firefighter down

anonymous asked:

Hey I'm the anon who asked about a story where skinny!steve gets pulled into a Cap movie and leads the Howlers, rescues Bucky, gets turned into Cap a different way. Thanks SO MUCH to the other Anon who figured out that it was TONIGHT I DREAM IN TECHNICOLOR--spot on, and it was everything I hoped it'd be. Can't find any mentions of it anywhere, including here, which is a shame, so here's my rec for it, it's a rollicking adventure and if you enjoy magical realism and skinny!steve, give it a go!

OK. LISTEN. I LOVE THIS FIC. Read it guys!

Tonight, I Dream in Technicolor by gwyneth rhys (gwyneth)

Steve had concocted numerous highly imaginative scenarios for how he would reunite with Bucky once he finally made it into the army. There was: Bucky’s in a firefight, pinned down by German artillery, when Steve’s unit swoops in to save them, and Steve drops down next to him in the foxhole to ask nonchalantly, “What have you gotten yourself into this time, Barnes?”


Steve slides in next to Bucky in the mess, where he’s regaling his buddies with stories over chow, and says, “Is this seat taken?”

It was never: Steve’s leading a ragtag squad of international war-hero rejects, wearing a dead man’s jacket and helmet, accompanied by a paunchy actor in a Captain America costume with droopy tights and a goofy mask, and together they’re rescuing Bucky from the stronghold of a comic-book villain come to life.


A New York firefighter’s house burned down days after he received a racist letter.

Kenneth Walker is a volunteer firefighter in North Tonawanda, New York. He and his family are homeless after a fire destroyed their apartment on Wednesday.

Two nights earlier, on Monday night, Walker reportedly received an anonymous letter that said “n****rs are not allowed to be firefighters,” adding that he had “until the end of the week to resign the position” or else he would regret it.

“We believe it was retaliation,” Amanda Walker, Kenneth’s wife, told The Buffalo News. “The letter said if he didn’t resign from the fire company, he’d regret it.”

No one was home at the time of the fire. Local police, as well as the FBI, are investigating the letter. Despite the loss of his home, Walker, 28, says he is not backing down.

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why feminism is called feminism not equalitism

it’s like with firefighters. they fight fires. they also save cats from trees. which is great. no one want cats to be stuck in trees. but their main priority is fighting fires. it’s the focus of their job, and to be honest, it’s more urgent and it happens much, much more. you don’t call firefighters cat savers, nor do you call them fire-fighting-cat-saving-people, because they first and foremost fight fires. this doesn’t mean firefighters hate cats, or that they never save cats. it just means that they fight fires.

The Rise of Fast TV

Is there such a thing as too much plot?  Watching S3 of OB has me leaning towards yes – especially when it seems to lose its significance / impact / meaning & comes at a cost of character.

I read this article and it reminded me of the contrast between OBS1 & OBS3.  Seitz talks about the rise of Fast TV, “which throws so much plot at viewers that the result sometimes recalls that old video game of the firefighter rushing up and down a sidewalk, catching falling babies in a basket.”

This is due in part to the ultra sophisticated TV audience:

A  reaction to increased viewer sophistication—and impatience. TV writers  live in constant low-level fear of being outguessed by fans, with reason. In the age of recaps and Facebook instant reactions and live-tweeting, everyone is a student of storytelling. They know the tropes and tricks because they’re a constant, often humorous topic of online chatter. We’ve been trained to know that when a character you haven’t seen in years gets mentioned in a “Previously on …” montage, they’ll show up in that episode with big news for one of the heroes, and that when a cranky or hissable character becomes halfway nice, he or she is probably due for a heart attack or cancer diagnosis or car wreck. Surprise and excitement therefore become products of timing. It’s no longer about what happens, or how, or why, but when. You predict what’s coming and at which moment, you discover whether you called it right or wrong, and you go online to crow or eat crow.

Seitz contrasts it with Slow TV (Mad Men - which I loved) where:

What matters on these series is what’s happening inside the characters, not so much what they’re doing or what’s being done to them. Lay their respective incidents out on a time line, and you realize that things are moving at a rate that is, by the medium’s new standards, fairly methodical. 

Seitz concludes by saying:

Plot always matters, and, in a way, you could say it always matters most, even in seeming absentia, because a TV show’s relationship to plot is what defines its personality. In that sense, plot is character.

For me, OBS1 was methodical and well-executed Slow TV. OBS3 appears to be Fast TV, which is so hard to do well and with meaning. 

Personally, character really matters to me (which is the main reason why I didn’t like the Cosima Sapphire plotline). Plot does too, but only if it is meaningful and organically grounded. I hope OB, in S4 & S5, returns to Slow TV approach and surprises us, not in the way of revealing a new and improved series of plot twists (bet you didn’t see aliens coming, did you?) but plot developments driven by character especially character growth.