Rise Up, Oh Heart, For There is Another Battle to Win

adhdalistair:

I love Rogue One’s ending because it means less than twelve hours before A New Hope began, Darth Vadar was inches away from boarding Tantive IV before it blasted away. Like, he watched it leave.

When Leia starts blasting off about being on a diplomatic mission, she’s not only lying out her ass, she’s really fucking lying out of her ass. She’s throwing spaghetti at the space police just to see if anything sticks.

(via skymurdock)

one of the lessons i learned from captain america:

adeterminedloser:

jumpingjacktrash:

sometimes you fight, not because you think you can win, but because you need to be able to look back later and say, “i fought.”

“In King Lear (III:vii) there is a man who is such a minor character that Shakespeare has not given him even a name: he is merely “First Servant.” All the characters around him – Regan, Cornwall, and Edmund – have fine long-term plans. They think they know how the story is going to end, and they are quite wrong. The servant has no such delusions. He has no notion of how the play is going to go. But he understands the present scene. He sees an abomination (the blinding of old Gloucester) taking place. He will not stand it.

His sword is out and pointed at his master’s breast in a moment: then Regan stabs him dead from behind. That is his whole part: eight lines all told. But if it were real life and not a play, that is the part it would be best to have acted.”

– C.S. Lewis, “The World’s Last Night”

(via wildehacked)

Anyway

kaylapocalypse:

The only good thing to emerge from this Hydra!Cap trash is the acknowledgement of american comic’s rich Jewish history.

Jewish people did to comics the same thing black people did to  American music.

They rolled up in here, looked around like  “is this the best y'all could do?” Then sat down with their pens like “Don’t worry, we got u fam” and *muffled rap music in the background* 

So yeah.

This is horrible, but you know what Jack Kirby WOULD be proud of?  Two generations after WWII, Millions of children  crying out at antisemitism, educating themselves about antisemitism  and not letting this go unchallenged even though we have so much less systemic power than the people creating the media that needs to be challenged.

 Because Kirby might be dead and Cap might be Hydra, but we don’t care, we’re still punching ol’ Hitler in the jaw. 

And we’re still following that kid from Brooklyn who just wouldn’t quit. 

(via cthulhu-with-a-fez)

Lets play Deadpool vs Tony Stark

suzukiblu:

tiredoffandombullshit:

Deadpool: brings a teenager with superpowers to help him in a fight

Tumblr: DEADPOOL!!. I love the interactions between negasonic teenage warhead and deadpool. Omg so cute. *billions of fanart*

Tony Stark: Literally does the same thing when his friends abandon him. Sends him home as soon as he sees a probability that he’d get hurt.

Tumblr: tony stark is a villian ™. I can’t believe he used peter as a child soldier :) :)

Look, okay, people giving Tony shit for recruiting Peter to be a “child soldier omg TRAUMA AND DANGER” is dumb, yeah–no one actually WANTED to hurt anyone else in that fight and on top of that the kid literally comes with his own personal panic button AND is strong enough to arm-wrestle the super-soldier with the METAL DEATH-ARM and win–but this is definitely an example of false equivalence, because COLOSSUS EXISTS. 

Colossus knows what Negasonic Teenage Warhead is doing. Colossus is doing this WITH Negasonic Teenage Warhead. He’s her trainer and her teacher and he brings her along–he could totally have made the call to leave her at home while he helped Deadpool himself and she would’ve STAYED home and listened to death metal and eaten all his favorite snacks, probably, but she also had zero compunctions about coming along and kicking ass in the name of “yeah this is kinda our bad on the dude getting away, huh”. 

May Parker, on the other hand, does not know where Peter is. Tony not only lied to her, he told PETER to lie to her. Like, yes, the peril is much lower in this situation than in Negasonic’s, but Tony still blackmailed and bribed a kid who’d already said “no” to rope him into fighting his fight–a kid whose personal philosophy of “with great power comes great NEED TO NOT JUST FUCKING SIT ON MY ASS AND LET GOOD PEOPLE GET FUCKING MURDERED” does not even SLIGHTLY jive with the Accords. Peter Parker would NEVER willingly sign that thing. Peter Parker knows DAMN WELL what happens when you ignore the problem and pretend it’s not your business. 

