let's talk about this scene ok

Thoughts on Beauty and the Beast

(Spoilers if you haven’t seen the original)

Ok so I could talk about LeFou, I could talk about the dress, but quite honestly, the reason I’m writing this right now is because while those things were there, and while some really good stuff was in this movie, there’s one thing that really stuck out to me: Emma Watson’s interaction with the CGI.

Like ok let’s forget that she was in Harry Potter since she was 12, there’s no excusing the awkwardness of that Be Our Guest scene. She literally sits there expressionless the whole time, barely interacting with the food or anything.

And when Beast gets shot? She literally stands still until he comes to a full stop. There’s more, trust me but those were glaringly​ obvious.

For a movie so highly acclaimed and for a movie in 2017? Extremely underwhelming. Coincidentally, I watched Who Framed Roger Rabbit within the same day…. I know that’s like peak but still… IT’S 2017. We should be PROGRESSING, not sliding back so so awfully especially on a movie that was supposed to be so good.

2

Aerial Ethereal Challenge: Day 1 » Favorite quotes or scenes

And then John says, “You are by far the most annoying human in this hallway.” Then he tilts Timo’s chin and kisses him.

9

Ok, let me explain why this scene is so e brilliant. Yeah, there’s the way we switch back and forth between the Gaang, and Jet getting brainwashed and it’s super creepy and well done.

But, I don’t want to talk about that.

What I actually want to talk about is Long Feng’s line:

In silencing talk of conflict Ba Sing Se remains a peaceful, orderly utopia. 

Yeah, there’s idea of utopia, and the lengths that Long Feng goes to to maintain this twisted idea of what a utopias is. But, here’s the thing: by definition, a utopia  cannot itself exist.

Utopia literally means “no place.” It is impossible. It is imaginary,. It is a figment of our imagination

And I really like those sorts of stories that ask “what mechanisms keep a utopia ‘utopia’?”

I guess it’s why I really like Section 31 in DS9, and the darker vision it had of that world. 

And I think the fact that the writing team decided to ask itself that very question, and to actually give it to us, was pretty cool. 

Let's talk about bughead antis

Ok so I didn’t initially want to get too deep into the hate surrounding bughead as a canon ship, but seeing the number of hate comments on the cast’s tweets (particularly Lili, since she’s the one who has tweeted about the deleted bughead scenes the most) has honestly made it hard to stay out of. I understand not backing a particular ship because you just don’t see the two people connecting, or because you ship one of them with a different person. That’s all fine and good. But to go after and verbally attack the writers and cast of the show because you don’t agree with how the story is being written is unacceptable.
I know a lot of people are mad because bughead as a ship doesn’t fit with the comics, which I can certainly see if you’re comparing the show to a few specific storylines in the comics, but it definitely doesn’t apply to all of them. The Archie comics have been around for a very long time, and in that time there have been a countless number of tellings of the lives of the characters. Granted, most (if not all) of these feature Jughead as either romantically/sexually uninterested in anybody, or as strictly asexual/aromantic, which makes the argument that he shouldn’t be in a relationship a little more valid. However, that’s not to say a more romantically interested Jughead character is completely off the table, as there are endless possibilities for the story of the Archie comics characters.
The idea of endless possibilities brings me to beronica. Obviously there were a huge amount of people who went crazy for the beronica kiss in the first episode. Who wouldn’t? The idea of two strong female characters being in a relationship is more than appealing, and I would honestly like to see their relationship develop more throughout the series (maybe not romantically, but I like the idea of them as a sort of power duo). With that kiss came a lot of expectations as to where their relationship would go, and thus bringing about beronica shippers. But, when bughead was made canon in episode 6, beronica shippers, for lack of a better term, went crazy.
This brings me to my main point. Now, like I said before, it’s perfectly fine to be dissatisfied with a couple in the show because it’s not allowing for your personal ship to happen. But, as I also mentioned, attacking the actors and writers of the show for making it impossible for your ship to exist at the moment is unacceptable. No amount of hate comments or protests is going to get the writers to change anything, so you might as well just let the show run its course, and if your ship ends up working out, that’s great! But don’t spend your time angrily tweeting at the cast and writers just because you’re unhappy with how they chose to write the show.
Lastly, and I’m surprised this isn’t more obvious, it’s a TV show. It is a fictional story comprised of made up characters and a screenwriter-developed plot. Of course it means a lot to all of us who watch it, but there comes a point where you need to separate reality from fiction. The actors on the show are real people. Lili, Cole, Camila, KJ, Madelaine, Casey, Roberto and all of the other wonderful people who make this show what it is are just that: people. So stop treating them like robots who will respond to your every demand, and stop saying so many hurtful things to them. Whether or not you think they do, they see the awful things you say to them on Twitter and everywhere else. And I bet you anything that those things hurt.

