eggs and References Guide appeared first on Den of Geek.

from Den of Geek https://ift.tt/2VrjyDY

#aion-rsa #Den of Geek

5 notes · View notes

kittybellestark · 3 years

Note

Natasha Romanoff, love you by the way and I’m so excited to see the next chapters of falling apart at the seams! 💛💛

Ahh hello thank you I love you too !! I’m really happy to hear you’re excited for the next chapter of Falling Apart At The Seams !! It’s literally my worst ever performing fic on ao3 which is a lil disappointing bc it’s my first multi-chap (more than a two-shot) fic, but y’know it is what it is !!! At least I’m not shadowbanned here anymore :)

Natasha Romanoff:

How I feel about this character

She is great. I love her. Wonderful. Have you seen her ???? She’s so cool !! Also her lil leggy take down !!! Ugh what a WOMAN I can’t believe we still have not gotten the Black Widow movie yet !! She should have been the first to get a movie (no hate to Captain Marvel I liked that movie too but Natasha deserved a stand alone film from the moment we saw her in Iron Man 2)

All the people I ship romantically with this character

Bucky Barnes !!!!!! I love that he was her trainer in the red room and they fell in love !! I think it’s so cute that they found each other and remembered each other again in present day and still love each other !!! It’s adorable and I wish the MCU made this canon, like the amount of emotional hurt they could have done by making that canon is insane. Imagine Bucky and her having remembered each other in catws or cacw and then Bucky coming back after the snap to her being dead !! That would have been devastating especially bc Steve then also ditched him

Pepper Potts, I explained this one a lil bit in the ask about Pepper, but I just love them. They’re so powerful and separately they could take over the world but together ???? They could take the whole universe and I wouldn’t even be mad about it

Honestly, also Tony Stark. I’ll be honest it’s not like a common, common one but I like it. They’re both people who put many many masks on and I like them being surprised as they get to know each other and get more comfortable with one another. Also the two of them finding peace together is just ??? Idk i think it’s a nice calm ship

other than that ??? ig I’m fine with natasha/steve natasha/maria hill but I’m not really into any of those, like I enjoy the fics when I come across them but I’m not actively seeking them. They cute when they happen but y’know My non-romantic OTP for this character

Clint Barton, their definitely the trouble-makers of the tower. Chaos makers. You think you’re safe, but no, Clint and Nat have got you. That snack that’s sealed shut, your favourite snack ?? It’s not real, it isn’t edible. Natasha came up with the plan, but Clint gets all the blame. My unpopular opinion about this character:

Got her movie earlier. Got multiple movies.

Not just the romantic interest of the avengers.

Shouldn’t have died on vormir (idk if thats how you spell it)

Has a Spider-Pact with Peter, but doesn’t let the rest of the team know, and honestly Peter doesn’t know either One thing I wish would happen / had happened with this character in canon.

That they treated Natasha fairly !!! Let her have a trilogy !! She should be alive !! Why was she the prospective love interest to Clint, Steve and Bruce ?????? That was unfortunate and never should have happened. She also should have had her hair in a pony tail when fighting, and no heels, and a better fighting suit.

Shouldn’t have been a monster bc she cant have kids. Should have known Bucky from the red rooms.

Literally Marvel did her so dirty (bc they are cowards) and they just should have done better smh

Send me a character and I’ll answer these questions about them !!

#natasha romanoff

3 notes · View notes

allofthefeelings · 4 years

Note

Hi. I forgot that sad endings exist, and now, I'm scared stupid after your last BW movie post. She's dead already! I want something close to happy! (Oh god, I hope the fanfics come through 😭😭😭)

(Before I begin, I would also like you to know that, while this is over 4000 words long, I did cut a several-paragraphs-long digression comparing the BW movie to Beauty and the Beast: The Enchanted Christmas. You’re welcome.)

I know I’m once again outing myself as an optimist here, and I’m sure I’ll also end up getting smug asks in four months when much of my speculation is wrong, but what the hell. If I was on this tumblr to be right I would have made a LOT of different decisions.

So.

I really, truly don’t think we’re going to get a sad ending.

But the question is, how does it achieve a not-sad ending? Or, to completely re-frame and re-structure: for a character like Natasha, what exactly is a happy ending?

Buckle in, because this gets long.

I think we can all agree that, by definition, we’re starting the movie from a point of melancholy at best, just because we know that in 2023 Natasha will be dead. She doesn’t get to ride into the sunset in any way, shape, or form. Every other solo movie- even the ones with tragic endings, like Thor Ragnarok’s destruction of Asgard and a large portion of its people- have given characters a path forward and the odds that even if this won’t give them a happy ending, it gives them a way towards one. It ends with hope. There isn’t room for that here, for obvious reasons. But what there is room for- and this is, ironically, achievable because of one of the major flaws of IW- is the idea that she did achieve growth, and then had six years to live the life she wanted.

Or, not the life she WANTED, which probably would not have been one part on the run/five parts half of society obliterated by Thanos. Let’s say she had the chance to live a terrible life self-actualized.

IW’s complete and utter lack of meaningful characterization for 90% of the cast means that we don’t really have a sense of where Natasha was in that movie. That gives a lot of room to play with, to put Natasha at the end of the BW movie in a place that she wants to be in. In other words, they can retroactively argue that the reason Natasha isn’t given room to grow in IW is that she had achieved her growth in between CW and IW.

Which, look. Doylistically this is beyond bullshit. Doylistically this is actually offensive, and if they’re looking to retroactively placate us about how Natasha’s arc went, it really doesn’t work. I’m not talking about what was intended, or what was achieved; I don’t think this is either of those. I’m talking about what we can choose to read into it.

And, frankly, as a Natasha fan, that’s pretty much all we do anyway. I can argue (and clearly have argued) her arc for ages, but that’s all the work I’ve done, and you (collective, Natasha fans) have done- not the work the text has done.

None of this is remotely answering the question. But I think it’s necessary groundwork to begin to answer the question.

Because what the BW movie can give us is that growth arc that takes place in the negative spaces of canon.

Well, first of all, the BW movie gives us the fact that things happen at all in the negative spaces of canon. I know I’ve discussed this already, but it’s worth mentioning again: the way audiences are supposed to read texts is that everything pertinent happens on screen. Even supplemental texts that are considered canonical (cut scenes, novelizations, official tie-in comics, movie scripts) are deemed inherently less valuable because they aren’t on the screen. This movie affirms that important events are happening off-screen, to everyone- or at least everyone who isn’t front and center.

This is, again, infuriating, and I feel like when I say this I’m inadveretently contributing to justification. That is not my intention. Natasha’s growth should have been on screen and should have been seen as important. I hate that it’s reduced to a single movie after ten years and the character’s death. I don’t think this justifies it. AT THE SAME TIME, I think this opens space for us to look at lots of characters who haven’t gotten the screen time they deserved.

(Like, they may never give Rhodey the movie he deserves, but at least no one can tell us that if he did something worth seeing it would have been on screen. This movie’s existence is a rebuttal of that. This is a digression but one I’m gonna keep making until everyone starts casually referring to awesome shit Rhodey did off-screen because WHY THE FUCK NOT, YOU CAN’T PROVE IT DIDN’T HAPPEN, “IT DIDN’T HAPPEN ON SCREEN” IS NO LONGER PROOF OF ANYTHING EXCEPT THEY HAVEN’T DONE THE SET-IN-THE-PAST MOVIE YET. Y E T.)

But we also get the possibility of growth, and to analyze what growth means for Natasha’s character.

So here is an issue: I can tell you, with a frankly absurd amount of confidence, what I read Natasha’s arc as. I can lay it out from film to film, I can point to key growth moments, I can read a lot into every scrap that made it into the final cut and I can tell you exactly why, and I feel like if you dig into my history you’re going to find a lot of me citing specific scenes to make my point so I’m not going to go too in-depth on an already-long post that is getting exponentially longer. I think that Natasha’s key arc is in figuring out who she is and what she needs, and how to be a person rather than a reflection of what is asked of her. I think that the mirror imagery in the trailer and in the SDCC/D23 BW footage lends credence to this being a key theme of the movie.

But I have absolutely no idea if I’m right, because the MCU has never considered Natasha to be important enough to be the focus, and as a result I read her arc mostly through the ways she mirrors other characters’ stories, usually to show their strengths by comparison. I do my best to make arguments that are textually supported, but at the same time, it’s like describing the sun entirely from the way that its light reflects off the moon.

So I can say that for the BW movie to be satisfying, it needs to offer completion to her arc, which is then capped in IW/Endgame but would have reached its climax in the BW movie. But since I cannot confidently tell you what her arc has been so far, I can’t figure out exactly how that arc could be satisfactorily completed. Which means, after SEEING the movie, I will have to retroactively figure out how they saw her arc, and then figure out if this was a satisfactory way to end it.

But an argument done in hindsight is colored by what I’ve already seen, and that’s a cheat. So let’s start over.

Here is what we know:

Natasha was taken from her family very young (Endgame: didn’t know her father’s name). As a child, she was abused and manipulated by the Red Room (Agent Carter; Age of Ultron). She was trained to be a Black Widow, did terrible shit for them for a while, defected, became a mercenary, did terrible shit for the highest bidder (Avengers). Clint was sent to kill her but made a different call and brought her in to SHIELD (Avengers). Natasha quickly rose in the ranks and became one half of a STRIKE team watched over by Fury’s right-hand man, Coulson (Avengers). Natasha also became very close with Nick Fury, the head of SHIELD (IM2, Cap2). At some point in there she was shot by the Winter Soldier (Cap2). She was one of the people behind putting together the Avengers Initiative, identifying Tony Stark as not qualified (IM2), and recruited into the team herself (Avengers). She did not leave the Avengers teams for the next 11 years; she was on the first iteration (lasting through Age of Ultron), the second (Age of Ultron through Civil War), and then the Secret Avengers (which we can now assume starts post-BW through Infinity War) and Avengers 3.0 (five-year gap team), as well as the Quantum Realm Team-Up Team right up til she got yeeted off Vormir.

We’ll set Secret Avengers and Team 3.0 aside for the moment, as they’re things that will exist post-BW movie canon.

Natasha’s narrative role has often been to be so amazing that when she’s bested, we know the other person is really good. The best way for me to pull this together into a coherent throughline is that Natasha tends to be bested by people with passion and emotional stakes. When Natasha is just doing her job, but Pepper cares about Tony or the Dora Milaje care about T’Challa, she is outmatched. In Cap2, when Natasha cares deeply about SHIELD and who she’s loyal to, she is able to outmatch everyone she faces, but since she’s a secondary character and her act isn’t as highly visible on screen, her heroism isn’t as spotlighted.

(That said, make no mistake, WE WILL BE COMING BACK TO HER HEROIC MOVE IN THIS MOVIE.)

Her role has also been, as I mentioned earlier, to be a mirror to the white male heroes. She mirrors Tony in IM2, Clint in Avengers, Steve in Cap2, and Bruce in Ultron. I can make a strong argument, that I feel is supported by each text, that each of these mirrors is about moderation, and both the white man of choice and Natasha finding that the ideal is somewhere between both points: the space between how and why Tony and Natasha handle secrecy; between how Clint and Natasha handle guilt; between how Steve and Natasha handle trust; between how Bruce and Natasha handle self-hatred. That the writers and directors often disagree with my read of this does not, in any way, dissuade me from believing it, but it does mean that this may not be the arc we’re looking at in the movie.

By the arcs that I’ve traced, though, they have a fair amount of leeway to give a satisfying conclusion no matter what the plot is. By having other characters mirroring Natasha, she is centered in a way she never had been, and simply being the protagonist of her own story is part of Natasha’s journey we haven’t seen. We know that this is going to in some way revisit the Red Room, and that means that we’ll get to see a story where Natasha is passionate about and personally connected to what she’s fighting. We also know that whatever the story is, it will not be Natasha mediating someone else’s approach to the world, but Natasha’s approach to the world with someone else (I’m guessing Yelena?) mediating her worldview, in a way that gives Natasha growth but does not undercut her as someone who had so much to learn from the REAL hero.

All plot to the side, simply because Natasha is the protagonist, there is an element of satisfaction inherent, both textually and metatextually, because Natasha’s role of being sidelined is both within the text and within the media landscape a struggle she’s finally able to overcome. There is also a metatextual satisfaction just in cleaning up the bits and pieces of canon that we’ve gotten that were left hanging. For example, in her heroic climax in Winter Soldier, Natasha- who was so focused on being able to transform into whatever was necessary- released a fuck-ton of national security information on the internet, including her own history, that made her both immutable and knowable. (Do you ever think about how this means that people living within the MCU know more about Natasha’s background than we, the audience, does? Because I do, c o n s t a n t l y.) Natasha went from working undercover and in the shadows to being an Avenger and releasing not just her own and not just SHIELD’s but also the Red Room’s dirty laundry in public, and that has never had narrative consequences; this is a great opportunity to use that, closing a loop that most people probably forgot even existed.

Speaking of closure.

I think this movie HAD to be designed with that specifically in mind. I don’t think they necessarily expected the backlash they got from Natasha’s death (I’m going to be honest here; I didn’t expect it from anyone but Natasha fans), but at least they had to know that people who had been promised Natasha would get her due in canon would be frustrated and want some sign that the complexity of the character that had been talked up for a decade was actually part of the story they put on film. Marvel wants to placate fans, yes, but they wouldn’t waste millions upon millions of dollars on a movie to get us to shut up; their job is to bring in money, and it’s not like they haven’t gotten ten years’ worth from us. They’re also savvy enough to know that for a character who’s no longer alive in canon, they need to do things that make their story relevant even without them having future appearances- and I think we’ll see that in Yelena and Taskmaster- but also to make this story have stakes.

Yeah, we never spend a Marvel movie saying “Oh geez, what if the hero dies?” (well, aside from Civil War, because comics oontext), but right now we’re going in knowing (or, bare minimum, thinking we know) exactly what happens to Natasha. Where she’ll end up just under two years from when the story starts is set in stone (NO PUN INTENDED). So we need another way to give the story stakes. Natasha’s life and her future aren’t up in the air. Her past is, I guess, but they’ve been clear this movie isn’t about her past. And where that leaves us is the emotional journey. I outlined above what I think that is, but it doesn’t have to be that to be satisfying- it just has to be some way to leave Natasha changed in a way that surprises us as audience.

And, sure, that could be loss- that could be betrayal from everyone in this movie, leaving her alone and with no one to turn to but the Avengers- but I don’t think that is. I think that’s looking at Natasha’s story like she’s still a secondary character, rather than the protagonist. The basic structure of a superhero movie (and specifically a Marvel movie) is that the protagonist suffers defeat but ultimately triumphs, internally if not externally, having learned something that takes them farther on their emotional journey. Since (as far as we )know this is the only movie Nat’s getting- she’s not getting a trilogy or a Dis+ show- this needs to take her farther than most single-protagonist movies have.

In terms of another kind of closure: If the movie doesn’t offer at least a hint of a way Nat could come back (and I’m still hoping for that no matter how unlikely it is, and if it doesn’t happen I’m hoping for it in the Dr Strange sequel, and after that I’m sure I’ll find another path), I think there’s an excellent chance the post-credits scene will be a funeral for her. Given that they have SebStan and Mackie and Emily Van Camp shooting together right now, it would be very easy to at the VERY least get us a scene of them mourning her. It’s not the same as Tony’s giant lakehouse memorial, but it’s about half the characters who were close to her when she was alive (the others being Clint, Maria, and Fury, and I’m pretty sure they could have put an hour of time on the FFH set to the latter two having five seconds of looking solemn). I think that, given the backlash to Endgame, they need something like this: we need to see, on screen, conclusive proof that Natasha’s life mattered, not just for the audience, but for the world she lived in.

My dream would be for the entire movie to use a frame story OF her funeral- people talking about her, different memories and different understandings, that combine in different ways to collectively show a whole. Fucking Rashomon that shit. But we all know they’re not going to do that.

I recognize I am still talking satisfying and not happy.

But what exactly is happy? What exactly is the happy ending Natasha might want?

She’s not a character who wants to retire or settle down somewhere. As much as we in the audience talk about wanting her to get a break, we’ve never seen that from her, and we also don’t see a world that could really offer that to her; especially post-Cap2, Natasha does not have the luxury of escaping her past even if she did want to.

We don’t know her goals. We don’t know what she wanted outside of making amends for her past. We’ve gotten that from almost every other character- say what you want about Steve’s Endgame ending (god knows I have), or about Bruce being a public figure that kids love, but at least there was groundwork laid for it.

i think the best argument we have for what makes Natasha happy is in Civil War, when it’s taken away. Natasha is willing to give up things that are important to her (her autonomy) in favor of not losing her team; being together is the priority for her. By the end of Civil War, she’s lost even that; she’s seen to have betrayed her entire team and has no one. By IW we know that she re-finds her group, that she and Steve and Sam and Wanda are a tightly-knit unit, but we have to piece it together ourselves, and we have no way to know that it’s by choice rather than necessity. (The BW trailer is really the first time we get evidence that Natasha has more resources than just the Avengers or SHIELD; even fic has tended to just posit she has empty safehouses, not living people she can go to.) The BW movie could give her that team, and retroactively make her appearance in IW a reward for her- having found the team she wanted- rather than just the natural place for her to end up.