(Also, like, unless I’m forgetting a throwaway line somewhere, we don’t actually know how old Negasonic Teenage Warhead is–she could easily be eighteen or nineteen and still using that name–but we DEFINITELY know Peter Parker is still a minor and he seems to be intended to be around fifteen or sixteen. So he’s not only less trained, less experienced, and less powerful than her, he’s also less developed and less mature. Seriously, a four-year age difference is a LIFETIME at that age.) 

So, therefore, Negasonic Teenage Warhead’s long-term mentor who she has a stable working relationship with takes her along to clean up a mess they’re partially responsible for and help a dude with whom they had a pre-existing relationship save his innocent and uninvolved ex, a woman who has nothing to do with any of this at all and is gonna maybe die if they fuck this up. Meanwhile, Peter Parker’s random rich-and-powerful stranger lies to his aunt, blackmails him when he tries to say no, and then distracts him with shiny new toys to get him to clean up an in-house mess the AVENGERS are responsible for and help him arrest a guy who literally everyone in actual positions of legal authority in the movie straight-up laughs about the idea of giving a trial to–WHILE ALSO BRINGING ALONG BLACK PANTHER, who, I love you, T’Challa, but you are the only cat in this fight who is trying to actually MURDER someone, at this point in the movie you are still planning to kill a man in cold blood because you THINK he killed your dad. And, again: trial? What trial?? 

Like–tl;dr, but long story semi-short, Deadpool is trying to save an innocent person and kill literal superhuman SLAVERS with basically zero resources/backup and recruits two people with training and experience and an actual permission slip, and Tony has half the Avengers and all of Stark Enterprises and 117 governments on his side, but threatens a six-months-into-superpowers teenager into working for dudes who have already made it clear they would execute an untried man and want to arrest a bunch of people who have saved the world MULTIPLE times without even hearing them out on why they’re so vehemently against the Accords or even CONSULTING them when first DRAFTING the damn things. Like, that is the thing that is canonically happening here. That is the situation. 

Also, Tony Stark is actually styled as a hero who believes he’s doing this for the greater good and is working with legal approval, restraint, and oversight. Deadpool’s goals are all personal and/or selfish and he has already spent his entire R-rated movie murdering people with extreme prejudice and refusing to answer to anyone. They should REALLY be held to different standards there, morally and narratively speaking, and yet Deadpool’s story STILL treats the involved teenager with more respect and agency than Civil War’s does Peter, while also not pretending she is a fully mature adult prepared to take on other super-powered people with zero formal training and about as much prep time as it takes to fabricate a spider costume in a super-scientist’s lab. 

SO I CAN SEE WHY PEOPLE GET A LITTLE CHUFFED BY THIS STORY CHOICE, HONESTLY. 

fandomstuff3:

I still think Parker and Hardison is one of the cutest couples ever created on screen. In lots of tv shows and movies, there’s the cliche that everyone knows the characters love each other…except the characters themselves. It works pretty well, which is why it happens so often.

But what works better with Parker and Hardison is exactly what the show did. Everyone does know that they care dearly for one another and eventually love one other INCLUDING Parker and Hardison.

Parker just wasn’t ready to give that part of herself to him. She was still discovering herself and the new feelings she was feeling. The fact that Hardison knew exactly how she felt and waited for her without pushing her while still letting her know he was interested was honestly beautiful and very developed of them as characters.

(Source: wizardclarissa, via ailleee)

lierdumoa:

I made these points in a reblog, but I want to re-state them in their own post, so that it shows up in the main tag.

Mad Max: Fury Road is a story about sexists, told by non-sexists.