TL;DR: y'all gotta just suck it up, stop being assholes and let the show run its course

Ok. So, I’m going to just state a few things about the fandom that are bothering me:

First, we get season 2 pretty quickly considering that animation takes a while to make and every scene was absolutely beautiful to watch. But is anyone talking about that? No (If some people are, I haven’t seen them yet).

Secondly, ships are not what makes this show great. To be honest, I hope that no ship becomes canon. Not even straight ones. Personally, the lack of romance appeals to me more. It lets the writers create amazing story lines and character development. Everyone is entitled to their ships and desire for them to become canon but please don’t make it out that Season 2 was terrible just because your ship didn’t have much of anything in the show or make it appear that your ship is all that matters.

Thirdly, can we all just take a moment to just enjoy the show the way it was actually given to us instead of complaining about how you think it should have gone?! I have never enjoyed a show as much as I enjoy Voltron. I like every character in this show (I usually have a few in other shows I can’t stand but Voltron is different).

I avoided Tumblr until I watched all of season 2 so I could look at the tags but I’m so disappointed in the fandom’s reactions.

ok but can we talk a bit about this scene.

How Alec is just patiently waiting for Magnus to finish his workout. And probably is checking Magnus out the whole time.(who wouldn’t let’s be honest)

And there is no way Magnus doesn’t now Alec is behind him. So he’s definitely showing of. And then he’s finishing and thinking to himself let’s see how Alec will react when i trow my magic at him. And of course Alec is able to doge it perfectly (because he’s a Shadowhunter) and he doesn’t seem all that fazed by having magic thrown at him.

and see how the magic ball doesn’t even continue going straight after Alec moves out off the way. It does a little loop and hits the lamp to the right of Alec. That means Magnus never had the intention of hitting him in the first place.

OK LETS TALK ABOUT THIS SCENE

i’ve literally seen NO ONE TALK ABOUT THIS? And every time I watch it, I get really emotional. This scene is one of my FAVORITES. It’s SO WELL DONE.

First off: we’ve just come from an emotional scene with allura and coran, so the mood is already kind of somber and serious. The lighting is phenomenal. I love the mood, I love the poses, I love the subtle but impactful score music, I love how they’re standing in Voltron-order. (Shiro in the center, Keith and Lance on the right, Hunk and Pidge on the left, arms more forward than legs.) This scene really shows the bond between the paladins, and the difference between this show and the old one: this one is centralized around the paladins and their growth as characters. Not on Voltron.

And then we get into the character interaction oh my gosh

THIS SCENE HAS SOME OF THE PUREST INTERACTIONS. There’s a healthy balance of nostalgia, humor, seriousness. It’s the scene that makes you wanna cry rewatching it because you know what happens after. It calls back to season one, they have a laugh together, you know it’s the calm before all the shit hits the fan, and this scene is what makes it a little bit better. 

This is the scene where you realize, “oh my god, these guys have a connection that can’t be broken by anything”

And I love that so much

Ok, but let’s talk about Nagito’s OVA.

Nagito wants to be accepted. Now, this may seem obvious, looking at the nice atmosphere his dream world had, but it struck me in the scene where he starts rambling and cornering Fuyuhiko. Fuyuhiko is, rightfully, creeped out, but he still remains calm while telling Nagito to back off (he’d seen Peko behind the bushes, she would’ve thrown Nagito off him had he asked). He does comment on the weirdness when Nagito steps back, however he tells him “don’t worry, it’s who you are.”

“It’s who you are.”

I might not be using the correct words from the subtitles but that’s the idea. In other media his classmates shunned him out and were outright mean to him for his weird opinions and outbursts. Danganronpa: Zetsubou-hen showed us a group of students who weren’t excited for Nagito’s return. Here, in Nagito’s perfect world, his classmates remain his friends and continue to include him even when those outbursts manifest.

We can say, then, that Nagito was really hurt by their behavior. This means that he is also aware of what pushes them away, as his mind doesn’t correct the habits he has no control over (remember, Nagito’s luck allowed him to live despite his two terminal illnesses), instead giving his classmates alternate behaviors and reactions. Even if this realization is made subconsciously, Nagito’s desire to be accepted remains. However, he isn’t eliminating the part that defines his mental health and behavior, rather altered the behavior of his classmates and the treatment they gave him.