But I can’t see how that would even work without at least some of Chris Evans, Anthony Mackie, and Elizabeth Olsen appearing in this movie and showing on screen that Natasha has her people. We haven’t seen evidence they aren’t, but at least I haven’t heard any rumors they are, the way we’ve heard rumors about RDJ.

And there’s something awful, to me, in Natasha constantly being supporting in other people’s movies, which exist to seem self-contained even if they’re not, but then in her movie her emotional fulfillment relying on things that happen elsewhere- the implication that her emotional arc can’t even support a single movie.

In terms of what we’ve seen achieved, Natasha seems happiest when she’s solving a problem, when she’s fighting and winning and being the hero she doesn’t quite believe she is. But that’s not something that can be an end to an arc, of a decade or even of two hours. No matter how great that is, it’s a momentary thing, and it’s fleeting. That’s happiness but not narratively satisfying

This remains not an answer to the original questions.

I think part of the issue is, it’s not necessarily that we need Natasha to be happy, for her to have a happy ending. It’s that we, the audience, wants to be happy- and frankly, I don’t think that’s unreasonable; we’re not going to blockbusters to have our hearts torn out (and I think that after Endgame especially, Natasha fans are not ready or willing to do that again). And so we’re looking less at how Natasha can be happy, but how we can be happy. Selfishly, I’d even add: how we can be happy without doing the work. How we can be happy without conspiracy-theorizing our way to a satisfying narrative, but rather, a narrative that’s already on the screen, that we can just roll around in and enjoy.

I realize how bizarre this is to say after 3000+ words, but: I want the opportunity to be a lazy viewer. I want the chance to take things in without having to take responsibility for making them into something I want to see. I don’t want to have to reverse-engineer her story; I want to dig into the minutiae that is maybe actually intended.

On some level, that’s going to be the happy ending for me. Just having a whole text to dive into is a gift. (I am probably monkey-pawing myself just by saying this, which is the same kind of bullshit I argued for Age of Ultron- but then, I still can rewatch Ultron and find a lot that I like.) And Natasha getting a narrative win- which, as protagonist, she kind of has to- will be a happy ending for me.

But I’m a Natasha fan. This is expected.

What I think is the real question under all of this- what I’ve been struggling to tease out from my own feelings, and maybe now I’m finally getting to it- is a different question entirely: how can Marvel craft a story that sticks with their formula of giving a protagonist a win and something like a happy ending, while telling a story about a character who has been sidelined for ten years until they killed her off? Setting aside those of us who are overly invested in Natasha’s arc, what is the path to telling a story that the majority of the audience- most of whom haven’t traced her history, many of whom are casual fans, some of whom probably didn’t even see Endgame- finds fulfilling and happy?

The hero has to win, obviously. The hero has to triumph. Natasha has to come away having saved the world (stopping a villain from destruction), her world (protecting those close to her), and her internal world (some kind of emotional progress/catharsis). There will be moments intended for the audience to cheer. That’s a formula that you can find in nearly every superhero movie, and with good reason; I can’t think of why it wouldn’t apply here.

So looping back around, the question about the sad ending really is just for those of us who are deeply engaged. It’s not “will Natasha triumph?” because yes, she will- of course she will. We are going to get a movie where the world will be saved by Natasha (which has happened before) and the text will acknowledge that (which it really has not). The real question at hand is “will Natasha’s triumph be enough to mitigate the substantial losses she’s had in the other movies, or will it be bittersweet, her success here just underscoring the way that her biggest narrative win was to kill herself for no recognition?”

Which, of course, on some level, will vary from audience member to audience member. But I think that, with the awareness of how Endgame worked, and the knowledge of exactly when this movie is coming out, they have to at least try to give her- and us- this.

It’s now 5:15 AM and this is over 4000 words long and if you’ve read all this you deserve a medal. I’m happy to clarify or expand on anything in a few hours when I get up; I know that I circled a few points rather than clearly making them, but I’m no longer even completely sure what is common knowledge and what is me projecting. Hopefully this can at least start a conversation?

ETA: And anon, I am sure no matter what happens, fanfic will have our backs.

#allofthereplies #Anonymous #meta #Black Widow #Black Widow movie #BW speculation #Natasha Romanoff #IM2 spoilers #Avengers spoilers #Cap2 spoilers #Avengers2 spoilers #Cap3 spoilers #Avengers3 spoilers #Avengers4 spoilers #I cannot stress enough that I'm sorry I'm like this #long post

46 notes · View notes

soviet-history-detective · 4 years

Text

Legasov You Did Not Know

I am going to share an ingot of solid gold right now, the kind that will break your heart and ruin your day.

I have unearthed this some time ago from a book that’s been long out of print. It is the translation of a truly heart-wrenching eulogy written by his late widow, Margarita Mihailovna Legasova. There is a lot of new information about Legasov in this piece, the kind of things only the wife of 30 years would know.

Defenceless Victor—Margarita Legasova’s title of her reminiscences

This title in Trud was followed by a quotation by Valery Legasov:

There are two colour photos hanging in my office at work. One of them is of a Nuclear Atomic Plant, the other of storks. These photos hang near each other as a reminder of the close relationship between life, nature and technology, letting one know beforehand of the fragility of life, about the necessity to keep it. I recalled these photos when I worked in Chernobyl eliminating the consequences of the accident at the NPP. Really, could storks in the future, living on the earth, feel themselves to be safe with modern industry? Is such a peaceful coexistence possible? And if possible, then what should be done to achieve this?

It was not until 10 years after the accident and eight years after Valery Legasov’s death that his widow published a short memoir in Trud that unequivocally confirmed that her husband had committed suicide on 27 April 1988. They had first met when students in the same institute and together worked at a students’ building construction project in what were termed in the USSR as the virgin lands. Under the title Defenceless Victor she described her memories of Legasov’s troubled times at Chernobyl and the period afterwards when he was, to a certain extent, ostracized by the establishment. She also includes interesting comments on what life was like for a senior scientist and his family in the Soviet system: very different from the experiences of Western scientists.

***

Last year we at last completed erection of a gravestone on his grave. This was with thanks to my son and daughter and a few supporters and colleagues of the Academician who helped to cover the expenses. That day when the sculptor invited me to his workshop and showed me the completed work, Valery returned home in the form of his bronze sculpture. He often had to travel away on business trips, we tried to be patient and wait for his return, but on 27 April 1988 he was transported away, already lifeless, forever.

On Saturday 26 April 1986, Valery left for an ordinary business meeting where he learned about the Chernobyl NPP accident and that evening he was already 2 km away from the destroyed reactor. Life seemingly continued but terrible forebodings did not allow us to relax and stop worrying about his health. After 27 April our acquaintances began to say that badly irradiated victims of the accident had begun to be transported to Moscow to Hospital No. 6. Nobody could tell me when he would return.

On the morning of 5 May about 8am there was a ring at the door bell and Valery entered in a borrowed suit of clothes and carrying a polythene bag with belongings rather than his normal case. He was very thin, with a dark face, red eyes and the palms of his hands were tanned black. He only had time to wash, change, breakfast and ask about his two grandchildren before he had to leave at 10am for a meeting. There was no time to tell us what was the state of events at Chernobyl. Then at lunchtime one of his assistants telephoned and said that Boris Scherbina wanted him again at Chernobyl.

It was only when he returned home later that he was able to tell us that he had personally entered the most dangerous areas in the fourth reactor and how shaken he was at the criminal carelessness displayed at the NPP before the explosion.

He next returned home on 13 May and it seemed to us that the biggest difficulties were in the past: but we soon understood that we were mistaken. By summer Valery was already in poor health, suffering from frequent headaches, chronic insomnia, nausea and stomach illness. It was difficult to recognize the earlier Valery in this morally depressed man. He was taken many times for medical investigation to Hospital No. 6 of the atomic establishment. Heart insufficiency, serious leukocytosis, problems with his myelocytes and bone marrow were diagnosed, as well as neurosis. But no official diagnosis was made of radiation syndrome, although I had no doubt that it was so.

He became an Academician at the early age of 45 but some of the leading figures of Soviet science called him ‘A boy from the chemical suburbs’. However, he was interesting to work with and liked jokes, being famous as an amusing raconteur, although everyone knew that science was the principal interest of his life. His private family life was unknown to his colleagues.

For five years, 1964–69, we lived in a flat of 22 square metres at Nizhegorodskaya Street. Though we could use only communal transportation we often made trips together with our two little children to Kuskovo, Ostankino and Arkangelskoye. In Tsaritsino we enjoyed ski holidays. It now seems that these were the happiest times of our lives.

Valery was a car enthusiast for the last 10 years of his life and loved driving at very high speeds. He had always wanted a private car and his first, which was also his last, was a GAZ-25 Volga which we bought in 1977 for 9500 roubles when he was a Candidate Member of the Academy of Sciences. The initial capital for the purchase was his quota from his State Prize received for his achievements in the field of chemistry.

We usually celebrated New Year in the circle of our family, sometimes in a rest house. One of these days a pure bred chau chau puppy appeared in our family and it was assumed that it was my New Year’s gift. Ma Lu Thomas, as she was called, would recognize only Valery as his owner and loved being in our car. She was inseparable from him and died just after Valery’s death. He was also an adoring grandfather to Misha and Valerik and invented little poems for them and played charades.

As a boy he received a musical education and for many years was interested in listening and understanding classical music: Grieg, Sibelius, Shostakovich and Prokofiev. He was also fond of Schnitke. Over the years we bought tickets for many concerts in the Tschaikovsky Concert Hall of the Musical Conservatoire. Valery’s last concert was in Lithuania in the summer of 1987: for flute and organ. Little did I know that soon afterwards Valery would make a first attempt to commit suicide. He swallowed a handful of Triptizol tablets but that time the physicians managed to save him.

In one Soviet TV programme is was said that Academician Legasov was a sincere believer. It is not so. From autumn 1987 he began to read the Bible and thought much about what he read. He was not baptised a Christian, but respected religion even though he was brought up an atheist.

He considered that the East was weak and during his business trips he tried to see as much as possible of culture. He very much wanted to visit one of the sacred Islamic places, the mausoleum of Hoja Ahmed Iasavi, and the monument erected in honour of the ancient Turkish poet who lived in the twelfth century and was an advocate of Sufism. We visited the ancient city of Yami and worshipped at the grave of the philosopher, and Valery often recalled his verses:

Having met a man of another faith

Don’t be evil to him

The God does not like people

With a cruel heart...

After their death punishment

Waits for them...

On his return from the Chernobyl NPP Valery told very sparingly, with tears in his eyes, about the unpreparedness for the accident. Those days nobody could precisely estimate the number of victims, but Legasov understood better than others, the lack of necessary means of health protection: pure water, food products, iodine prophylaxis.

In August 1986 Valery Legasov presented a report to IAEA experts at a meeting in Vienna, about the causes and the consequences of the accident. His five-hour report was very well received and he returned home triumphal. But soon his mood changed. During the last two years after the accident he suffered great psychological trauma and his inner strength was broken.

Twice he was nominated for a high award from the State, and twice the nomination was cancelled. He received a suggestion that he might take up a position with the IAEA in the field of nuclear technology: again, obstacles appeared. There was also the planned nomination for Director of a Research Centre on the Problems of Industrial and Nuclear Safety: this came to nothing. His election as a Member of the French Academy of Sciences was apparently assured and although we went to Paris on 4 February 1988, his last business trip, he did not receive Membership. Also, just after his Paris trip he was hospitalized with acute leukocytosis, pneumonia and severe neurosis.

Chernobyl was not only a tragedy of international importance but it was also the personal tragedy of the gifted scientist Valery Legasov.

Source: Chernobyl Record- The Definitive History of the Chernobyl Catastrophe, R F Mould

Notes:

I had a feeling there was more to Legasov than what we see in the written material out there (I read Russian at upper intermediate level so I have access to quite a lot of info, and I have read the magnificent in-depth science-engineering reform articles of him which were absolutely jaw-dropping in their visionary quality. Yet some of the information in this article blew my mind. Legasov’s intellectual side is far deeper than anyone’s guess, that is evident.

All the documentary films and other material mention Legasov took sleeping pills in his first suicide attempt in 1987, but it turns out it was Triptizol, which is the brand name of Amitriptyline -a powerful antidepressant prescribed for major depression and where SSRI’s don’t work. It has been used as sleeping medicine in the US, but I have no clue if it had such use in the USSR. It is known Legasov developed a serious insomnia problem, but he was also diagnosed with major clinical depression.

Margarita Legasova was a professor of chemistry, they both graduated from the prestigious Mendeleev School of Chemistry, where they met (as mentioned in the beginning.)

The dog’s name sounds like it’s mistranscribed or something, in Russian language articles written by Legasov’s close friends she is mentioned as Tomka. Poor thing stopped eating after she realized he was gone forever and died shortly after.

#legasov #chernobyl #Valery Legasov

57 notes · View notes

tortoisesforhire · 4 years

Text

The MCU Meta no one asked for

Part 1 (yes this is going to be a multi-part meta I am that petty)

So I’m very salty about how the Marvel movies have gone, for a variety of reasons and as they continue to churn out hot shit that I have to see on my dash every fucking day I decided to write a thing on it. Because fuck Disney and fuck Marvel for ruining something that I have loved my whole life. Now I considered several methods of how to approach this, where to even start unsifting the mega ton crap pile that is the MCU (no I will not apologize it is CRAP and I absolutely WILL explain why.) And I’ve decided chronological order is the best way to go. And the most classic, so here we go.

Everything Marvel Got Wrong In Order From The Beginning

So before I get those whiney crybabies who spit at me ‘Everything Exists in Its Own Universe it’s the Multiverse’ blah blah blah, I’m not gonna be talking about differences from the comics too much. Only in the sense of story structure and narrative. Because more than I am a Massive Marvel Comics Nerd I am also a writer and things like plot and story fucking matter okay. So don’t @ me with your bullshit ‘kay.

Narratively Ironman, the first movie, is more or less perfect. There are a few elements that really matter in a superhero movie and Jon Favreau really hit the nail on the head with Tony Stark and this had a lot to do with RDJ’s performance and passion for the role. A Superhero Movie needs, essentially, three things; Theme, Character and Adversary. Pretty basic yeah? Kind of. Superheroes and Superhero comics are about hope and conquering the odds and success against insurmountable failure. Tony Stark’s story is a story of redemption, and the belief that you can change for the better. Favreau really made us feel Tony’s fury at what he and his company had been made into. His righteous desire to be better, to clean up the mess that Obie and his father and his own foolish negligence had created. The theme was righteous redemption and they sold it to us wholesale and it worked very well.

The Character of Tony Stark, I don’t think would have worked as well as it did without the involvement of RDJ. He really knocked that one out of the park. He conveyed perfectly the juxtaposition of Tony’s arrogance and his self loathing. We as the audience understood his front of cocky genius was to cover his loneliness, his scars and his insecurities instilled by Howard. He was broken, yes, but redeemable and hopeful and essentially good which is really what mattered and we loved him for it.

Obadiah Stane, Anton Vanko and Aldrich Killian are probably the weakest parts of the Ironman narrative. And this issue stems from the larger issue with the Ironman movies which is it’s very clear that they didn’t know what they were getting into with this superhero business. They had no idea it was going to blow up as big as it did and a lot of what happened later was improve. Shoddy improve, I might add. Widow’s entrance in the second movie is overhand and poorly executed, Scarlet’s performance leaves absolutely everything to be desired (shut up I’ll get there) but the real issue I find with these films and the Ironman arc is the incongruity in the second and third film with tying in Howard and SHIELD. In both Comic and MCU cannon Howard is a founding member of SHIELD. And in both Comic and MCU cannon Howard is unrepentantly, indisputably abusive towards Tony to an insane degree. So the weird video where we’re meant to believe that Howard was merely a distant but loving father is discordant with the rest of the narrative and doesn’t fit the Tony we know at all. It certainly doesn’t fit with a man who would choose Obadiah Stane as his business partner. There’s also the matter of Peggy and the fact that Tony doesn’t seem to know her which also...doesn’t make a lot of sense. From all we’ve seen Howard and Peggy were friends. She was also very close with Edwin Jarvis who essentially raised Tony. But we’re meant to believe that she never met or had a relationship with Howards son? Why? Did they have a falling out? These questions are never answered to a satisfying degree. But sure we can just sweep these under the rug of a good action storyline.

Looking at the villains themselves, Ironmonger is a good first villain for Ironman to have. Lots of personal ties, good emotional beats, kind of reminds the viewer of a knock off Lex Luthor. It would have been a stronger choice to use Obie’s son Zeke, the actual Ironmonger and who has a sordid personal history with Tony as an abusive ex. But hey, this is Disney and God forbid we even suggest any of our superheroes could possibly be something other than straight. China might not like us then would they. (pretty sure they don’t like us now but it’s the dollars that count right). Whiplash is a fairly generic Ironman bad guy, Russian eccentric genius with a vendetta against the Starks? Yeah sure. They could have peppered in some more about Howard Stark the Abusive Dad just to avoid confusion but hey, whatever. The Mandarin however is a HUGE Ironman villain and I just...I could have done with some foreshadowing. Some tie ins in the earlier movies leading up to the big bad. It would have fit more. But like I said I understand they were making it up as they went along.