I know it’s a bit confusing, because we’re so used to seeing stories about sexists told by sexists. We’re so used to sexism being portrayed by sexist male filmmakers for the sake of a sexist male audience, that we’ve been fooled into thinking this is the only way sexism even can be portrayed.

eabevella’s review of MMFR pointed out that the villains never call women “bitches,” nor are they shown overtly leering at the women in the film, and took this as evidence that the villains in the movie are not sexist. That they objectify women, but only in the way that they objectify everything, and their objectification is in fact quite egaitarian.

While the assessment that the villains are not shown leering or spitting gendered slurs is correct, I’m going to go ahead and say that the conclusion eabevella drew from this is wrong, wrong, so very wrong.

See, there’s a great lie we’ve been told – that in order for an audience to understand that a character is sexist, women must be humiliated on camera.

The truth is this:

When a male character calls a female character a bitch in a movie, that is not the filmmaker’s way of showing the audience the character is sexist; that is the filmmaker’s way of showing the audience that the character’s sexist point of view is worth hearing.

Read that paragraph over and over until it sinks in.

Mad Max: Fury Road makes it absolutely clear that the villains are sexist, and it does so without ever once implying that their sexist point of view is worth hearing. Instead, we learn that they are sexist second-hand, through context and world-building.

We see that the wives have been dressed in ridiculous, impractical gauze bikinis. We see that the wives are not only young and healthy, but also model-pretty. Through these subtle details, the narrative makes it clear that Immorten Joe, the villain, chose these women not just as useful stock, but as sexual objects in which he took sexual pleasure.

In contrast, when the movie introduces the audience to the wives, the movie makes sure to portray them in as humanized, and non-sexualized a manner as possible. Even when they are literally bathing together, we don’t see any water running down chests while the models arch their backs and run their fingers through their hair and sigh pleasurably. Instead we see a bunch of women perfunctorily rinsing off legs and feet, looking exhausted. When they see Max for the first time, they take on fearful, closed off expressions, and project fearful, closed off body language.

Compare this to, for example, Theon Greyjoy’s castration in HBO’s Game of Thrones. We know he was castrated, even though no one ever says the word “castration” and the camera never shows a penis being lopped off. The filmmakers manage to convey that the mutilation has taken place, but respect the character enough not to make a lurid scene out of it (and yet proceed to make lurid scenes out of every possible denigration and mutilation of every possible female character they can cram into their commercial free timeslot).

.

As for Imperator Furiosa, it is hard for us, the audience, to not see Charlize Theron as a beautiful woman. But when we compare her appearance in the movie to that of the wives, it’s clear to see that Imperator Furiosa is, in fact, the opposite of what Immorten Joe and his war mongering culture view as desirable, beautiful, or womanly. They do not sexually objectify her because to them she is sexless.

If we ignore our own biased understanding of Furiosa – as a character that a beautiful actress is portraying – and instead immerse ourselves in the culture of the Miller’s world, it becomes obvious that Furiosa has taken great pains to make herself genderless under the villains’ gaze, and that her efforts have succeeded.

From Entertainment Weekly:

It was Theron herself who unlocked the image of the androgynous warrior—a woman who has escaped the fate of other women by erasing her gender.

“I just said, ‘I have to shave my head,’” Theron recalls. Furiosa is a war-rig operator living in a place where all other females have been enslaved as breeding and milking chattel. But Furiosa is barren and therefore of no value to the despot Immortan Joe and his soldiers. She is considered worthless. ”They almost forget she’s a woman, so there is no threat,” she says. “I understood a woman that’s been hiding in a world where she’s been discarded.” [x]

.

The villains in the movie are absolutely misogynist. They are absolutely sexist. They do absolutely view beautiful women as sexual objects that exist purely for the male gaze.

But the movie is not about them.

The movie, instead, portrays sexist men as obstacles for the heroes of the movie to overcome.

(via yea-lets-do-this-shit)