Nagito wants to be accepted, but not at the expense of who he is. He wants to be accepted flaws and all. He knows he isn’t perfect and he wishes his classmates could accept that. He believes that if they did, good friendships could be formed (and we saw glimpses of this friendships at the end of the OVA and in the Hope Arc). He thinks it is possible for him to achieve some happiness (remember his words to Souda about talentless people?) even if it wasn’t complete because his self loathing is still active.

10

to @eisschirmchen ♥♥♥

Alles gute zum geburtstag, Happy birthday, Feliz cumpleaños :3!!~

(sorry for late xD)

I was looking your waldgeist art when I found these adorable headcanons about your AU and when I read the last one I imagined a scene like this and I said “omg, this is too cute, I have to draw it”, just that day I found out that your birthday would be pretty soon so I said to myself “ok, let’s do it for Eis-senpai!!” (?)

(I don’t know if Maka can talk with butterflies, but the flowers were in trouble and they needed a messenger!!… and I laughed so much when I drew her ignoring Soul xD)

I hope you like it!! because I admire you so much and your drawings always make me smile. You’re a wonderful artist and an amazing person and you deserve all the good things of this world ♥ (and beyond~)

and now we know that the answer of all our questions is “because…something

xD

Have a nice day!!

ok but “It was pretty much the best underwater kiss of all time.” is such a good line??? honestly??? it leaves it open to the imagination in JUST the right way. IT KILLS ME. LIKE. My brain wants to know a little more about what “the best underwater kiss of all time” actually entails. There could be a whole other scene in itself. They could be down there WHO KNOWS HOW LONG kissing but also talking and joking about everyone else, telling the lake naiads to scram, etc. But the way it’s written lets you wonder. It’s just so good and pure and completely invites fan ficers to write extended scenes. If anyone wants to share extended scenes, give them to me!!!

Interviewer: “We always see with this character, there’s a little bit of this dark underbelly pulling him towards Hannibal and towards what Hannibal represents.”

Hugh: *places his hand on his belly where Will would have the scar Hannibal gave him*

Can we talk about the fact that Hugh did that? That he places his hand where Hannibal left a scar on Will and where Hannibal clung to Will’s shirt in the final scene of The Wrath of the Lamb? Like, Hugh hears ‘belly’ and ‘Hannibal’ and ‘pulling towards’ and he reacts with that gesture. Let’s talk about that gesture because look at the way he does it with that caress and how he makes a little grabbing motion and how he bounces his leg. 

Someone? Anyone? I just, I really, really need us to talk about this ok?? 

The Café Set Returneth

Well, that was quick.

Ok, so I already talked about the café parallels in 12.09 and 12.08 between Cas and Mary and how the colors in the room reflect the characters. (This post is pic heavy) Although at that time, I called the set a diner.

Now that we have further pics from 12.10, I’m beginning to sense a pattern and now I want to track this set and see if it’s anywhere else in the show or just in S12. The set seems to reflect the color motif of a central character in the scene.

@mittensmorgul @awed-frog @elizabethrobertajones This looks like something that might be up your alleys. You may be better at elaborating on it than I can.

I’m operating under the idea that all three of the café’s we’ve seen are the same set with different dressings. I’ve seen this kind of thing done before. I’ve even helped do it sort of. Blocking windows is annoying but it happens all the time. Here are the most recent pics of the café set. They even brought Mary’s tile back. She’s… sort of here. 

If anyone is wondering. The little sign there says: The Wrights Spot. There is actually a deco diner with that name in real life but I don’t know much about it outside of a quick Google search.

Note the number of windows up there. All the windows on the sides are no longer visible. The only windows are covered by pink curtains and the window on the door has blinds on it.

Below the cut are the photos of the set with Cas and Mary and some further thoughts.

Keep reading

Ok so let’s really talk about this scene in 12x07 Rock Never Dies. 

I think this scene is really important. I think the writers are actually trying to inspire feelings of empathy for Crowley to the main audience for once. That’s pretty groundbreaking. It’s not just what’s been happening in the past, where Crowley has had bad shit happen to him and the other characters pretty much laugh at him for it, but here Dean is actually showing concern. 

Dean enters the shot and says “How you feelin’?”
To which Castiel replies “Well I’m not dead.” I mean it’s interesting he says that. He got beaten on by Lucifer a little (in comparison, Crowley got thrown across the room and was beaten on with a fucking guitar. The sounds of the beat down and his grunts of pain were brief but were enough to make me tense up). But in this scene, Castiel’s face is fine. In this shot we see the extent of Castiel’s injuries- which is nothing. His face looks fine and unmarred. He’s not just “not dead”, he’s fine. 