Getting into SHIELD and the inclusion of Black Widow, I don’t have a lot of issue with her writing in the second movie. Like sure, her being assigned as Tony’s new PA, makes total sense. Very Natasha move. But Scarlet Johansson is a terrible choice for Natasha Romanoff. For a plethora of reasons. What reasons are those? Oh I’m so glad you asked. First off the introduction of Natasha Romanoff in the comics was fucking brilliant because the reader doesn’t know it’s her until she decides to reveal herself. Before that all we knew of the Black Widow was that she was russian and had red hair. She was very nondescript prior to that. So Tony’s new PA had red hair, so what, so did Pepper he has a type. She was bubbly and fun and used to be a model and her and Tony’s affair fit very well with his history at that point. And then BAM she’s actually a russian killer lady. It was so shocking.

Now that is clearly what Jon Favreau is trying to do there. The way he writes her in, Tony’s interest, Pepper’s exasperation. It should have been perfect except for Scarlet’s performance being so fucking obvious you could see her from space. She’s a terrible spy. Her voice doesn’t change, her face doesn’t change. Her personality remains as blank as before. She’s not subtle. Because Scarlet is not subtle. She’s not a good actress. Just because you can convey emotion does not mean you can portray a character. In every movie she is in she’s just herself in a new outfit and it is very annoying.

Natasha Romanoff is supposed to be a world class spy. Like raised from the womb spy. Given a modified super soldier serum to increase agility and severely slow the aging process (she’s like 80 something fr). She blends in, everywhere. You don’t notice her until her knife is in your back. She should 100% scare the pants off the viewer in every scene she is in because you never know if she’s being genuine or not. There’s a reason her friendship with Clint is so anomalous and it’s not because people know she used to kill people it’s because people functionally can’t trust her. Scarlet only manages to convey that she’s hot and can kick you in the face. Whoopdie do. Her performance in Ironman 2 annoys me so much because it makes Tony look stupid instead of her look scary. Because only an idiot wouldn’t peg her as the spy the moment she flipped Happy onto the mat. Like come on, you can’t introduce a character as a super genius and then allow him to miss something like that, and then act shocked later when she shows up in a leather catsuit, like obvs Tony gd.

I won’t get into the inherit sexism displayed in the lack of effort given to Natasha’s character. Her writing was shallow, her casting was bad and her storyline so inconsistent and slap shod it actually hurts me. I won’t get into the in depth character study of Natasha and all the many ways Scarlet fails at being her here. Maybe one day, but not rn. Simply put her inclusion in the Ironman arc left a lot to be desired.

In part 2 I’ll dive into Thor, Loki and the first avengers movie. I’ll have to leave Cap for part three cause that’s a lot to cut into and it deserves it’s own part.

#MCU #meta #disney #marve #mine #ironman #rdj #black widow #scarlet johansson

7 notes · View notes

phynali · 5 years

Note

If given the chance, how would you rewrite the MCU?

Anon. Anon. Anon.

How wouldn’t I?

I mean - okay, there’s a lot you have to keep the same just for the sake of like, continuity, clarity, and keeping the bones there.

I’d probably keep all the original movies in Phase 1 as they are with only minor tweaks. I’d fix the mess that was Iron Man 2. I’d give Black Widow and Hawkeye a movie of their own to establish their characters. Hmm, I can see that coming after the first Avengers, possibly.

The first Avengers film though, that’s where I would make the first major changes.

Loki’s characterization is a mess and not properly explained in canon. I’d put him more obviously under Thanos’s thumb. I’d fix Cap’s messed up characterization. I wouldn’t have Thor show up when he does because, hey - bifrost issues. We’d see him and Heimdall from Asgard trying to work on that problem and let them find a cogent way to get Thor to earth. So, he’d show up for the final battle and to take Loki home. He’d be the ace in the hole that helps allow the Avengers to assemble and overtake Loki.

Okay, so fix Iron Man 2. I can barely remember it but I know it needs fixing.

Cap 2 I’d leave intact. I might give Hulk a follow-up movie tbh, or rather, probably tie him in to the Black Widow and Hawkeye movie that would follow the first Avengers.

Also put more female heroes front and centre earlier on. And especially WoC.

Big issues arise by the time we get to Age of Ultron. Fix that hot mess of a movie.

Hawkeye doesn’t have a family and a farm. That was weird. Erase that shit. Don’t set up a romance between Nat and Bruce. Don’t -

Look, I mean no disrespect to Tony stans -

Don’t make every problem in the MCU something that was inadvertently caused by Tony. Because like every Iron Man movie involves a villain who felt scorned by him, and then AoU was caused by him messing with the Mind Stone (Bruce too, okay, but Bruce isn’t the one with the narrative trend here) and all the villains in the Spider-Man movies, and then there’s how shit played out in Civil War and -

Okay so fix AoU. Have the Mind Stone literally take on a life of it’s own and don’t fucking make it the fault of Tony’s hubris, okay. Make it more accidental and incidental than it was. Don’t make it something that happened overnight from tinkering.

And for the love of god, make it so that Scarlet Witch and Quicksilver did not sign up to be experimented on, but rather keep their comic origins. They’re Jewish Romani PoC. Give them a narrative that’s authentic to those identities.

I also would not fucking kill off Quicksilver, what the honest fuck?

Actually also don’t just make up a random country and code it a given way and then destroy it. I know it’s an MCU movie and therefore actually needs a giant CGI battle at the end, but okay - Age of Ultron. Stretch that shit out. Make it more clever. Show some more subtle and almost… guerilla tactics from the Avengers, taking down Ultron’s armies? Instead of a single battle in a country we don’t know about and haven’t been told to care about from a narrative standpoint, have Ultron go after their friends and families, have them fight smart and mean but no less visually pleasing to watch. The Avengers don’t have the numbers on Ultron’s army, but they can (and do) recruit Wanda and Maximo and they fight their fight using all their resources - not just their fists.

Okay so let’s move on.

iron Man 3 was great, but the whole bit with Pepper being kidnapped? Not that into it, personally. Also not into her getting powers and then getting them taken away. There was a lot to love about that movie, but so many Iron Man movies tease at this idea of Tony wanting to retire, or getting out, and they need to just back off that and let him own his heroism. That movie navigates so much so well so let it be.

Okay -

Thor 2? Don’t fucking kill Thor’s mom. Friga deserves better. Stop motivating male characters by killing women. Let Loki and Thor come together by Friga being injured, by their dad dying, by a desire to bring their mother joy - whatever. Just - don’t kill her. I’m still pissed about how much they take from Thor over time.

I’d keep Cap 2 the same, and the only changes I’d make to GotG would be -

Okay wait actually. There are huge glaring issues with that movie. Gamora is poised to be the hero of these movies and finds herself as the damsel in distress or incapable whenever the narrative needs her to be. I fucking hate it. Let her shine more. Show instead of tell. Let each character develop in their own right rather than dropping some random backstory notes in expository dialogue. Build up to the notion that it’s super weird Quill can hold the Stone and actually like… acknowledge it in the movie. You can keep the story basically the same but fix things with Gamora’s narrative, please please please.

Okay Ant-Man is great. There’s a huge narrative issue within the entire MCU with how they exclude Janet Van-Dyne though, and how she isn’t introduced until now even though she should be a fundamental member of the Avengers. I would almost like, at some point in Phase 1-3, a movie with Janet at the helm, possibly (to keep their timeline intact), her working with Peggy, working with SHIELD, with a young Fury or something, and laying the groundwork for the Avengers. A lot of what Captain Marvel eventually did, but situated fully on earth, and coming much sooner in the MCU itself.

Civil War was a hot mess. They needed to actually explain and detail both sides and the problems with them. It functioned amazing as an introduction to Black Panther and I love it for that, but it wasn’t a Cap movie, not really, and I’m bitter about it. This movie should have focused around the Black Panther, Cap, Bucky narrative, and dropped the whole Civil War with the other Avengers stuff entirely.

Actually - Civil War needs to be either an entirely separate movie on its own or else… drop it. Deal with it differently. That airport fight was an embarrassment. Let the Avengers break down during Cap 3 if you need do, but make it more interpersonal and tense, and less throwing punches and locking each other up. Make it more human, more relatable, because those were the best parts of that whole divide. Make it real for the viewer, for fuck’s sake. Don’t have Tony (seriously what’s with them making him do villainous things and painting them as heroic) blackmail a literal child into a battlezone????

Okay - and Cap issues, they need to either set up Agent 13 aka Sharon Carter as a proper love interest sooner, or else drop that. They drop breadcrumbs of her in a few movies but that’s it. It feels hollow between them by the time they actually kiss. They should either keep their dynamic as “could have been but whoops, nope” or have done more to set them up together in Cap 2.

(Totally honest, total bias here - take out love interests altogether or let Cap be the bi icon that he should be and let him and Falcon hook up in Cap 2. Let the fact that he was in love with Bucky be canon but you don’t need to set them up as a couple. Let it be recognized that they love each other but god there’s too much there, too much mess, they don’t need to be together in the present to acknowledge that history. Either way keep the Bucky and Sam dynamic because it’s amazing).

Doctor Strange - fix the casting. The racism, appropriation - just - wow. Use this as an opportunity to introduce more Asian and East Asian characters and actors into the MCU rather than it being the appropriative mess that it is. Keep the cool visuals though, and the cape. The narrative itself isn’t bad, but spend less time establishing this asshole character and more time establishing the side characters and the dynamics between them because those are far more interesting.

GotG 2 - uhhhh… okay what was this? Peter Quill is Ego’s son, but how does that really advance anything in the MCU or about the character or … ? Just fix the whole goddamn plot, I don’t even know. Tie this shit into Thanos way better. Introduce that better. Make this movie more interesting, make Nebula the Big Bad of it, honestly. Dive into the other members of the Guardians and give them their backstories and plots that they deserve. Is this the Guardians or the Peter Quill show? I don’t know I just - just fix this, okay?

Thor Ragnarok and Black Panther need no fixing. Remember that in this version of the MCU, Thor’s mom is alive, so that’s there. She’s still on Asgard and with Heimdall and being awesome, and we get some awesome interactions between her and Hel because we fucking deserve that, okay? Also Valkyrie’s bi scenes aren’t deleted (fuck you, Marvel execs). I would love love love for Killmonger not to die at the end of Black Panther, personally, but I wouldn’t change much more than that.

Oh wait I forgot - with the whole Bucky in Wakanda thing? Fucking take that out or do something narratively with it. It’s the weirdest brushed-aside thing that serves no genuine narrative purpose. I’d err on the side of taking it out entirely, personally.

Infinity War is fine, leave it as-is more or less, except for -

Okay, so we need textual discussion and canonical pushback against Thanos’s ideals. Because so many people came out of that movie all “oh but he’s got a point - population is expanding blah blah blah” and it was such fucking bullshit. We needed Gamora to point out why Thanos was fucking wrong - why her people were not actually better off after he killed half of them, thank you very much. We needed Tony to point out “population doesn’t work that way, it’ll bounce back in 50 years - do you plan to keep doing this each time? why not double resources?”. We needed people to tell the audience not just that Thanos was bad, but why he was bad, and that there is no ‘random’ and he needed to be a monster and selfish and it needed to be way more clear that his was not a sublime ideal of a detached idol, but rather the ravings of an entitled man whose gone unhinged and hateful.

Okay. So that. And don’t make the final battle just decimate Wakandan soil and its army? Why do they have to fight Earth’s battles for it? Let that be a joint effort and not just a Wakandan one, jfc. I get that you had the set ready and all, but no, don’t treat Wakanda like that, it deserves better. If ever there was a time to blow the budget on a final fight, this would be it, so freaking do it and have that battle be in space and over earth and at many different locations but then zeroing in on where Vision is (which itself can be in Wakanda because it’s safest but yeah).

And honestly I wouldn’t make it so Gamora died, like wtf. I hated that. I hated the whole bit with the Soul Stone. I could swallow it if what they did was have Gamora turn into the Soul Stone - so that she could, as the stone, set up a sabotage to Thanos.

Okay - more on that. Let’s talk about Endgame. Endgame needs so much goddamn fixing. Holy fuck does it need fixing.

Okay - okay where do I even start. I make myself mad whenever I think about it.

Five years? Five fucking years? What the fuck is wrong with you, Russo brothers? Time travel? What - just -

I hated that movie with a passion.

Okay - so the Snap happened. Pick up right after. Give us the fucking shock and horror. Give us the attempt to regroup, just quick, the intense emotions - people punching walls. Show us snippets of the world quickly, news casts etc. This is a horror, let it be one. Own the shit that you did.

Give us a time skip-montage. A month out, the pressure is on to the Avengers to fix this. The Avengers are all traumatized. Clint doesn’t have a family in this version, and doesn’t go all terminator. Thor - he wouldn’t have as much time to spiral but let him get there, let him be unwell, unkempt, let him own his suffering because goddamn he’s lost so much. (oh I forgot, I actually wouldn’t kill Loki and Heimdall because wtf wtf I hate you Infinity War, but let’s move on - )

Five months - people are losing hope. There are therapy sessions. Cap is a mess. Everyone blames themselves. Tony “if I’d only made the call to Cap sooner, we could have worked together” (also he and Nebula make it to earth fast, none of that lost in space and starving stuff), Cap “if only I hadn’t been so arrogant as to not trade lives”, Thor “if only I’d gone for the head”, etc etc. let it be clear that it’s not just Thor’s fault and not just Peter Quill’s fault - that all of those in charge of decision making fucked up.

Ant-Man isn’t freaking saved by a rat, thank you. He comes out of the quantum realm on his own merits, some safeguard, only to realize shit’s messed up. He and Janet work together with the remaining Avengers. maybe Janet saved him from the quantum realm this time? what a nice parallel to him saving her. anyway, they use the quantum realm to find thanos. Or - fuck that, they use Nebula to find Thanos. She knows shit. What they use the quantum realm for is to realize that all the souls that were lost in the snap aren’t ‘dead’ dead, they’re in stasis. They’re in a liminal space - they’re in the Soul Stone. Because Gamora is the stone and she sucked up all those lives and is holding them, holding for dear life but she can’t hold on forever (make sure the stakes are high, they feel real, the clock is ticking). Captain Marvel teams up with them of course. they track down thanos.

“but Phyn” you say, “thanos still has all the stones? how can they defeat him?” great question! difficult to answer! i’m not sure! with the power of love!

okay but really - they have an awesome team. they need to work smarter than the enemy, not harder. they can take out thanos’s generals. they can use nebula to slip past defenses. if loki were alive, which he should be, they can use his magic. if friga were alive, which she should be, they can use hers. if heimdall were alive, which he should be, they can use his eyes. they can use the magic of all the magicians in the doctor strange films. they have captain marvel.

but they will never win on might alone, or magic alone - not against a full complement of infinity stones. not unless -

have you seen Avatar: The Last Airbender? if so - you know how Azula gets a little unhinged toward the end? she’s just a kid, i feel for her, but the point for here is that she does enough shit and gets what she (thinks she) wants and it takes a devastating toll on her. using the stones, clearing half the life in the universe - that took a toll on thanos. it was a terrible choice. he’s in denial, in self-deception about that. he’s coming apart at the seams. he’s not all chill about it, he’s spiralling hard. he lost half his army too, after all. and life doesn’t seem improved. he can hear the cries of the souls locked in the soul stone (not that he realizes what he’s hearing nor acknowledges it) and it’s like the beating heart under the floorboards. his crimes have left scars. he’s not well. physically, from the toll of the Snap, nor mentally, from everything else it took out of him.

let gamora save the fucking day. let her and Vision and their stones - hell, let Loki (maybe he’s fused with the tesseract and maybe thanos did kill him to acheive that, or maybe something else) - let the stones respond to people. to quill. to freaking Jane Goddamn Foster. let the stones’ connections to life undermine and corrupt thanos and his connection to death.

is it cheesy? maybe. is it better than time travel bullshit? definitely. because it uplifts. because it draws from heroes in all the movies, even unlikely ones. people who’ve touched the stones, held them, melded with them. it assumes that the stones aren’t static entities, that they are just as alive as us, in a way we can’t comprehend, and so much more. they resonate with the universe, and thanos has done something that scarred the universe. let this be rectified, not through the actions of a man’s sacrifice, but through the actions, big and small, of a ton of people, of unlikely heroes, of those who suffered personally at his hand, at the hands of the stones - let it be the will of half the goddamn universe to see thanos fall.

let the snap-back happen when thanos loses control over the stones (he’s been holding on tight this whole time, can’t let it slip, the stones have a ‘mind’ of their onw). let it happen again right before the final battle against his armies. let him not have the power to immediately re-snap, hand burnt by the force of the snap-back, and let thor take off his fucking arm this time. let nebula take off his fucking head. let there be a huge final battle with everyone alive and ready to go down swinging once again.

and okay, i’m okay with tony dying. i’d be game for him to die by destroying the stones, tbh - taking them out of existence henceforth so they can never be used like this again, even though it kills him. i think that would honestly be a really fulfilling conclusion to the narrative set up in the first Iron Man film - the reformed arms dealer destroying the ultimate weapons in the universe.

by this way - there’s been 5-8 months or something like that, not 5 years, but why not have Pepper be pregnant, why not have a little child who’ll get to live on after he’s gone, even if that kid won’t remember him? she’ll get to live in a universe that exists and is safe because of him.

i’d be okay with cap dying in this movie too (much better than him going back and stealing peggy’s life from her by changing her history, wtf wtf wtf). i refuse to accept nat dying in clint’s place, that was bullshit and totally not necessary in this version. gamora is also back, not from the past but from the present, and with her sister again. this time nebula got to save gamora, isn’t there some poetic justice in that?

okay okay that’s all that. whew.

