Men are always talking about what’s “natural” but in nature it’s always the males of the species that have to be pretty or work really hard to get the females.
I want to see more men dressing up and wearing makeup. Dance for me. Build me a fucking house. Impress me, you mediocre fucks.
idk why anyone would be interested in me romantically i literally watch netflix, complain, and wear the same four to five outfits with different mixes and matches all the time
let’s all stop for a minute and thank jk rowling for not making the golden trio a love triangle
You know it’s funny, because I read the HP series when I was…oooh, eight, I believe–blew through the first six books in four days (the seventh wasn’t out yet). And I read a LOT, now and then, every book I could/can get my hands on, so I was already WELL AWARE of the whole “three friends, BUT WAIT, one is a GIRL, and they do stuff get shit done whatever, BUT WAIT, both boys want to do the kiss and the sex and the date with her, BUT WAIT, she doesn’t know which one she wants to do the aforementioned activities with and so the friendship breaks down because the world is shitty and the boys can’t get past it.” And at the time I was like “what is this sort of sick feeling in my stomach” as I plowed through these FUCKING AMAZING books. And in retrospect I’m just like “that was you worrying a lot about a love triangle, honey.” And I’m still kind of bemused and delighted that my fears did not come to pass.
This has been the story of how Moran kind of fucking hates love triangles.
GUYS. I really want to say that I’m focusing on Steve’s face and the sadness, but instead I’m dying because OH MY GOD, THOR DOING THE WEIRD REVERSE DIRTY DANCING MOVE and Jane’s face like, jesus chrisssssssssssssssssssssssssssst fuck fuck fuck put me down. Also, Tony casually staring at himself in the mirror because WHO IS THAT HANDSOME DEVIL? OH YEAH, STARK, THAT’S YOU. And Pepper’s face like, UGH I BET YOU TONY’S CHECKING HIMSELF OUT IN THE MIRROR, I NEED TO UPDATE MY PROFILE ON PLENTY OF FISH.
(ALSO, It took me a moment to realize that it’s a MIRROR behind Steve. HOLY FUCK, this was well done.)
I don’t understand how a piece of art can both entirely depress me and yet make me howl with laughter.
NAT AND CLINT WATCHING FROM THE BALCONY THO
this perfectly encapsulates the balance between heartbreak and hilarity that all the best fandom pieces manage to walk
(is Bruce dancing with Betty in the background????)
I actually thought Tony was looking at Steve in concern but I was going to the reblog button the second I saw Bruce with Betty and the look on Jane’s face
I rewatched The Avengers today and I finally realized why Steve is such an ass. I can’t believe I never understood before.
Steve literally crashed a plane into a glacier over the Tesseract. He lost his best friend and the opportunity to be with the love of his life over the Tesseract. Of course he’s pissed off and unwilling to help when Fury comes to bother him about the fucking Tesseract.
This is the same fight he fought in during WWII. It’s the fight they told him he won when they defrosted him. Of course he’s mad. Probably betrayed and frustrated, too.
I was always disappointed in The Avengers for depicting Steve this way and now I’m embarrassed because I never understood the reasoning behind it. I’ve seen the light.
Not only that, but at the time of The Avengers, Steve has been out of the ice for two weeks. He lost his best friend, the love of his life, everyone and everything he’s ever known two weeks ago. He fought Red Skull and saw the Tesseract vaporise him into thin air two weeks ago.
And then Fury interrupts Steve’s PTSD flashback at the gym to tell him S.H.I.E.L.D. found the Tesseract and promptly lost it to yet another villain bent on world destruction, and Steve is all Jesus F. Christ, I JUST did this!
And then, as if that wasn’t bad enough, Steve discovers that S.H.I.E.L.D. was using the Tesseract to build HYDRA weapons of mass destruction (because S.H.I.E.L.D. is HYDRA, shhh!).
It hasn’t been two weeks since Steve saw whole army battalions vaporised and smashed a plane into the Arctic Ocean to prevent the exact same weapons of mass destruction from reaching New York! And here they are again! In New York, in the hands of his supposed “allies,” who lied to him about their purpose for wanting the Tesseract back!
Steve doesn’t like bullies, he doesn’t care where they’re from. In The Avengers, he realises he’s working for the new bullies and doesn’t have a choice if he wants to save humanity.
So yeah, Steve is pissed. He f–ing hates that f–ing Tesseract, and he’s 100000% done with it and with S.H.I.E.L.D. making all the same mistakes again.
I’ve written and reblogged a lot of stuff about Fury Road’s style of action, the way it lets its female characters be bloody, dirty and angry, and the way it takes violenceseriously.
This is obviously a stylistic choice, but it’s only possible because the movie is rated R (no children under 17 without an adult) in the American rating system.
The MPAA rating system is ludicrous and arbitrary in many ways; getting into all that is beyond the scope of this post. (For a good expose, check out the documentary This Film is Not Yet Rated.)
The vast majority of blockbuster action movies Hollywood releases today are rated PG-13. Getting into the history of why that’s the case is also beyond the scope of this post, because it has to do with the rise of the blockbuster model of cinema and how the film industry has changed over the past 30 years. (This article is a good primer, though.) The TL;DR is that studios want teenagers (implicitly, teenage boys) to be able to go see big-budget action movies with or without their parents, because $$$. So they must be rated PG-13.
This puts constraints on what you can show in terms of violence, but not necessarily the ones you might expect.
Return of the King, in which armies slaughter each other on the plains of Pelennor Fields by the thousands? PG-13.
Every movie in the Jurassic Park franchise, in which dinosaurs repeatedly eat people? PG-13.
The first cut of The Avengers was given an R rating–not for any of the scenes where midtown Manhattan gets smashed to rubble in a battle between superheroes and aliens, but for the scene where Loki stabs Coulson. (Seeing the blade come out of Coulson’s torso was apparently the dividing line between PG-13 and R, which seems pretty arbitrary since the PG-13 Lord of the Rings franchise has plenty of impalements. The scene was re-cut to get a PG-13 rating.)
While each of the examples above is slightly different in terms of what it does and doesn’t show in terms of violence, there’s a particular style of bloodless mass destruction that’s become a mainstay of a lot of PG-13 action, particularly many superhero movies. You can smash whole cities in battles in which thousands, or hundreds of thousands, of people die, but if you don’t show any blood or bodies? PG-13.
While Fury Road is actually quite restrained compared to how gory it could be, given everything that happens in the course of the movie, it has violence that mostly actually looks real. People bleed when they get hurt or killed; injuries that should be life-threatening actually are; and there are a few moments that are, I would say, appropriately gross. The movie sometimes bends the rules (Max really should have some blood on his forehead from the bolt he almost gets impaled with) but for the most part, the violence looks like it’s actually violent. It has consequences.
It’s a matter of personal taste, but I much prefer this kind of violence. But while there are R-rated action franchises (The Matrix) and R-rated recent installments of older franchises (Prometheus; the latest Die Hard), R-rated action movies–ie., action movies made explicitly for adults–are considered somewhat of a financial risk in Hollywood. Which is too bad, because Fury Road made me want more of them.
