.jean parker

It’s kind of creepy that Spider-Man Homecoming managed to depict high school better than every film about the X-Men, even though the most important location in X-Men is a goddamn school.

Like, Spider-Man Homecoming had female students playing Fuck, Marry, Kill, itself an acknowledgment that teenage girls can be as chatty about sex as boys are. It had a bully who acted like a bully because of strongly implied economic privilege (he’s the only kid we see who drives a car, which BTW is not his, it’s his dads) which is much more interesting than the typical jock archetype we normally get. It had a love interest who wasn’t just a pretty girl or a smart girl. It was extremely diverse with men and women of color abound, both for extras and in the main cast. Peter’s best friend was Asian. His main rival was Indian. His love interest was black. And the other primary female character who will probably be his lover interest going forward, also black.

X-Men doesn’t have much of that going for it. The school is a backdrop most of the time. It’s treated the same way as the Hellicarrier, or the Avengers tower, or the Batcave. We don’t really get to know a lot of the students all that much.  There are two characters in this franchise (Rogue in the first trilogy and Jean Grey in Apocalypse) whose central arc revolves around them being considered weird and an outcast in a school filled with weirdos and outcasts. And for a franchise built around being a metaphor for the prejudice towards minorities, the kids in this school are like 95% white. Hell, the best movies in the franchise all have very little or nothing at all to do with the school.

Yeah, not much more to really say. That’s pretty strange. These are two franchise that became extremely popular because they connected strongly with teenagers. AKA. high schoolers. And while one of them has (finally) committed to depicting as believable and relatable a school as it can for as many teenagers as possible, the other just treats it like a backdrop for the ‘real’ story and action.

Avengers And X-men Reacting To Jump Scares.

Bruce Banner & Charles Xavier:

Originally posted by alyssa-d

Tony Stark, Darwin, & Hank McCoy:

Originally posted by gifsfortheusing

Clint Barton & Scott Summers:

Originally posted by the-vexed-vortex

Wanda Maximoff & Ororo Munroe:

Originally posted by ninjajinblog

Pietro maximoff, Sam Wilson & Peter Maximoff:

Originally posted by jake-sparrow

Scott Lang & Raven Darkholme:

Originally posted by his-arm-candy

Sean Cassidy & Jean Grey:

Originally posted by welcometoyouredoom

Peter Parker & Kurt Wagner:

Originally posted by petcornerblog

Erik Lehnsherr & Alex Summers:

Originally posted by demondetoxmanual

Natasha Romanoff, Vision, & T’Challa:

Originally posted by dancingwiththellamas

Rhodey & Bucky:

Originally posted by strawnarry-muke

Wade Wilson: 

Originally posted by klausunrippahi

Jean-Michel Basquiat - “Horn Players” (1983, acrílico y barra de óleo sobre lienzo, 243 x 190 cm, The Broad Art Foundation, Los Ángeles)

Para animar el fin de semana, un poco de jazz interpretado por Charlie Parker y Dizzie Gillespie, acompañados con mucho arte por Jean-Michel Basquiat, que los eleva al panteón de los dioses al retratarlos en este original tríptico de fondo negro. Basquiat fue el primero en llevar el arte callejero a las galerías de arte. Se hizo famoso de la noche a la mañana pero, incapaz de soportar la presión mediática, murió de sobredosis a los 27 años, como tantos otros genios. Las palabras y frases que llenan sus obras, que a veces tachaba para llamar la atención del espectador, son un remanente de su etapa como grafitero en las calles de Manhattan. Junto a su colega Al Díaz, llenaba las paredes de la ciudad con frases irónicas e ingeniosas que llamaron la atención de los críticos y que firmaban con el nombre de SAMO (acrónimo de Same Old Shit, la misma mierda de siempre).  No sabemos a quien corresponde la cabeza calavera que Basquiat ha pintado en el centro de la composición, uno de los motivos recurrentes de sus obras. El señor de la derecha es Dizzy Gillespie, con su trompeta, cantando una de esas palabrejas inventadas que utilizaba para sus improvisaciones: “Ooh shoo de obee”. A la izquierda está Charlie Parker tocando su saxo alto (podemos ver la música saliendo del instrumento). En ese mismo panel, aparecen los nombres de Chan, la esposa sin papeles de Parker, y de Pree, la hija de ambos. Y por todo el lienzo, repetido una y otra vez, el título del tema Ornithology de Charlie Parker, que hacía referencia a su apodo: Bird. Charlie Parker y Dizzy Gillespie improvisaban con sus instrumentos. Basquiat lo hacía con la pintura. Obras creadas sobre la marcha, sin un plan previo. Sabían dónde empezaban, pero nunca dónde acabarían. 

6

“Now, if you two don’t mind, I’m going to bed. Before either of you come up another clever idea to get us killed… or worse, expelled.”

“What are you hiding, Peter? You guys are losers.“

CALLING ALL MARVEL SMUT WRITERS

okay but imagine the reader having the power to intensely attract any person? Like basically they’re a walking love potion and no one can resist? Every time they have sex it’s better than any normal person sex because the readers powers add to it?! Like a super power where the sex is freaking epic?! I need this in my life?!!!

Originally posted by usagisoup

youtube

“Emily is my…. I adore her and always will.”

“Yeah, if I was on a desert island, that’d be wonderful. We’d have a whale of a time.”

He’s still so protective and in love with her.