I forgot about Captain Marvel. It was decent, I liked it. It wasn’t my favorite in the sense that it was laid out odd when it came to falling in love with this character. Like I wouldn’t change much of the plot but I’d change the… storytelling? The emotions used to connect us to Carol. Give us more of her past from the start, before you introduce her. Give us her childhood. And let Maria be her girlfriend, fucking please.

Okay - now we’re at Far From Home. I didn’t mention Homecoming before but the problem with both of these movies is one I mentioned earlier - that the villains are byproducts of choices made by Tony Stark. That’s a problem. There’s just so many goddamn movies in which that’s the ultimate villain and it fucks with Tony’s characterization so much. How am I supposed to love Tony (which I want to?) when he’s got satellites with drones that can attack anyone he names, tech not that unlike the tech Hydra was aiming to make. Sure, he won’t use it the same, but why the fuck does he have it? Giving it to Peter is all well and good, but - they have interacted maybe a grand total of 5 times?

The relationship between Peter and Tony is cute but if you stop for a second, it’s annoying as hell that it’s built up to what it is. Peter gets recruited by Tony, mostly works with Happy and not Tony in Civil War, and then gets ignored by Tony for months and months on end, then Tony shows up and scolds him and takes his suit, and then invites him to be an Avenger when he doesn’t fuck up, and then they go off to space and Peter dies, and then everyone comes back to life and Tony dies. Why the fuck would Tony entrust Peter with this Edith system that allows him to kill anyone on Earth? Actually, fuck that, entrust is the wrong word - why the fuck would Tony put that weight on the shoulders of a child?

Far From Home is great but Tony’s post-mortem role in it makes almost no sense. Let Peter’s movies be about Peter and not about the shadow and then the ghost of Tony Stark. Please. I love Tony, I do, but if you stop and think for one second, you have to jump mental hoops to absolve the shit Tony does in Peter’s movies, and for many of us, it leaves a really awful taste in our mouths.

anyway - i probably missed stuff. that’s just what’s currently top of mind. #whoops

#i spent too many hours of my life on this #marvel #mcu #walrus #you said you wanted to read this when i got around to answering...#here you go #marvel critical #mcu critical #ask to tag #comics etc #Anonymous #long post #long post for ts

53 notes · View notes

ryanmeft · 4 years

Text

Movie Review: Motherless Brooklyn

The greatest villains of noir are never the central antagonists. The corrupt cops, the slimy businessmen, and the small time hoods and assassins typified by the genre’s heyday are of course all vital to the seedy underrealms these movies sink us into, but the true villain is always the world itself, and specifically the rotten and festering systems whose waste drips down and creates the conditions for battered, weary detectives and crooks with no hope in the first place. This was implied in most classic noir, but Edward Norton’s Motherless Brooklyn makes it explicit. It focuses on a man seen by others as a freak, trying to do a good thing in a city that exists because of bad things. He’s up against such a vital underpinning of his entire world that he might as well be trying to punch out the moon.

Lionel Essrog is not exactly the first person you might choose in such a fight, even if one overlooks his Tourette’s syndrome, which in the decidedly unenlightened 1950’s is unlikely. He’s one of several detectives working for the aging Frank Minna (Bruce Willis), whose particular skills would have been equally applicable on the other side of the law. Also under Minna, in a crew the older man pulled from the morass of an abusive orphanage and led through World War II, are the force-and-bluster tough guy Tony Vermonte (Bobby Cannavale), who has an interesting relationship with Minna’s widow (Leslie Mann); the sharp information-gathering Danny Fantl (Dallas Roberts); and the reserved and slightly bumbling Gilbert Coney (Ethan Suplee). The film opens with a terribly thrilling sequence in which Minna seems to be trying to make a deal with some underworld figures, and as one might expect the deal goes wrong, resulting in Minna’s eventual death.

Let’s take a moment and look at that sequence. It takes up the first half hour or so of the film, and it takes its time. Essrog, played by Norton, listens in for a signal from Minna, and you know something is going to go wrong. Yet where other movies might make that a quick and easy scene, Norton gets our hopes up that Minna might live, and it is genuinely affecting when he doesn’t, because of how much he clearly meant to our protagonist. This death is more than just a device to set off the plot of the film. It defines Lionel’s key character traits: loyalty to those he trusts, suspicion towards most everyone else, all of the wariness that a lifetime of being infantilized by others would give a man. His character is not defined by Tourette’s, which, for the record, is presented accurately as the repetition of tics and phrases rather than by the cliche and rare repeating of profanity. His photographic memory is a tool for detective work, but also a burden; imagine never forgetting anything, and if you’ve suffered at all in life you might realize that isn’t a superpower. He wears his boss’s old hat and coat, in tribute to the man rather than to try and be him. Lionel is a fully developed character, and not a gimmick. The film is patient with him and with the plot, the kind of patience lacking in modern films where audiences will sit for more than two hours only if computer effects are involved.

His case is no gimmick, either, but a fully developed and twisted web that goes, of course, up to the Very Top. The central question: why was Minna, ostensibly a licensed private eye, talking to mobsters as if they were dealing with each other? Lionel digs into this, and it becomes clear it involves the city’s powerful planning commissioner, Moses Randolph (Alec Baldwin). He seems able to demand whatever he wants from the government, behaves like a Godfather instead of a public servant, and is involved in the demolition of slums. Ostensibly, the plan is to provide better housing for the mostly black residents, an assertion which is challenged by two people. The first is wary-but-idealistic housing activist Laura Rose (Gugu Mbatha-Raw), who develops a connection with Lionel that feels true and complex and not like an obligatory screenplay romance. Mbatha-Raw is a seriously undervalued actress, and here she represents the counter-culture of jazz, which was primarily African-American and seen as degenerate at the time. Her uncle Billy (Robert Wisdom) and cool-as-ice trumpet-playing friend (Michael K. Williams) have some level of insight into what exactly is happening to Brooklyn’s poor black population, and they become allies. It must be noted that scenes in nightclubs are handled perfectly, feeling like the close, crowded, smoky places that jazz clubs should be.

The second is a ragged man with a frantic voice named Paul (Willem Dafoe), who appears at meetings and angrily whips the crowd into frenzies against Moses. He lays out what crooked deals are going on, but encourages Lionel to be the one to stop it; he cannot, for reasons that will be revealed. I found him the most fascinating supporting character on the canvas, and a perfect role for Dafoe. In movies, most of the good-aligned characters we meet will eventually abandon all self-centered interests and heroically join the cause at great self-sacrifice. Film noir is decidedly unsuited to such sentiment, but in the old days often suffered from it nonetheless. Paul is the apotheosis of that: he is legitimately angry at the conspiracies he sees, but has been too hurt by his own failures to fix them in the past, and now wants to pass the buck so he does not have to suffer any more losses. In our heart of hearts, most of us know we are more like Paul.

Earlier I mentioned the look of the jazz world, but I must mention the look of the rest of the world, as well. Regular Mike Leigh cinematographer Dick Pope films a mid-century New York reproduced by production designer Beth Mickie, that is lost, where boat-sized cars rumble down narrow streets and dark shadows are hidden in the eaves of bridges and corners of doorways. Lionel is at one point invited to meet with Moses to strike a deal, and Moses’ office is as spacious as the rest of the city is not; in an excellent wide shot, he patrols this throne room as a king, passing judgments and decisions entirely as it pleases him. This is not a man who will fall like a typical movie crook, and indeed the film leaves open whether Lionel succeeds at all.

Norton, who is friends with novelist Jonathan Lethem, has, with the author’s consent, done what a filmmaker should: used the parts of the book that suit, and changed those that did not. Most notably, he has moved the 90’s setting (this project has been long gestating) to the 1950’s and wrapped up the plot in one of our great modern national stains, the New York housing discrimination that still affects the African-American community today. The parallels are both obvious and buried, and though Norton has discussed the connections between Moses and Donald Trump, this is not an overtly political picture. It is instead a deeply involving mystery with highly engaging characters and an intriguing world, that happens to have greater points under the surface for those who are looking.

Verdict: Highly Recommended

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

You can follow Ryan's reviews on Facebook here:

https://www.facebook.com/ryanmeftmovies/

Or his tweets here:

https://twitter.com/RyanmEft

All images are property of the people what own the movie.

#edward norton #gugu mbatha-raw #bruce willis #movies #motherless brooklyn #Bobby Cannavale #ethan suplee #dallas roberts #noir #alec baldwin #new york #jonathan lethem #willem dafoe #michael k williams #robert wisdom

9 notes · View notes

into-the-spider-verse · 5 years

Text

SDCC

Starting with Marvel because that’s all I’ve seen so far.

The Falcon and the Winter Solider: the name sucks(too long/clumsy), but I think this is the show I’m the most excited for and some how has the best title card of any of the shows announced.

Seeing Red Wandavision: Also don’t like the name here as I’ve said earlier. I’m cautiously interested in the show, I thought it was a prequel at first but learning it’s not has made me a bit more interested but also I don’t know why Vision is coming back as Scarlet Witch could’ve had a fine show on her own.

Hawkeye: Feel like as a concept this show should be hard to screw up imo, but I’m less interested in Hawkeye then most of the other characters getting shows.

Loki: low expectations based on the prequel show angle but I’m hoping to be surprised.

What if: please let this be good I really want this to be good please

Shang-Chi: only know him from the Way of the Spider storyline where he helps Peter develop a fighting style specific to his piers so that he can fight while he has lost his Spider-Sense. Can’t wait for the movie to learn more about him and would love to see that adapted as a crossover(maybe Spider Man 3?)

Thor: Love and Thunder: Very excited, trust Taiti will make this movie great. Only sad that New Thor is being played by Natalie Portman because I’d love a Mighty Thor franchise after Hemsworth is done with the character but I feel like since Natalie’s been in and out of the MCU for awhile this might be a one time thing.

Black Widow: I want this movie to be a good send off for the character, wish it had come out before she’d died so she could’ve had her own movies as I suspect this will be a solo film(trying to build a trilogy around a dead character might be a bit difficult).

Eternals: don’t know much about them, very little expectations for this movie honestly. Of course I want it to be good but I really haven’t heard that much about them other then they have a movie and there a less known team in marvel comics.

Doctor Strange in the Multiverse of Madness: honestly expectations for this movie are kinda low. Like the idea of a mcu horror film but I don’t know if they’ll pull it off, especially with Doctor Strange. Also not happy that Doctor Strange is getting at the multiverse when Spidey didn’t as my understanding is that a lot of the multiverse stuff in the comics originally came from offshoots of Spider-Man like Ultimate Spider-Man.

27 notes · View notes

anorakofavalon · 5 years

Text

The Beauty and the Geek: Why Brutasha Makes Sense

(AKA: An Open Letter of [Constructive] Criticism for Joss Whedon)

I wrote an essay in which I parse through my feelings on probably the most controversial pairing of the MCU. I settled on the relationship making sense, thematically, even though the execution was terrible. Sorry if it's a little long, but I'd love to have a discussion about this with any of you willing to take the time to read it.

---

Joss Whedon is great at his job. He’s flawed, like anyone else, but he’s a fantastic writer. I hardly need to remind you of his portfolio, after all. As a matter of fact, his portfolio is so very nearly spotless that his writing flaws come across, at least notably, in only one movie. Avengers: Age of Ultron. You might point out Justice League, but I’m discounting it because while there were flaws there, they weren’t all his, and not all of them were present in unison.

In Ultron, Whedon was pushed to his writerly limits. Understandable, considering that he was burdened with not only following up on the masterpiece that was The Avengers, but he had to do so while taking into account the events of the movies that took place between then and Ultron and where that left the characters. Not only that, he also had to setup the rest of the franchise and introduce a multitude of new characters. Doing any one of those three things is difficult, but doing all of them at the same time while also offering a coherent and enjoyable movie to fans is a monumental task. He did what he could.

One particular weakness of the movie, as pointed out by a large number of people after its release, was the relationship between Bruce Banner and Natasha Romanoff. Recently, people have warmed up to and adapted to it. But the damage is done. It left the impression on just about everyone that it was rushed and clumsily handled. I agree that it was clumsily handled, but I don’t think that it was necessarily rushed.

I’d like to make an argument for the relationship, and in doing so, maybe offer a critique to Mr. Whedon that might be helpful. My argument is the following: Bruce and Natasha’s relationship in the Marvel Cinematic Universe is thematically sound. It’s a natural step forward in both of their respective arcs, and I believe that Mr. Whedon made an excellent, and conscious, storytelling decision when creating the pairing. (He might even have had it in mind since The Avengers.)

But before I go any further on analyzing why I believe this, I think it’s important to dispel a few common and relatively superficial complaints about the couple. Firstly, some people prefer Natasha to have been with Clint, Steve, or even Bucky. I understand the general sentiment there, but I have contentions against any of these people because they don’t make sense in the context of the MCU. Clint is out of the picture because he has a family, and they are simply best friends, practically siblings to each other. Bucky and Natasha have very little screen time together in which they aren’t fighting by the time Age of Ultron happens. Steve is the most sensical of these options. But Steve and Natasha aren’t compatible people, at least not in the sense of a romantic relationship. Why? Because A.) She explicitly prefers more passive, “dorky” men, B.) Steve is still not over Peggy Carter, C.) Putting them together would be, aside from blindingly obvious, harmful to their wonderful friendship because D.) Steve and Natasha have, up to Ultron, had a very strictly professional relationship. They’re friends.

The other big complaint is simply that Bruce Banner seems to be too old for her. This is a, frankly, ridiculous complaint. Mark Ruffalo is one hot dude, and Black Widow is a fully grown woman perfectly capable of having emotions for whoever she damn well pleases. Somewhat older or not.

And speaking of those emotions, people have been quick to point out that they seemingly developed out of nowhere. I disagree, to a certain degree. The seeds of this have been rooted from the very beginning of The Avengers. Their first interaction was tense and interesting. Subtle things were present. Hints of flirtation (granted, at the time she was trying to manipulate and recruit him into helping SHIELD) were present, and there’s a few visual cues. Particularly when Banner says “I don’t always get what I want” while touching a crib. I recommend re-watching it.

And of course, there’s the entirety of Ultron, where they throw quick glances, outright flirt, and seem to have developed a close relationship via “the lullaby”. But the leap from Avengers to Ultron is quite wide, considering that a few things have happened, and besides, wasn’t she deathly afraid of the Hulk during Avengers? The answer to that is yes. And that’s why it was so jarring for practically everyone, including those of us who have embraced the ‘ship. Presumably, all of their bonding happened during Natasha’s stay in Avengers Tower between Winter Soldier and Ultron. The problem? We didn’t see that. We just saw that she could calm down the Hulk all of a sudden and had a good relationship with Banner.

I won’t defend the execution of this. It could have been smoother, without a doubt, but given the duress that Whedon was under with managing the storylines of literally every other character, I can forgive him. But what I can’t forgive him for is the execution of a few other things concerning the two. Namely, how he handled their conversation in the Barton household and the Ultron kidnapping.

The Barton Household conversation could have been positively wonderful. It was a little off-putting instead. I don’t think it’s a bad conversation mind you, it shows that Black Widow is willing to open up to Bruce Banner in a way she doesn’t usually do with others, and it really serves to humanize her further. The premise is this: Bruce Banner isn’t willing to be with her because he believes that he’s a monster and that he can’t give her a normal life (read: children). Natasha counters with the fact that in her view, she’s a monster because the Red Room made her one. And she can’t have children. The issue is clear: these are two separate, parallel, lines of conversation happening at once, and they get muddled, and viewers got confused accordingly. The way the dialogue was framed had disastrous consequences. Rather than achieving its goal the scene left us with the impression that she thought she was a monster because she couldn’t have children when really what she meant was that she was a monster because the Red Room dehumanized her and turned her into a weapon, and in the process, sterilized her.

While awkward, a lot of people later understood what was meant and the outrage died down. But it didn’t help that later in the movie, Widow was used as a literal damsel in distress when she was captured by Ultron for very little reason. Now, I’m a firm believer that strong female characters should be allowed to have love interests. Love isn’t a weakness. But this moment makes Black Widow seem like merely a love interest. She was helpless and a man had to rescue her. And it was, you guessed it, her love interest. This whole concept was a mistake. It could have been any other Avenger. Because if there’s one thing Black Widow is not -- it’s helpless. (And as a side note, that scene at the Avengers party where he fell on her chest? Ridiculous. Whedon pulled the same trick in Justice League and it was equally un-funny. It harmed his cause more than it helped. Comedy could have made the transition into the relationship less jarring for fans but he approached it in the single worst way possible. Also, the ass shots. What the hell Whedon? Like, I get it, but c'mon man. If you're gonna do it, at least be egalitarian and give us some Hulk booty too. Taika did it.)

All of these things combined gave people a less than spectacular impression of the couple at first, since it consumed both of their respective storylines for the entire movie, but I warmed up to it and so did others. Because despite the execution, I think it makes perfect sense thematically.

It begins in The Avengers. We’re going to briefly revisit the scene I mentioned earlier, where Natasha is recruiting Bruce. At this point we know a few things about them: Banner is relatively in control of the Hulk, but he doesn’t want to “Hulk out”, He is not afraid of Natasha, and finally, Natasha is very much afraid of him. At first she acts unfazed, but when he slams his hand on the table to test her there is genuine fear in her eyes and she pulls a gun faster than he can blink. He smiles away the tension, assuring her he was just testing her. But the power dynamic became clear. At first, Natasha believed she could manipulate him like she did Tony, but with Banner that wasn’t the case. He saw right through her. This remains a constant theme. He could read her like a book.

She’s weary of Bruce for the rest of the film, but it culminates when she faces the Hulk. Mr. Whedon lets the camera linger on her after her near death experience. Natasha Romanoff is shaken. This was incredibly humanizing for her because the Hulk is a force that she is truly powerless to do anything about, which must be an unfamiliar feeling for the world’s greatest assassin. Regardless, when Fury calls her to take down Barton, she walks it off. That encounter grew her character. A character that has remained fairly mysterious thus far except for one single moment, a truly wonderful scene where she manipulates the ultimate deceiver: Loki.

Loki thinks he’s got a read on her, likely because she was being very honest when she told Loki “I’ve got red on my ledger, and I’d like to have it clean.” Loki already knows, playing on her apparently emotional side by saying “Your ledger is dripping red, it’s gushing and you think saving a man no more virtuous than yourself will change anything?”

It’s all a trick, of course, because she pretends to let it affect her. But Black Widow knows how to compartmentalize emotions, and she handled the situation wonderfully. But I don’t doubt that what Loki said was true -- to a degree. That is Black Widow’s chief insecurity: that she is a monster, and she can never be a hero like the other Avengers because of her past.

A few scenes later, after the Hulk Out, Banner wakes up in a warehouse, where an old man is looking over him. The very first thing that he asked was “Did I hurt anyone?”. And that there is his chief insecurity: that he is a monster because he is a danger to everyone around him.

So you have two characters who both have terrible pasts that were forced on them by circumstances entirely out of their control. Both admire each other professionally as well as people. Let’s not forget that Natasha’s first interaction with Banner was of him living in an impoverished country in order to help people. Both are looking to become better than who they are, but I wouldn’t be surprised if Natasha was affected by this. Hulk has caused just as much harm as she has, but Banner is making up for it by healing others. She might feel she can’t do that because her skillset has always been to harm others. That’s why I think she’s one of the most compassionate of the Avengers, and always comforting her friends. Be it Steve at Peggy’s funeral, or Clint in Endgame when she’s the only family he has left. It makes total sense that Bruce and Natasha would turn to each other as friends and confidants. I don’t think anyone else in the group could understand their shared and unique type of trauma. And as Natasha said, “all [her] friends are fighters”. But Bruce is not. In her eyes, he’s a perfectly normal, mild-mannered gentleman. She’s not afraid of him or Hulk by the time Age of Ultron rolls around, but boy is he afraid of himself.

And they both want normality. So they propose running away. A bit on the dramatic side, but I can see why Whedon chose to use this idea. It makes the ending of the film more poignant, when she chooses to have Banner Hulk Out (and I suspect Banner understands why), thus sacrificing their fantasy of normality. Because they’re Avengers. The mission comes first. Still, it was far too melodramatic for my taste and out of character for both of them. Particularly Natasha. And again, it makes it seem like Natasha was Banner's love interest when it really ought to be the other way around, from a storytelling perspective and also because of the nature of the characters. That was a lapse in judgement from Whedon that weakened the presentation of their potential relationship.

I don’t think the relationship will remain completely intact by the time Endgame finishes, but I do think they’ll acknowledge it and give them a proper send off. It might not last, but their relationship helped them grow as characters. It allowed Banner to realize that he isn’t really a monster. That he is useful in his own right. And it helped Natasha get peace of mind. She isn’t a monster either, she’s a hero. And for better or worse, that means she has to do heroic things. Even sacrificing normalcy.

And plus, it's just adorable man.

#brutasha #brucenat #hulkwidow #bruce x natasha #hulk #black widow #bruce banner #natasha romanoff

66 notes · View notes

loretranscripts · 5 years

Text

Lore Episode 31: Lost and Found (Transcript) - 4th April 2016

tw: murder, gore, blood, human remains, cannibalism

Disclaimer: This transcript is entirely non-profit and fan-made. All credit for this content goes to Aaron Mahnke, creator of Lore podcast. It is by a fan, for fans, and meant to make the content of the podcast more accessible to all. Also, there may be mistakes, despite rigorous re-reading on my part. Feel free to point them out, but please be nice!

Teenagers have a tendency to get up to mischief when they’re bored, that’s as true today as it ever has been. So, when four teenage boys found themselves with a spring afternoon on their hands, they did what any English lad might have done in 1943 – they went poaching. They were only hunting birds’ nests, really. It was April and spring meant nests full of eggs, so they went exploring in their area of Stourbridge, there in the midlands of England. Over the course of that afternoon, their search brought them to a private park known as Hegley Woods, and that’s where they saw the tree. It was a massive elm with an overgrown trunk that looked more like a hedgehog than a plant, with thin, whispy branches that stuck out toward the sky. Locals called it the “Wych Elm”. It was strong, it was climbable, and most importantly it was perfect for nesting, so one of the boys scaled up the side. When he reached the top and began to look for nests, he found something entirely different – a skull was staring up at him from the hollow centre of the tree. The boy assumed it was from an animal and plucked it free from the branches. That’s when he noticed how large it was, and the patches of hair that were still attached to it – human hair. The grisly discovery kicked off one of the biggest unsolved mysteries in modern England. Beneath the skull, lodged in the hollow centre of the tree, was a complete skeleton. It belonged to a young woman of unknown origin and unknown identity. No one stepped forward to claim the body, no killer was ever found, but the public fell in love, and named her, and to this day people still wonder: who put Bella in the wych tree? Humans, you see, are fascinated by dead bodies. They’re the centrepiece of countless mystery stories and a vivid reminder of our own mortality. We can see that fascination in both the innocent wonder of films like Stand by Me and the gruesome realism of CSI. Real life, though, is more complex, it’s more dark than we’d care to admit, and while the odds are good that most people won’t ever stumble upon a dead body, it’s a lot more common than you’d expect. Corpses should be hard to come by, but unfortunately that couldn’t be further from the truth. I’m Aaron Mahnke and this is Lore.

In February of 2013, a number of guests at the Cecil Hotel in Los Angeles called down to the front desk to complain about the water in their rooms. Some described how their shower would run black before clearing up, others complained of the odd taste and odour, and that age-old compaint that we all know and love, poor water pressure, popped up time and time again. So, the maintenance crew was sent up to the roof where the hotel kept water tanks used to supply the rooms, and it’s one of the tanks that they discovered a body. A human body, no less, and it had been there for weeks. It turned out to be a missing woman named Elisa Lam. Her parents had reported her missing in early February, but she had been seen last there in the hotel on the 31st of January, and it had been her decomposing body that had been altering the hotel’s water supply. Finding bodies in unusual places isn’t a new thing, though, and it’s not uncommon, either. In January of 1984, three students from Columbia University were walking home to their dorm when they passed an old carpet, rolled up and discarded on the side of the street. Now, like a lot of you, I’ve been to college, so I think we can all agree that curbside discoveries are frequently wonderful. A random desk, or that ugly couch that’s way too comfortable to be ignored. So, it’s hard to blame these three students for bringing the rug home. When they unrolled it, though, they found a body inside. The man, roughly 20 years old, had been shot to death, as was evident from the bullet holes in his forehead. Needless to say, they didn’t keep the rug and the police were brought in to do a full investigation. In December of 1982, staff were called to a room in a hotel in New Burgen, New Jersey. Occupants complained of a powerful odour in the room, and they weren’t the first. For a number of days leading up to the call, each guest had complained of the same thing, and it seemed to be getting worse. The motel staff finally discovered why: it was the body of Gary Smith, who had been killed by his autotheft partners and stuffed beneath the bed in the room. They had poisoned his hamburger then strangled him when waiting got too hard, and finally hid the evidence beneath the mattress.

In 2011, Abbeville National Bank in Louisiana began renovations to their second floor, an area they had used for storage for decades. Running between the storage area and the active bank facilities was a chimney, and it was just inside the first floor fireplace where workers discovered a few small bones. Climbing inside the fireplace and looking up, they found the source. A body, now little more than a skeleton, had been lodged in the flue. Dental records connected the skeleton to a man reported missing 27 years earlier, in 1984. The man had a criminal record and had been in trouble with the law shortly before his disappearance. Police can’t prove why he was in the chimney, but given the proximity to the bank I feel its safe to guess that he’d been trying to rob it, Santa Claus style. In November of 2011, Russian police raided the home of a historian named Anatoly Moskvin. Inside, they found 29 life-sized dolls, all women, all dressed in fancy clothing. But they weren’t dolls at all. Moskvin, it turns out, was a graverobber with a fetish. For years, the historian had been visiting cemeteries all over western Russia, as many as 750 by some counts, and occasionally brought home corpses that “interested” him. All were females between the ages of 15 and 30, and all had been dead for a very long time. It seems, if we’re to believe the newspapers and media outlets, that stumbling upon a corpse isn’t as rare a thing as we might expect. Maybe it’s a product of the times – with more and more people on the planet, I suppose the odds keep going up that we’ll eventually open a wall or dig a garden bed and find a body. But some bodies are intentionally harder to find. Some killers go to great lengths to hide the evidence of their dirty deeds, and that’s really the core of these stories, isn’t it? Because hiding a body is about more than just making an object disappear. It’s about concealing a crime and escaping the consequences. The trouble is, when those hidden bodies are found, their stories often reveal the greatest horrors of all.

She wasn’t always known as Kate Webster. Sure, when she gave birth to her son in 1874, that was the surname she passed on to him. She claimed to have married a sailor named Webster, but he had died. A decade earlier, though, she had been someone else entirely. Kate Webster had been born Katherine Lawler to a poor family in a small, Irish village in 1849. While most children might have helped out at home or perhaps played with toys, Katherine grew up fast. She spent her childhood learning to pickpocket, and judging by the way the rest of her life played out, it’s a skill she’d been born with. At the age of 15 she was caught and imprisoned for a short time, but by 17, she managed to steal enough money to secure herself passage on a boat to England. But she didn’t use her journey as a chance to make a fresh start. No, Katherine Lawler just kept upping her game. Within a year of arriving in Liverpool, she was caught stealing and sentenced to four years in prison. Once released, she found work cleaning houses in London, as well as working as a prostitute – and then she became pregnant. The father, according to Kate, was a man she called “Mr. Strong”. He’d been her friend, her lover, and her partner in crime for many months, but when he learnt of the pregnancy he abandoned her. Her son, John Webster, was born in April of 1874, and those who knew her couldn’t help but wonder: would this help Kate change her ways? The answer, it turns out, was a clear and obvious no.

Rather than seek reform, Kate simply evolved. She would rent a room in a boarding house and once there, she would begin to sell off the furnishings in her room. When everything was gone, she’d move on and repeat the crime elsewhere. Another thing she repeated, sadly, was prison time. In 1875, while her son John was only a year old, Kate began serving an 18 month term in Wandsworth Prison there in London. It was one of the many stints in police custody, even though she moved around a lot and used various aliases to disguise herself. And all the while, her friend, Sarah Crease, helped by watching and caring for young John. Some think Sarah was an enabler, that she gave Kate the freedom to live her life of crime without the burden of parenthood, but others view Sarah as a hopeful friend. She saw a young boy who needed looking after and she did her best to help out. She also tried to get Kate a real, honest job, something that had the potential to turn the woman’s life around.

In 1879, Sarah’s employer asked if there was someone who could do some house cleaning for a friend of hers, a woman named Julia Martha Thomas. Mrs. Thomas lived in the Richmond area of London, she was a widow in her mid-50s, and had a reputation for being a little strict and prone to anger. But it was a job, and Sarah immidiately suggested Kate Webster. The relationship between Webster and Mrs. Thomas began cordially enough, but quickly devolved into daily arguments. Webster claimed that Mrs. Thomas would follow her around and criticise her work, while Mrs. Thomas claimed Webster came to work drunk most of the time. Needless to say, it wasn’t a match made in heaven, but the two women tried hard to make it work. After a little over a month, Julia Thomas decided it was time to cut Webster loose. Kate, to her credit, tried to change. She begged for just a few more days of employment and, for some unknown reason, Thomas agreed to the terms, but the relationship was eating at her like an ulser, and she couldn’t stop thinking about it. She thought that Kate was stealing from her, but she didn’t have proof yet, and she feared for her life. On March 2nd of 1879, Mrs. Thomas showed up at church clearly upset. She’d just had another argument with Webster, and it had shaken her deeply. Her friends claimed that Thomas seemed distracted and agitated, and she left early to go attend to matters at home. But Kate was waiting for her there, and this time, they would trade more than angry words.

Julia Thomas thought the house was empty, but went searching for Kate Webster anyway. They had unfinished business, and it was time Kate found some place else to work. It was settled – as far as she was concerned, at least. While Thomas was upstairs in the hallway, Webster stepped out of a dark room and attacked her employer. The two women struggled for a moment, and then Kate gave the older woman a shove. Thomas stumbled down the staircase where she slammed into the floor below. Her skull now fractured and bloody, she began to scream where she lay. Kate was immidiately concerned that the neighbours might hear. There was a busy pub right next door, and if someone happened to hear the shouting, Kate was sure to be discovered and arrested. Launching herself down the stairs, she sat upon the injured woman’s chest and began to squeeze her throat with both hands. She wanted the screaming to stop. She needed it to stop, and after a few tense moments, it did. Julia Thomas lay dead on the floor of her own home, and Kate Webster had graduated from theft to murder in the course of just a few heartbeats. But Kate was stronger than her fears, and she knew she had to act fast. She grabbed a razor, a meat saw and a carving knife and set about cutting Thomas’ body into pieces. Later Webster would admit that, while she believed she had always had a strong stomach, this work in particular tested her limits. There had just been so much blood, she later told the police. Webster put the pieces into a large copper kettle and then boiled them in an attempt to reduce them to a more managable state. It was essentially rendering, a process where meat is cooked until the fat and protein separate. Witnesses would later come forward and talk of the stench coming from the home, but no one complained at the time. This was London in the late 19th century, perhaps people were just a little more forgiving of odd odours back then.

When the boiling was complete, Webster fished out each part from the remaining lard and placed them all into a box she found in the home – most of it, that is. She couldn’t seem to fit the head and one of the feet, so she had to get creative. She tossed the foot into a local trash heap, but the head was more problematic. In the end, she found a Gladstone bag, something like an old physician’s handbag, and stashed the head inside there. And then she cleaned the house, removing as much of the evidence as she could that something horrible had taken place there. It took her two full days to do it, but when she was finished, she put on a dress from her employer’s wardrobe and went to the pub next door to meet a friend for drinks. This friend, a Mrs. Porter, later told police that Webster arrived at the pub carrying a large, black bag. She kept it with her almost the entire evening, as if it contained something very valuable to her. Oddly, though, Webster excused herself from the table at one point, and when she returned a short while later, the bag was gone. Webster’s next order of business was to get rid of the box that contained what remained of Mrs. Thomas, so she enlisted the help of Mrs. Porter’s son to carry it out of the house and to nearby Barns Bridge. He carried the heavy box all the way to the bridge, and then she sent him home, claiming that a friend was on the way to meet her there. This boy would later tell police that, as he was walking away, he heard a large splash. It was as if something heavy had been tossed into the river. Webster had disposed of the body, and I can’t help but wonder if she perhaps sighed with relief when the box finally dipped beneath the surface of the Thames and vanished from sight. The following day, though, things got more complicated. Unware that the box containing Mrs. Thomas had actually floated to the surface and drifted to shore over night, Kate Webster dug in deeper. She took on the identity of her former employer while beginning to sell off all the items in the house. Old habits die hard, apparently. And it was about this time, according to a later witness, that Webster stepped outside and spoke to a pair of neighbourhood boys. She had two bowls in her hand, and they were steaming hot. She told them it was lard – from a pig, she added – and they were welcome to have it for free, if they wanted it. The boys ate two bowls each.

While the police were investigating the discovery of the box full of body parts, they had no clues that might point them to the killer responsible. It even took them a bit of time to figure out that the parts were actually human rather than butcher cast-offs, but even then, all they could be sure of was that the victim had been a middle-aged woman. Kate Webster, meanwhile, was making money hand over fist. She sold off the smaller items first – the jewellery, the knick-knacks, even her victim’s gold teeth – and then began to spread word that the furniture was for sale as well. And that lead to an agreement with a local man, who arrived on March 9th with a small group of men to help him carry the items out of the house. A neighbour woman saw the activity and approached one of the remaining men. “Who ordered the removal of these items?” she asked him. The man simply turned and pointed to Kate Webster, who stood on the front steps of the house. “She did,” he replied, “Mrs. Thomas.” When the police finally arrived, they entered the house and immidiately found signs of something tragic: a charred finger bone in the fireplace, bloodstains on the floor, splatters of grease – or lard – around the copper kettle. But the one thing they wanted to find, a killer, was nowhere to be seen. Kate Webster had skipped town. In the end, the authorities tracked her down in Ireland. She’d taken her son and made her way back to her hometown as fast as she could. When she arrived, she did so while still wearing clothing and jewellery taken from Mrs. Thomas. But her stay there was short-lived – the local police chief, the man who 15 years earlier had put her in jail for the first time, recognised her in the bulletin from Scotland Yard and quickly took her into custody. Everything after that moved quickly. Webster was transported back to England, and at every train stop between Liverpool and London, crowds gathered to jeer and shout at her. By March 30th, she had been formally charged with murder.

Of course, she tried to lie her way out of it. This was the woman who had changed her name dozens of times to outsmart the police, who had moved into room after room and sold off the possessions inside. She was a thief and a liar, so it was only natural for her to try and talk her away out of this too. First, she blamed the murder on Henry Porter, the husband of her friend from the pub, but when his alibi held up she shifted the blame to the man who had come to buy the furniture from the Thomas house. He too was easily dismissed. When it appeared that she wouldn’t be able to squirm out from under the charge of murder, she took credit for the crime, but claimed that she only did it because others told her to. In the end, none of it worked. The formal trial began on July 2nd of 1879, and just six days later, the jury declared her guilty. The judge, a man named Justice Denman, sentenced her to be executed. Yes, Judge Justice – I can’t make these things up. When asked if there was any reason why she should not be executed, Webster told the judge yes, insisting that she was in fact pregnant. A new jury of women were gathered together along with a physician, and after examining Webster they declared that the pregnancy, like everything else the woman had said, was also a lie. She returned to Wandsworth Prison, where she had served time before working for Mrs. Thomas, and it was there that she wrote her formal confession. She described all of the details of the murder, right down to how she burned the internal organs to get rid of them, how she chose her tools, and even how she removed the head. On July 29th, Kate Webster stepped onto the platform inside the prison’s execution chamber, a building that was ironically nicknamed “The Cold Meatshed”. A governer announced the time, a priest administered last rights, and then she was guided onto the trapdoors with a sack over her head. Afterward, she was buried in an unmarked grave, right there at the prison. The records of Wandsworth Prison contain the names of 134 people who were executed over the span of 110 years. Kate Webster was the only woman on that list.

It’s hard to nail down the real reason behind our fascination with death, but it’s safe to at least make a guess. Death puts our mortality on display. No matter how hard we try to avoid it as a topic, to ignore its slow, steady approach from the distance, we can’t seem to get away from it. Whether we want it or not, death will come for us all one day, and the dead body stands as that singular, visceral reminder of our death. In the horror movies, it’s the clue that’s dropped into our laps early on in the film. It highlights the danger our heroes find themselves in, it represents what’s at stake, what could happen if they fail and the true power of the killer. When the London police pulled the box containing the remains of a women from the cold waters of the Thames, they didn’t know a lot, but they did know one thing. There was a killer in London, and whoever it was needed to be stopped. Thankfully, they managed to do just that, but in a wild twist of irony, the body of Julia Thomas has been lost. It might have been a result of the way evidence was handled in the late 19th century, or the state of decay when the remains were found. Whatever the reason, there’s no grave for Julia Thomas, no tombstone with her name etched into the surface. Her body was lost, and then found, and then finally lost again. Well, most of it. As luck would have it, the neighbourhood where her house once stood has gone through some renevation. In October of 2010, a wealthy London homeowner was having an addition built in his backyard, when the work crew unearthed something small and white. It was a skull. The teeth were missing, but there was a fracture at the back of the head, and after doing a bit more research, investigators determined that the structure that once stood in the homeowner’s backyard was a stable – a stable behind the pub that stood next door to Julia Thomas. Her body might be lost forever into the pages of history, but the head that Kate Webster had tried so hard to get rid of has finally been recovered. Oh, and the wealthy homeowner who stumbled upon the skull? None other than English naturalist, Sir David Attenborough.

[Closing statements]

#lore podcast #aaron mahnke #podcast transcripts #kate webster #witch elm #bella in the witch elm #elisa lam #england #ireland #true crime #transcripts #31

6 notes · View notes

verypersonalscreencaps · 5 years

Photo

'I’ve never sought fame so I’m loving it ... I hope it lasts!': As she returns in the hit BBC sitcom Mum, Lesley Manville reveals how a surprise Oscar nomination finally made her hot in Hollywood at 63

By COLE MORETON FOR EVENT MAGAZINE PUBLISHED: 22:01, 27 April 2019

'I can’t believe this late flourish that I’m having,’ says Lesley Manville, beaming with happiness. ‘It just keeps on giving!’

She’s about to star in the third and final series of the brilliant BBC comedy Mum, playing the kind and loving widow Cathy, surrounded by a family of not-always-lovable fools, and slowly falling for her old friend Michael. It’s hugely popular, for reasons Event’s TV critic Deborah Ross explains below, but that’s not all. Suddenly, to her own astonishment, at the age of 63, Manville is Hollywood hot property.

‘I don’t really share this much, except to my very close friends, because you’ve got to let off steam to somebody about how extraordinary it is,’ says Manville, hand fluttering briefly as if to fan herself. ‘And the enormity of how it has shifted things. Everything has changed.’

Scripts and offers are flooding in since she was Oscar-nominated for her role in Daniel Day-Lewis’s 2018 film, Phantom Thread. After decades of working ‘under the radar’ – as she puts it – in the theatre, on television and in Mike Leigh movies such as High Hopes, Secrets & Lies and Another Year, Manville was thrust into the brightest spotlight of all. ‘I got to go to the Oscars with my sister and my son!

‘But, oh my God, it was a mad dash. I was on stage in the West End on the Saturday, got home at midnight, only had time to wash my hair and catch two hours’ sleep, then I was on a plane in the early hours.’ The Oscars were that Sunday night. ‘I got there with an hour-and-a-half to get ready.’

She rarely gives interviews and hasn’t talked about this publicly before, but there was something else remarkable about that night – her ex-husband Gary Oldman was also up for an Oscar, for his role as Sir Winston Churchill in Darkest Hour. The Hollywood media went wild at the idea of divorcees being nominated at the same time, and there was even talk of ‘fisticuffs on the red carpet’ – particularly since he had walked out on her in 1989, when their child Alfie was only three months old.

‘I had a son to bring up,’ she says, sounding matter-of-fact rather than bitter after all these years. ‘I was 32 and I had a baby. I wanted to carry on working and I did. I must have been knackered. I was up at dawn and looked after Alfie all day. Then my sister, who was working for me, would come and do teatime and bedtime. I’d go to do Miss Julie or Top Girls. Nice light plays!’

Somehow she gave her all to those far from light works. ‘I wouldn’t have had it any other way. I never wanted to stop working. And also I didn’t want to be a slovenly mother – not bothering, just phoning in motherhood because I was working. I wanted to be the best mother, with a proper meal on the table every night, and proper things in the lunchbox. All of that. And I’ve done it. That’s my biggest achievement, I think.’

Did she feel that way because Gary had abandoned them? ‘No, I’m just like that – I’m quite a perfectionist in my life and my work.’

That’s easy to imagine. Manville is friendly and engaging but happily describes herself as ‘a control freak’ and looks very much like she’s got it together in her chic, cream baggy pants with matching boots, Breton striped top and leather jacket. She speaks with the diction and bearing of someone who has spent a lifetime on the stage. Does Alfie appreciate what she did for him? ‘Oh, yes. We’ve got a really nice relationship. We do argue, but we’re very close.’

Oldman later admitted that work and alcoholism had made him ‘anxious, neurotic and hell to live with’ – but he moved in with the much younger Uma Thurman soon after taking off to America. His fifth wife, Gisele Schmidt, attended the Oscars with him, while Manville is single and walked the red carpet with Alfie, now a cameraman. So just how awkward was this public reunion?

‘Gary and I are fine. We’re friends. We’re more than fine. People wanted to make something of it that didn’t exist. Christ almighty, we’re 60. We’ve got a 30-year-old son. Come on!’ She does understand why there was such interest. ‘I even stayed sober for one night in LA at the Oscars so that I could do a live interview on the Today programme. Something should be made of it, for the sake of our son. Very few children have been to the Oscars and seen both their parents nominated. It was nice because Gary was there with his wife – who I get on with very well – his other two sons and my son. We’re grown-ups.’

In her eagerness to demonstrate that they’ve worked out their differences, Manville even reveals that the two former partners are planning to work together again.

‘Gary’s asked me to be in a new film he’s hoping to shoot soon. So of course we’re fine. It’s a film about Eadweard Muybridge, the man who invented film.’ The Victorian photographer devised camera techniques that laid the foundations for the motion picture industry. He also shot and killed his wife’s lover, but was acquitted by a jury on the grounds of justifiable homicide. ‘It will be amazing.’

And although she did not win the Oscar for best supporting actress last year (Oldman did win best actor), Manville says she has been almost overwhelmed by offers since then. ‘You get inundated with scripts and immediately I got offered a film with Liam Neeson, Normal People, that’s virtually a two-hander. It comes out at the end of this year.’

Neeson got himself in a lot of trouble earlier this year by confessing that in the past, after the rape of a friend, he had taken to prowling the streets with a cosh, hoping ‘some black b******’ would come out of a pub looking for a fight. He was actually expressing shame at having had those feelings and drew support from Whoopi Goldberg and the England footballer John Barnes, but others called for his films to be pulled. Did that put Normal People in danger?

Manville draws in breath, pulls back her shoulders and says: ‘I’m not going to talk about it at all... except to say that Liam is one of the nicest gentlemen I’ve ever worked with. And he’s a friend.’

Is she just like Cathy in Mum, who insists on seeing the best in people? ‘Oh, I don’t compare to Cathy. I’m kind, but I’m a bit more judgmental than she is. I’m from this chippy world of acting, where people are beautifully acerbic, funny, and sarcastic and cutting. I enjoy all of that. It’s banter.’

Still, she is firmly supportive of Neeson then quickly moves on. ‘Then I got a film I haven’t shot yet, called Dali Land, about Salvador and Gala Dali. I’m going to play Gala. Last week I was filming the new series of Harlots [in which she plays the madam of a high-class 18th-century brothel], then preparing for the film Let Him Go with Kevin Costner and Diane Lane.’

Does Manville thrive on all this new attention? ‘My sister can’t believe I’m not exhausted. It is overwhelming at times, but I do sort of feel I’ve earned it. I’ve put in decades of doing what I feel were the right jobs. I’ve never sold out. I’ve never sought fame. So I’m genuinely loving it and I’m hoping it will last, but it will only last if I keep turning out the work.’

Does she wish this had all happened before? ‘No. I’ve had an amazing, steady career. And I’m grateful for that. A lot of young people who get success very quickly come under huge pressure to maintain it and that is very hard. Especially if they’re good-looking, because if you’ve built a career based on your good looks when you’re young, it’s very difficult to carry on in a real and proper vein.’ Has she come under any of Hollywood’s infamous pressure to go under the knife?

‘No. I went to a lot of meetings while we were there, and the reaction I got is: ‘Oh, you’ve done nothing to your face, isn’t that great!’ If I suddenly started doing all that, it would make nonsense of this career I’ve had for 40-plus years. I’m setting myself up as somebody who likes to play characters. This Bible-bashing mad woman with a gun that I’m playing in Let Him Go isn’t going to have gone under the knife in 1963. Just leave it alone.’

Manville grew up in Brighton, where her father was a taxi driver, and at the age of 15 she started commuting to the Italia Conti stage school in London. She declined the chance to join the steamy TV dance troupe Hot Gossip. ‘I thought, I can’t wear stockings and a suspender belt on telly with my dad watching! He wasn’t a prude – it was more that I was a bit of a prude. I was a good girl. I never broke the rules.’

Just like Cathy in Mum, then? ‘I am a good girl at heart, so there is a bit of Cathy there, but the other side of me is very driven and single-minded.’

Her father couldn’t believe it when she gave up a perfectly good, lucrative part on the soap Emmerdale Farm to concentrate on theatre. ‘My dad was like, “What are you doing? Why would you want to do plays?”’ But Manville went on to have a truly illustrious and highly acclaimed career on stage, from her early days at the Royal Court through numerous leading roles at the National Theatre, The Old Vic and with the Royal Shakespeare Company to her performance in Ibsen’s Ghosts, for which she won the Olivier in 2014. This was the pinnacle of her career at the time, and she said: ‘Ghosts is my Olympic moment.’

There was no way of knowing that the Hollywood legend Paul Thomas Anderson, director of There Will Be Blood and Magnolia, would call her out of the blue, having seen her in the Mike Leigh films he loved.

But before that happened and she got really famous, the director Richard Laxton approached Manville in 2016 about making Mum, and had some persuading to do.

‘My only experience of comedy was 25 years ago, a series called Ain’t Misbehavin’ with Peter Davison,’ says Manville. ‘It was well written, but you had to be funny. I didn’t enjoy it. I wasn’t very good.’

Laxton sent a script and a box set of Him And Her, a series also written by Mum creator Stefan Golaszewski and shot in a very similar, low-key way. The actors play the drama and not for laughs, although they certainly come. In Mum, we see the craziness of the family from Cathy’s point of view as she tries to keep going, do her best and be kind.

‘Just the slightest twinkle from Cathy, and the audience knows what it’s going to mean,’ says Manville.

Series one began just after Cathy had lost her husband Dave. Series two saw her become increasingly – but very slowly – close to old family friend Michael, before she finally declared her love. Now, at the start of the final series, they are together, but haven’t broken it to her son or anyone else yet. ‘I love the way the writer does that,’ she says. ‘We last saw them tentatively holding hands. At the start of this series she just gives him a very casual kiss on the lips, when she’s showing him the bedroom she is staying in.’

The inference is that they have made love. ‘You don’t see them having sex. You don’t see them having passionate kisses.’ Is that a relief? ‘Yes. You wouldn’t want to go there really, but I knew they were going to get together.’ The pair have such joy on their faces, as if they can’t believe their luck.

‘I think younger people – 20- and 30-year-olds – don’t think of anybody aged 60 falling in love. They don’t really imagine that all those feelings an 18-year-old in love has – all those butterflies, uncertainties and insecurities, all that joy – is the same for everyone, whatever your age. That’s an emotion and a set of feelings that we never lose. Thank God! I love Mum for showing that.’

The characters are also very understated. ‘I love the fact that Cathy and Michael are not glamorous, they’re not thinking about how they look. They’re good, kind, thoughtful people. They’re intelligent. They’re very in touch with their own feelings and emotions and reality. They have a very acute understanding of the people around them.’ The cast and crew all stayed in the same hotel and found a local pub to eat and drink. ‘Lots of times, someone would spot one of us up at the bar – say Lisa [McGrillis, who plays Kelly] – and they’d go: “That’s her from Mum!” Then they’d turn around to see where she was taking the drinks and we would all be sitting there!’

How are people with her? ‘Mum is the thing I get stopped in the street most about. They say very kind things. They love the series. When I say it’s back in May but this is the last series, they can’t bear it.’

So why is Mum finishing? ‘Stefan wants to move on to other things. But it’s got a nice finite ending and why would you do any more? Either they get together or they don’t. Either way, that’s it.’ We don’t see so-called late love like this on the television much, do we?

‘No, but I think that’s shifting very slowly. Women and men of my age want to see themselves represented. And there are those actresses who are just carrying on – not just Judi Dench and Maggie Smith, but Helen Mirren, Meryl Streep, Annette Bening.... We are fronting films. And all those female-led films like Mamma Mia!, Quartet and The Best Marigold Hotel that have been huge box- office successes have made studios think: ‘We can have a film about a 50-year-old that people want to see!’

She says ‘we’, but those women are older than her. Thanks to her sudden Indian summer, Manville is now poised to lead a new generation of female actors taking on those kinds of roles. ‘Those actors have opened up the way for us, absolutely. I’ve always felt my life was a slow burn. I’m pleased with the way it has all turned out. Delighted, really. I can’t wait to see what happens next!’

The final series 3 of ‘Mum’ begins on BBC 2 next month. Series 1 and 2 are available on iPlayer.

#Lesley Manville #Event Magazine #Mum #Mum bbc #BBC2 #aaaaahhh #new photos!#bbc mum #series 3

48 notes · View notes

calzonekestis · 5 years

Text

My Endgame thoughts in 3,160 words and 17,025 characters. Under a cut. Spoilers, obviously.

Really. Truly. The whole thing.

Well. I texted a friend as soon as I got out, and I told him “that was a very good movie peppered with lots of shit that I didn’t care for at all.”

I don’t know what I think about it. If it was good or bad. If I like it or not.

If you read spoilers but didn’t see it, and we’re mad, I get that. I was mad too. I wrote most of this last night, and I’ve had to go back and amend it.

Also, please check your Tony vs Steve bs at the door. I like them both to varying degrees. That said I take issue with Steve’s choices and characterization at the end. We’ll get to that.

The Tony fans at least can say their boy saved the universe. They’re going to be mad still, but at least he went out in the best way possible if he had to die. Which he didn’t, but... we’ll get to that too.

The people who will be mad the most? Cap fans. Sharon Carter fans. Black Widow fans. Thor fans. Iron Man fans, probably, won’t be mad so much as sad. Actually, no, mad, because they probably wanted a happy ending for him.

So yeah. Is it “bad” if it makes so many people mad? Or are they just choices they didn’t like? For me, there was a lot of that. There was also a bit of characterization I didn’t like.

I’ll say this though, because the Steve thing that has everyone mad? I’m mad too, but per their time travel rules?

Steve didn’t erase Peggy’s family. They still exist in our timeline. Steve created a new timeline for himself to go live in. We don’t know if he stopped HYDRA and saved Bucky in that one, but I mean, we can assume.

So everyone complaining that he let all that shit happen? No he didn’t. This is an alternate reality he’s living in now.

If we go by what they established about changing the past not affecting the present.

But then we have Joe Biden Steve at the end, so... unless that’s a Joe Biden Steve who went from his timeline back to ours once he grew old. Not a Steve that existed and lived in the past of our current timeline. Then it actually works without contradicting their own time travel rules.

IMO... they ignored/ruined his character arc... but due to their aforementioned time travel rules, Steve going to the past wouldn’t affect that the present that he’s leaving.

So he COULD stop HYDRA, find Bucky, prevent Howard’s death, warn Hank and Janet about the missile.

That would all be an alternate timeline though, and our Bucky would still be the Winter Soldier.

So yeah, they contradict themselves... and completely fuck over Sharon Carter in the process. You know Steve didn’t tell Sam who his wife was, because he didn’t want him to tell Sharon that after kissing her he went back to marry her Aunt thus creating an alternate timeline to live in.

That’s the present being affected by him going back in time. Your time travel rules suck, Marvel.

So the children and family Peggy had? They still exist in our timeline, but not the timeline Steve created. The reality Steve created.

Okay so they don’t explain it, so this is just me trying to make sense of it myself. They say changing the past doesn’t change the present you left from, so unless Bruce was wrong and they’re contradicting their own rules Old Steve can’t have been actually out there all this time.

So I guess even though he didn’t show up in the gear and with the time machine when we see him, he did earlier, and just went to wait by the lake with the shield to be all dramatic? He probably waited to return until his Peggy died, and then he returned at some random point maybe like a day before they planned to send him back. He knew they would be there, so he just waited in his old man clothes.

That’s all I can think of.

So retroactively?

They had Steve kiss his wife’s alternate reality niece. I like Sharon Carter in the comics, I like what little they did with her on film.

They did her so dirty in the MCU, in the comics Peggy is almost a footnote and just part of his backstory. Sharon is Steve’s true love. Whether you ship them or not, they made Peggy out to be a bigger deal than she is in the source material.

I’m not here for pitting women against each other, but... God, the only woman the MCU has done dirtier is Betty Ross. Who should have been there with her dad at the funeral. Acknowledge her existence, Marvel. Yes they’re estranged, but maybe say having her die made Ross stop being such a dickhead and realize what really mattered.

Calling Peggy the love of his life is bullshit. Yeah, he had a date. Had. He never made it, due to being frozen. I don’t agree that they loved each other, tbh. I saw someone say they each had an idealistic, at times unhealthy attachment... but not love. Frankly? That’s not wrong. They liked each other. It never developed into love. Not in the timeline/reality we followed for the past ten years.

If this was their plan all along, then why did they introduce Sharon as a potential love interest?

Peggy is his past, Sharon is his future. The Lana Lang and the Lois Lane, respectively.

They didn’t plan this. It’s clear by how sloppy it is. It’s just so haphazard and insulting to all the characters involved, and yet Evans seems to be on board with it which disappoints but doesn’t surprise me.

Sharon didn’t have much screentime in the MCU, but every moment she had was important to the plot. She was one of the only agents that questioned Pierce’s orders. She held Rumlow at gunpoint even though the odds were against her. She let Steve know where Bucky was. She gave he and Sam back their gear. A lot of her scenes in Civil War got cut, and she got screwed by making it an Avengers movie instead of a proper Cap film.

She also got screwed by fandom. People acted like known like fucking toddlers, all because she was getting in the way of popular ships. Emily Van Camp was terribly harassed online, people calling her Steve’s beard or that it was icky and gross. Evans even said it was icky, which wasn’t that supportive of him... and then...

I liked Peggy in The First Avenger, but Hayley Atwell’s lowkey/high key narcissism is known within fandom circles, how she turned on Emily Van Camp and Sharon as a whole and threw shade at cons and on twitter and such. That left a bad taste in my mouth where I no longer care for the character at this point.

And they complete ignore/regress Cap’s arc of moving on. The fact he’s not the same man who went into the ice which is something even Whedon realized and addressed when he had him snap himself out of his Scarlet Witch!Vision.

The line from TWS they sampled for the trailer about the world changing and none of them can go back?

That was a lie. What’s ridiculous is that is the same exact directors, same exact screenwriters?

“Some people move on, but not us?” Well in that regard he had, so fuck that.

Speaking of regression, Thor’s?

I’m of two minds. He had depression and PTSD, but in my opinion, that’s end result wasn’t what Thor’s end result would be. He probably felt like he failed his people, but Jesus Christ, turning him into the Big Lebowski... fat jokes...

He becomes king, half his people are slaughtered and then and then he just... abandons the rest? To drink and watch his friends play video games? That’s sad. I think Thor would have felt like he failed and be hurting, but still try to do his best for the people who were left and still needed him? Instead of letting Valkyrie do it and the at the end to officially giving her the burden of ruling and fucking off into space?

And then at the end, he *officially* throws the burden of ruling in Valkyrie’s hands. Not that she isn’t capable, but it isn’t and shouldn’t be her responsibility.

“He’s being who he is, not who he’s supposed to be.”

That would be nice if it didn’t invalidate his arc. He didn’t want to be king at the end of Thor: The Dark World either, but at the end of Ragnarok he accepted it and was at peace with it.

Also, he didn’t need the hammer. Ragnarok made that clear. I’m glad Steve took it back with the stones, and I know it was more Thor needing to know if he was still worthy after becoming Big Lebowski... but it wasn’t needed. They just wanted Cap to wield it, and for them to have something else blunt to hit Thanos with.

This is the easiest money Natalie Portman made in her life. I feel bad for my friend who is a big Jane fan, as it’s literally maybe 15 seconds.

Nice to see Pierce, Sitwell, and Rumlow/Crossbones back, even if it’s only for a flashback and they’re all still dead in our reality. Or it would be, if it didn’t make the latter two out to be dumb. I mean, Rumlow isn’t a genius but he’s not just a dumb meathead. He wouldn’t just hand over the tesseract, he’d bring Cap to his superiors to ask “yeah hey what the fuck?”

Also, having Cap say Hail HYDRA is just... gross.

...Alternate timeline/reality Loki has the tesseract. I guess he’s the one the Disney+ series is going to follow. He’s wiped of all his development, though.

Vision is still dead. I guess maybe Shuri will rebuild him? Or it will take place between Civil War and Infinity War

So Guardians 3 is going to be about finding the alternate timeline Gamora who is now stuck in this one, huh? And I guess Thor is now a Guardian, or he’ll leave them between movies?

The alternate Nebula, I’m torn on. I think they could have gotten through to her, and she would be willing to team up with him. and would be willing to team up with them to kill Thanos. She never told him where the Soul Stone was. I mean, that’s why she aligned herself with Ronan. To kill Thanos. She hates Thanos.

Her wanting to make him proud and earn his favor despite what he did to her is heartbreaking on one hand, but the loyalty, when it’s been shown she’ll be disloyal and desert him if someone promises to kill him... idk. Btw.

Nebula should have gotten to kill Thanos. I don’t care that Iron Man started and is their poster boy. I’m sorry Tony fans. She deserved it more than he did.

Something else I’m curious about... was Peter Parker’s entire class killed? Not just Ned, the whole class. MJ, Flash, etc.? Because his entire supporting cast doesn’t seem to have aged at all in the Far From Home previews.

Also you’re telling me that in those five years, May never confronted Tony? Or if she did, we never saw it? Boo.

Oh, another dumb thing. Banner. Hulk. Professor Hulk. We don’t see how Banner made peace with the Hulk and became Professor Hulk, that all happens offscreen which is so cheap. He’s also just annoying throughout the whole film, and treated as comic relief? Also, the uncanny valley was deep this time around.

I’d honestly rather Cap had died as well, rather than the ending he got. Rather, if old man Steve didn’t show up, and there was just a cliffhanger of him being lost in time? Which has precedent in the comics? That would have been great. Instead of the bad characterization.

I’m indifferent to Tony’s death, honestly. He could have retired and raised his daughter. He could have died. I guess it’s cheaper to just kill him off and not worry about paying Downey for cameos they wouldn’t be able to resist.

Okay, the other death. Nat’s. I don’t care for it, but it worked. When I say it worked, I mean her motivations and the fact she at least had some autonomy. It was still fridging. It’s gross. It sucks.. but at least it wasn’t exactly like Gamora’s where she was a victim. I mean, she is a victim. A victim of gross writing, but... I like the character, you’re killing the only female OG Avenger for angst and drama... I would have preferred it was Renner, but her reasons worked even if I didn’t like it. I do think it would have been even just as heartbreaking/tragic though, it Clint had to give up his life for the hope of getting his family back. A devil’s bargain, they’ll be alive, but you won’t be and won’t see them again.

I question the hell is the point of a Black Widow movie now. Why should we care? Don’t get me wrong I like Nat. I have nothing against self contained, one-off adventures... but... it will be a prequel that doesn’t develop the character at all or see her grow and it’ll be inconsequential in the grand scheme of things. It may be enjoyable, but do we need to see it? It’s the Solo situation.

Do we need to see how the character became the character? What purpose does telling her backstory now serve, aside from just making people sad? Do we see how she started so we can appreciate how far she came, though? I can already appreciate that. You don’t need to twist the knife by making her origin her swan song. They can’t bring back our Nat, but who knows. Maybe the next villain will be Kang, and we aren’t done with time travel. Maybe we can have an alternate timeline Nat come into our universe like we did with Gamora.

A timeline where Clint was the one to die. I can deal with that, if they give ScarJo the money. I guess.

SCOTT LANG SAVED THE UNIVERSE. Well, actually. Also, a rat. A rat is responsible for saving the universe. I mean I laughed, but we couldn’t see Scott get himself out? He’s still my boy.

He’s probably my favorite character in the film. Seeing him and Hope reunite in the end battle was nice and made me happy, the way they didn’t miss a beat and got to working together. Him trying to keep it together when he talked about losing her. The end scene with them and Cassie. The fact she called Cap “Cap” and they shared a glance. Sucks for Scott to have missed five years of his daughter’s life, through.

Also, it kinda sucks that along with the people brought back, they couldn’t bring them the likes of Frigga and Quicksilver. Yes, they died, but you can still revive them in the present. You don’t have to make it so they never died. Maybe Quicksilver will Maybe in the WandaVision show, especially now that they won’t have to worry about a competing Fox version. Introduce her ability to warp reality. He was rumored to have been on set, and so I was expecting to see him in a flashback at least. Alas.

SPEAKING OF REVIVING DEAD CHARACTERS THOUGH. Why couldn’t like, Carol, use the gauntlet to revive Tony before they sent the stones back? She could take it. He didn’t need to stay dead, except for the fact... you know... Downey is expensive.

Something I find hilarious?

The kid from Iron Man 3 is at the funeral.

That kid knew nothing about the film whatsoever, except for the biggest spoiler? Cause if they invite HIM back to be at a funeral scene... whose funeral would it be, that he would attend, aside from Tony’s?

Oh, and SamCap. People, calm down.

I like Sam, Sam is worthy of the shield, Bucky’s not quite in a place where he’s ready for it anyway. In the comics Bucky becomes Cap, and then Sam becomes Cap after him. They can reverse the order. Bucky can still become Cap after him. Sebastian still has four movies left in his nine movie deal.

I’m curious about the Disney+ show now though. If it will be retitled, if they announced a fake title ala Serpent Society for Civil War. Although. I have a fear.

I don’t trust Marvel and I can see them killing Sam by the end of the Falcon & Winter Soldier series.

And then Bucky will take up the shield. Mackie’s 40. Idk how much longer he’ll want to be doing this, and he’s said in interviews he had no interest in bringing Cap and would like to see Sebastian take a crack at it, that he likes Falcon being Falcon.

Maybe age isn’t a factor. Bettany’s in his 40’s. Cheadle’s in his fifties. Paul Rudd is an ageless immortal who claims to be fifty. None of those are physically demanding roles though, not to the scale of Cap. The closest would be Chadwick Boseman, who is a year older at 41.

Age aside, I can see them doing it. That’s kinda the shit Marvel would do.

“Yay! We’re so progressive! We’re making Sam Captain America to placate his fans before we kill him! We won’t do that *just* yet in Endgame, we’ll wait to kill the black guy until he’s done helping out this other white guy figure out his place in the world!”

Now I’m gonna be anxious about that for the next year or two.

But so I think the shows are for characters on the shelf movie wise. Idk if when the show is over, we’ll see Mackie as Captain America in Avengers 5. It would be cool, but idk.

I don’t know if they’re even thinking of Avengers 5 at this point, or plotting out things like Guardians and Black Panther and Captain Marvel. And Eternals. And all their new Fox characters.

I guess the new Avengers line up will be Captain Marvel, Black Panther, Ant-Man, Wasp, SamCap, and Spider-Man? Maybe Doctor Strange?

Wanda retires to TV. As does Clint maybe, to train Kate Bishop and/or his daughter. Rhodey and Banner are just around.

Also. Banner and Thunderbolt Ross, at the end. Ross and the Hulk. Both in the same scene. Neither acknowledging each other or having any interaction whatsoever. Odd.

I keep hearing rumors about a Thunderbolts movie tho, from someone who was accurate with all of their Endgame leaks. I wonder if they want Ross to be the Fury of that which is why they’ve kept him around.

Bucky recently led the Thunderbolts but also Zemo is so ingrained in their history and I don’t see them working together at all.

I guess you could bring in Bernthal’s Punisher by that point if you want. Elektra. They won’t do it but they could.

Ghost would be a good fit, tho I don’t wanna see her be forced to kill people again. I can see them forcing her to work of a sentence. If she’s still alive, cause God if she was snapped and went 5 years without the Quantum energy... but yeah.

Bring back The Leader as a villain finally. Crap, I’m plotting a fanfiction.

https://twitter.com/rogerwardell/status/1070465411387404289?s=21

Idk. I just. Am disappointed but not surprised tbh.

Everyone knows I don’t like MCU Clint, but the callback interaction between he and T’Challa with the latter remembering his name was nice I guess. The final battle as a whole was nice I guess.

OH. And the exchange between Dr. Strange and Wong about if he brought everyone, and if he anted more? Probably not the intent, but to me it just seemed like a big “shut up” to everyone wanting the Netflix and Agents of SHIELD characters to cross over.

Also, a final critique?

The whole fake scripts, not giving actors a script thing. I hate it. I know like Mark Ruffalo and Tom Holland are notorious for letting spoilers slip, but I legit believe that a reason why A LOT of the actors got fake scripts was not to prevent spoilers but to prevent any of them going full Ed Norton and throwing a fit about the quality of said script.

Not letting the actors know the context of the scene they are performing is not only disrespectful but it’s broken and what can you expect but performances where they’re legitimately incapable of giving it their all?

That’s all I got for now. I guess.

I know it’s a joke, “I loved everything except for the stuff I didn’t” but seriously? I enjoyed everything except for the stuff I hated. Does that stuff ruin the movie? Do I not like it because I’m petty, or because it’s bad? You can not like something, it doesn’t mean it’s bad... but I think certain choices... were bad. Were very bad.

Was it shit sandwiched with awesome, or awesome sandwiched with shit? Do they balance each other out? Your mileage may vary. I haven’t decided yet.

EDITED: I replied to this in another post, a point by @chujo-hime, but I’ll copy/paste it on here since more people are likely to see this than our conversation.

“There’s no point in doing BuckyCap now that they’ve fridged Natasha”

I can’t fault you for feeling that way, and I don’t entirely disagree. have a theory on how Natasha could return despite them saying it couldn’t be undone.

Do what they did with Gamora. Take a version from an alternate universe/timeline. Maybe one where everything is the same, except that Clint died instead of her.

Whether or not they do this? Doubtful. Unless with the money they’re saving by letting another actor go (ahem) they give it to ScarJo to lure her back.

I mean, they have Kang back now. Next to Ultron, he’s one of The Avengers’ biggest villains. He’s also a time traveler, so there are ways… idk.

I’ve still not fully processed it. Whether Marvel is smart enough or cares to take advantage of their out, they have it. If nothing else, fans can exploit it in Fix-It fics.

ANOTHER EDIT:

Oh, what was the point of Ronin? I don’t mean sad Clint, I mean Ronin, aside from selling more action figures? He wasn’t even Ronin, they made him into The Punisher Lite. Ronin wasn’t Ronin, but I mean Clint hasn’t been Clint imo so...

#endgame spoilers #avengers: endgame spoilers #spoilers #Avengers: Endgame

21 notes · View notes

amandajoyce118 · 5 years

Text

Avengers: Endgame Easter Eggs And References

Okay, Avengers: Endgame has been out for over a week now, so I’m actually getting my Easter eggs up on time this time around instead of waiting nearly a month. That being said, if you haven’t seen the movie, there are spoilers here. So. Many. Spoilers. Do not read this if you haven’t seen the movie.

Got it? Good.

I did not include general pop culture references or, “hey, we last saw this character in this movie,” moments. Easter eggs, comic book references, and things you might have missed are what you’ll find below.

Again, SPOILERS!

The Opening Credits

When MCU movies roll their opening Marvel logo, they’ve slowly been adding the characters they’ve added to the franchise. You see images of Black Panther, Doctor Strange, and Captain Marvel in the last few flips, for example. This one devotes most of the images to the core six of the Infinity Saga. Most of the images you see belong to Black Widow, Hawkeye, Hulk, Iron Man Captain America, and Thor.

Tony And Nebula

A lot of people like the opening dynamic between Tony and Nebula because it’s something different for us to watch, but there are a couple of callbacks there. While Nebula getting to win a game of “football” is cute, it’s also important because, growing up, Thanos always pit Nebula and Gamora against one another. He made them compete for everything, and despite all of her “enhancements,” Nebula always lost. In fact, those “enhancements” are a result of each time she lost at a competition, prompting Thanos to find a way to “improve” her. Also, the last of the food they have? Tony tries to share it with Nebula, but she lets him have it. Tony sharing his food is a THING in the MCU. In the first Avengers movie, Robert Downey Jr. would actually tuck bags of candy, chips, nuts, etc. into drawers on set so that he could eat between takes. Eventually, Tony just started eating snacks on camera as well. This scene is a callback to him offering food to Chris Evans on camera and it staying in the movie as Tony offering Steve a snack.

The Garden

The planet where Thanos decides to retire is called 0259-S, but Nebula calls it The Garden. That alpha numeric sequence doesn’t appear as a designation in the comics, but The Garden does exist. In the comics, a Celestial known only as The Gardener lives in the blue area of the moon where he literally tends The Garden. That’s what he’s chosen to do with his life. The power of the Time Gem is what keeps his garden thriving while he’s meant to care for it. Thanos, of course, is the one to take it from him in the Infinity Gauntlet storyline. The name for the movie is likely a nod to that aspect of the comic book story, while him “retiring” to a farm is also right out of the comics. So is the scarecrow made from his armor.

“I went for the head.”

Thor says this as a nod to Thanos telling him what he should have done when he didn’t defeat him in Infinity War. There’s also another callback to their fight later in the movie. During the huge battle sequence at the end of the movie, Thanos presses Stormbreaker into Thor’s chest just as Thor did to him in Infinity War.

Creator Cameos

During the sequence for Cap leading the support group (a nod to a piece of advice Falcon gave him in Captain America: The Winter Soldier), there are a couple of cameos. Joe Russo, one of the writers and directors, appears as the member of the group talking about his date. The man who asks him about it? That’s comic book heavyweight Jim Starlin. Starlin also gets a special thank you in the credits at the end of the film. He’s the man who created Thanos. (Sidenote: Joe Russo’s kids all have roles in the film as well. His daughter Ava even plays Hawkeye’s daughter Lila.)

5 Years Later

Not an Easter egg, but some timeline clarification here. With the five year time jump, the big confrontation takes place in 2023 as the start of the movie is very close to the events of Avengers: Infinity War, which started in 2018.

An Underwater Earthquake

When Natasha has her conference call with Rocket, Rhoadey, Carol, and Okoye, they briefly discuss an underwater earthquake near Wakanda. Okoye brushes it off, but there is an underwater nation that doesn’t particularly get along with Wakanda in the comics. Atlantis. Their leader, Namor, is not T’Challa’s biggest fan. I like to think this is a hint that he’s coming. (When Steve visits following this scene, you can also spot Natasha’s ballet slippers on a chair. Looks like she was feeling nostalgic in more ways than one.)

New Hair

Steve and Tony go back to their trimmed looks for this movie, but someone else gets a new haircut. After the five year time jump, Carol’s haircut is closer to her modern comic book look than what we’ve seen in the movies before.

616

The storage unit where all of Scott Lang’s belongings are, including the van and the rat that helps him escape the Quantum Realm, is marked as unit 616. That’s a nod to the 616 universe in the comics, the one that features the main continuity.

“...Only to make conversation.”

So, when Scott asks Steve and Natasha is they known anything about physics, Natasha gives this response, which on first blush, might sound like her being a smartass. It’s not. As a spy, she literally learned enough about subjects to sound like she understood them when meeting a target. The first target she took on in the comics? Iron Man, whom she needed a working knowledge of physics to banter with.

“...regular size man.”

Rhoadey calls Scott this as a reference to the last time they saw each other in Captain America: Civil War. Rhoadey was the one to proclaim, “tiny man is giant now.” It’s a nice call back

The Necklace

If you look closely at Natasha’s neck when they start recruiting Avengers for the time travel idea, you’ll notice she’s wearing a familiar necklace. It’s the same arrow she wore in Captain America: The Winter Soldier as a nod to Hawkeye.

Howard Stark

Tony gets to see his father in the flesh during the time travel segment of the movie, but we get a teaser for him earlier in the movie. When Tony picks up the photo of himself and Peter in his kitchen? There’s a photo of his father on the shelf as well. (Side note: when Tony asks how far along Howard’s wife is in the 70s? It’s because he’s born in May and they arrive in April.)

Morgan

Looks like Tony went ahead and named his kid Morgan just like the dream he had in Infinity War. Morgan was also Tony’s cousin in the comics. (Also, how great is Morgan playing with what becomes Pepper’s helmet? Pepper’s armor, though it isn’t named, is a recreation of her Rescue look from the comics.)

Ronin

Though the name isn’t used in the movies, the name Hawkeye goes by in the comics when he decides to start cutting down all the bad guys in his path, is Ronin. The name comes from the word to describe a samurai without a master. It literally means “wandering man,” and is portrayed in artwork by the bones of a warrior inside their samurai gear. That depiction is exactly what you’ll find in Hawkeye’s tattoo sleeve, and it’s why Black Widow finally tracks him down in Japan. It’s also fitting that his sword doesn’t look like a traditional samurai sword to me. It looks more like a bow fashioned into a sword.

Akihiko

The guy that Clint fights in Japan is based on a comic book character of the same name. In the comics, he worked for a SHIELD rival that was also a branch of the Yakuza.

Recruiting Thor

Thor only comes out once a month for supplies? Sounds like Aquaman only coming in on the King Tide to provide for the people, but I’m hoping that’s just a coincidence and not them poking fun at one of DC’s good on screen characters. The whole thing with Thor yelling at the mean kid Korg is gaming with though? Did that feel like them shouting at the guy’s living in their mom’s basement who claim to be comic book purists to anyone else? Just me?

Also, I appreciate that New Asgard is supposed to be in a Scandinavian country. I do. Tonsberg is supposedly where Odin led his people to war against the Frost Giants thousands of years ago. And it’s where the Red Skull found the Tesseract. However, this is clearly the part of the movie filmed in Scotland. Why? There’s a half empty bottle of Irn Bru (Scotland’s national soft drink, and my personal favorite) sitting on a table behind Thor through most of that sequence. I’m glad someone on set has good taste in soda.

New Asgard also existed in the comics, but as a merging of New York and Asgard when realities collided, and also as Asgard floating above Oklahoma when it fell from the sky.

Ben And Jerry’s

Does anyone remember Dr. Strange and Wong discussing the Avengers ice cream flavors in Infinity War? Looks like Bruce finally got to try some as he’s eating a Hulk-sized container of Ben and Jerry’s during the brainstorming sessions.

Budapest

Just what was the mission in Budapest? Will we ever know? It clearly made an impression on Natasha and Clint since it’s been referenced by them twice before. We also know Fury spent time there thanks to his listing of the B countries in Captain Marvel.

“That’s America’s ass.”

Someone on set knows the internet has an appreciation for Chris Evans’ ass. Who? Who knows? But someone has clearly seen the gif sets.

The Elevator

When we see Captain America, Iron Man, Hulk, and Ant-Man return to 2012, not only do we get to see another point of view for The Avengers, but we get some nice callbacks. Cap in the elevator with a bunch of menacing SHIELD agents (hey, Sitwell and Rumlow who are off to give the scepter to Liszt, the same guy that got Wanda her powers!) who are actually Hydra evoked that amazing fight scene in Captain America: Winter Soldier. This time, he doesn’t knock them all out though. Instead, he gives a “hail hydra” to avoid the fight. That in itself also evokes the recent comic book storyline that featured a rewritten reality where Captain America was hydra all along.

“Lunch, then Asgard.”

Back in 2012, Thor tells Secretary Pierce they’re going to lunch before he goes home.That lunch is the Avengers shawarma post credit scene.

“I can do this all day.”

As the most iconic Captain America line at this point, I don’t have to tell you how often he’s said it. I’m sure there’s a gif set on tumblr for it.

Stan Lee

Stan gets a posthumous cameo driving a muscle car with a license plate that includes the numbers 420 while he spouts on about making love, not war. He’s clearly a hippie, and it’s not a subtle cameo. You’d only miss it if you left the theater to run to the bathroom here. You might have missed his “Nuff said” bumper sticker, which was a phrase he often used in his responses to letters to the editor.

Community Cameos

The Russo brothers like to feature actors from their other projects. In the MCU, they’ve included at least one actor from Community in all of the movies they’ve been involved in. This time, there’s two. Ken Jeong plays a security guard at the storage facility while Yvette Nicole Brown plays a SHIELD agent in the 70s.

The Terminal Beach

When Ken Jeong’s security guard pops up early in the movie, he’s reading a book instead of watching the cameras. The book he’s reading is The Terminal Beach. It’s a collection of short stories. One of those in the book had a familiar title. It’s called “End-Game.” It’s not about superheroes, but instead about a man waiting his execution.

The 70s Eggs

Speaking of the 70s, let’s get a few of the Easter eggs and references in this sequence out of the way. The military base is the same one where Steve initially trained and was chosen for the super soldier program. The name on Steve’s uniform? That’s Roscoe for Roscoe Simons, a man who took over for him in the comics, and then was promptly defeated by the Red Skull. When Steve calls Hank about a package? We see the original Ant-Man helmet on his table. It’s pretty impossible to miss. The photo of Steve on Peggy’s desk is one of the images used for the first Captain America movie, and I believe one from the file she had in Agent Carter, if I’m not mistaken. When Tony encounters his father, he’s looking for Arnim Zola, the man who programs his mind into the computers at that same military base and appears in Captain America: The Winter Soldier there. When Howard leaves, that’s James D’Arcy still playing Jarvis and acting as his driver. Jarvis appearing in the movie is the first time a character originated on an MCU TV show to cross over to the movies. It’s a small step, but one in the right direction that might mean characters from Agents of SHIELD, Runaways, or Cloak And Dagger could eventually do the same.

“Get the rabbit.”

The Asgardian guards share Thor’s belief that Rocket is a rabbit because they say this while following him when he gets the aether.

“Daughter of Ivan, son of Edith”

Edith was in fact Hawkeye’s mother in the comics. She died when he was young, leaving Clint and his brother as orphans. Ivan, on the other hand, was not exactly Natasha’s father in the comics. Instead, one story sees Ivan Petrovich as a benevolent stranger who raises Natasha as his own when a woman gives him baby Natalia Romanova from a burning building. Retconning sees that as a fabrication as Ivan was actually a soldier and agent of the Red Room who got Natasha into the program. Still another sees him as her “uncle Ivan” whom she cared for so much that she gave up her freedom, joined the Red Room, and got them both the super soldier serum to save his life. Just how that will play into the MCU remains to be seen in the upcoming Black Widow movie.

The Big Three

When Thanos lets his weapons loose on the Avengers compound, the three that go out to meet him while everyone else is scrambling are Iron Man, Captain America, and Thor. These are the three tentpole franchises of the MCU. While Hulk had a solo movie, it was distributed though Universal and starred another actor. It’s a nice full circle moment for the MCU.

Captain America Is Worthy

When it seems like Thor is headed for certain doom, his hammer finds a new target - and a new person to wield it. Cap is one of the many heroes who wielded it in the comics, but the moment he catches Mjolnir is a callback to Avengers: Age of Ultron. In the movie, the Avengers take turns trying to lift the hammer, but only Cap seems to shift it, though he’s still unable to pick it up. The implication, of course, is that by the time this movie rolled around, the things he’d been through made him worthy.

Also? That shot of him all alone, ready to take on everyone? That’s an homage to the Avengers taking on Thanos in the comics. At one point, everyone else was down and out, and Cap was the only one left standing.

Captain America’s Shield

As Thanos shatters Cap’s shield during the fight, it echoes Tony’s talk of his vision earlier in the movie. There’s talk about how Tony wanted to build a suit of armor around the world, and that wish was a result of the vision Scarlet Witch put in his head in Age of Ultron. That same vision showed Cap’s shield broken in the same way it ends up broken here.

“On your left.”

We all know that this is one of the first things Sam said to Steve in The Winter Soldier, right? It’s a cute callback.

“Is that everyone?” “You wanted more?”

Dr. Strange and Wong have this exchange as the wizards stop opening portals all over the battlefield. Not only is this a nod to the sheer number of characters in the battle sequence, but likely a nod to their being more heroes out there that aren’t in the scene. After all, none of the TV heroes are visibly present.

“Avengers, assemble!”

Is this the first time Steve actually gets to say this on the big screen? He’s been cut off while saying it in the past, so I think it is, even if he gets to say it all the time in comic books.

Pegasus

Where exactly did Valkyrie get her flying horse? We saw it in the story of her past in Thor: Ragnarok, but we’ve not seen one used in the MCU lately, so while it’s a nice callback to her past, it’s an odd one.

“We’re on it, Cap.”

Wasp gets this line when Steve needs a new quantum tunnel up and running. After, she and Ant-Man share a look because he once told her only Steve’s friends call him Cap.

Instant Kill Mode

When Peter learned his suit had this in Spider-Man: Homecoming, it freaked him out, but here? Not so much. He uses it when he gets desperate.

The Ladies Of Marvel

There is a moment during the fight with Thanos where all of the female heroes on the ground manage to congregate around Peter Parker and Captain Marvel. Their aim? Protect Carol from Thanos’ army. Some cynics have called it pandering, but it makes sense. The woman, half of whom have the power to fly, have been following the glove around the field, trying to keep it out of Thanos’ hands. While the guys are still fighting, they form a team. It looks an awful lot like an A-Force team up in the comics, but it also echoes a moment in Infinity War. When Wanda is told she’s going to die alone in battle, Natasha and Okoye step up to protect her, with Natasha saying, “but she’s not alone.” At this point in the movie, Natasha is gone, but Wanda is still following her lead, protecting the other women on their team.

“If I tell you what happens, it won’t happen.”

The first time I saw the movie, I saw this as the opposite of a self fulfilling prophecy. But seeing it again, I actually think Dr. Strange was unsure if Tony would do what needed to be done if he told him the truth about their one shot. He knew to end the Thanos problem, Tony would have to snap his fingers. It makes me think Dr. Strange underestimated Tony’s commitment to saving the planet.

“I am Iron Man.”

This is Tony’s big response to Thanos, but it’s also the most iconic movie from the first Iron Man film. Why? It wasn’t even scripted. The original script had Tony keeping his Iron Man identity under wraps. During filming, Robert Downey Jr. ad libbed the admission that he was Iron Man and it stayed, changing the route of the films.

Also, Tony wielding the gauntlet he made is a nice homage to the comics, where he was actually the first human to successfully create and use one.

Captain America’s Suits

So, we see Steve wear his first Avengers suit. But, at the beginning of the movie, he’s also wearing his Winter Soldier suit. Later, he gets a brand new suit, probably courtesy of Tony. That one combines the look of his Civil War and Winter Soldier suits. But, it also adds the chain mail look that’s prevalent in the comics. So, he gets the chance to be pretty much every version of Cap we’ve seen on screen in this movie.

Harley Keener

The Avengers, their family, and Tony’s family are all present at his memorial, but so is someone else who wasn’t in the movie. The tall teenager at the back? That’s Harley from Iron Man 3, and he’s still played by Ty Simpkins. The kid had a real growth spurt that fits the timeline.

Proof That Tony Stark Has A Heart

We all remember this was a gift set on display for the Iron Man movies, yes?

Morgan Wants A Cheeseburger

Like father, like daughter. When Tony got away from the Ten Rings, he had Happy stop at Burger King on the way to his press conference because he wanted “American cheeseburgers.”

Asgardians Of The Galaxy

I know this is just Thor being Thor, but… there is a comic book team called the Asgardians of the Galaxy. Like the guardians, they travel around in a spaceship and do good deeds, but they’re all from Asgard.

“You’re taking all the stupid with you.”

In the first Captain America movie, Bucky Barnes went to war without his best friend. He told Steve not to do anything stupid until he got back. The above line was Steve’s response. Their roles (and lines) are reversed when Steve travels through time to return some Infinity Stones and Mjolnir to their rightful points in history.

Captain Sam

When the elder Steve Rogers returns to his departure point in the timeline, he does it with a new shield, and passes it on to Sam Wilson. In the comics, an older Captain America who had the super soldier serum removed from his blood did the same thing. Sam even had his own Captain America comic series for a while. (Other heroes who have been Captain America in the comics include Bucky Barnes, Sharon Carter, and Peggy Carter, in case you’re wondering.)

“It’s been a long, long time.”

Could the song title be more fitting for Steve and Peggy? And yes, this is a branched timeline. And yes, the song has been used in the MCU before, in The Winter Soldier.

The Clang

Post credit scenes are an MCU tradition, but this movie doesn’t have one. Instead, it has a clang. That noise is the sound of hammer hitting metal. Specifically, the sound of Tony’s hammer hitting metal when he created his very first Iron Man suit in the 2008 film, signalling the end of an era here instead of the beginning of one.

That’s it. That’s all I’ve got! Tell me if I managed to miss anything.

#avengers endgame #endgame spoilers #endgame easter eggs #marvel easter eggs #mcu

17 notes · View notes