Meanwhile we have Crowley in the same shot. He doesn’t speak and doesn’t reply to Dean’s question, which was aimed at both of them (it might as well have been but I’m not entirely sure). Instead, Crowley remains silent which is interesting. Crowley has been very vocal about being mistreated in any form in the past. Whether that’s physical torture, Lucifer humiliating him in hell, the Winchesters keeping him locked up in the bunker, the Winchesters getting him addicted to blood, his mother in general (I could go on but you get my point). Anytime he has brought it up or tried to vent about anything he gets mocked or shrugged off. I’ve never found it funny, but I can tell it’s been used to get a laugh out of the audience. But interestingly Crowley says nothing here. Instead his appearance speaks for him. True it’s Castiel that says “Well I’m not dead.” But combined with Crowley’s appearance, I think those words relate to him more. 

His injuries aren’t expanded on a lot, but only enough (I mean, we saw what happened to him. We witnessed it. That spoke loud and it didn’t need to be limited into dialogue which I thought was a smart move by the writers). They aren’t brushed over and we see Dean showing concern for Crowley.  

You said you were gonna draw Lucifer’s fire, you drew some serious fire.
All focus is on Crowley in this shot, with Dean regarding Crowley with a clearly worried expression. In a following shot Dean looks over Crowley twice, expression shifting from worry to a look that’s more angered, as if he’s actually pissed off by the damage done by Lucifer. It’s also worth note that in the first shot (I’ve cut the gif short so it works better), Dean casts a brief look to Castiel, but his eyes quickly return to Crowley. In my opinion that shows who the priority is to him.

Not to mention, the show gives us 3 separate shots of Crowley. First a more collective shot with Sam, Dean and Castiel (1st image). Then we get a closer one. 

and then one of just Crowley

The focus is primarily on Crowley in that last shot. We completely see the gruesome damage inflicted on him. It’s not a half arsed scratch and a bit of blood either. He’s got deep dark gashes on both sides of his face and I don’t even know what is happening with his eye. Cas has got a bit of blood on his coat sure, but nobody in this scene can compare with Crowley. 

Crowley’s injuries and Crowley in general becomes more… visible in this scene. It follows Dean from the left, panning and stopping at this. Crowley is the centre. You could say Sam is as well, but Sam is looking or at least is standing in Crowley’s direction, which I’d say places him in the centre (and this combined with Dean’s gaze).

As I said before, I think this scene (although short), is important. It’s a step forwards from villain and comic relief to a character that is actually being shown concern for. Throughout this entire episode Crowley is seen helping out, getting information and so forth. He serves as comic relief here and there, with Castiel whining about him to the Winchesters, as well as his general way through LA connections. But at the end of the episode, he helps fight Lucifer with Castiel so that he can cause a distraction. He knows he’s going to get the shit beaten out of him, and yet he does it. This scene shows us that he suffered the most for it. And I think that’s important.

  • Maggie: That's not what I...
  • Alex: I GET IT, OK? LET'S MOVE ON AND END THIS.
  • Maggie: But, Alex, what I mean is...
  • Alex: I understand that you don't like me. I'm over it, seriously. Let's talk about the crime scene, shall we?
  • The Fandom: ALEX LET HER FUCKING TALK !!!!!!!!!!!!!!!!
Kitty’s Storyline in Elementary as of S03E06 (tw: rape) (spoilers)

[image of a white woman, long brown hair, the character Kitty Winter from Elementary, leaning against a doorway with arms crossed. Dark gray unzipped hoodie, light gray shirt, black pants] 

Ok, I have to admit - as previously mentioned, when I first met Kitty, I was dreading this “girl-on-girl” jealous rivalry between her and Joan for Sherlock’s attention. I was like ugh really writers? ugh am I going to watch this? I’ll give it a few eps

And it was definitely worth those eps. Kitty has probably one of the best written storylines about rape I’ve seen or read in American media.

Let’s start. I’d like to talk about 3 scenes in particular.

First, the scene in which we learn about Kitty’s backstory.

Sherlock says, “Kitty was the victim of a horrific crime.”

He doesn’t say what happened to her. We aren’t presented with visuals. It’s not about voyeurism. It’s about Kitty.

And then Joan reads about Kitty’s rape in a file after having been invited by Kitty to do so 

I’ll repeat - Joan does not read Kitty’s file without Kitty’s consent 

(And - though Sherlock gives Joan the file without consent - he does not allow Kitty to remain ignorant about his actions - he informs her almost immediately that he has given her personal information to a third party and explains himself)

So this is an image of rape from the average Western tv show:

.

.

.

No, there is no image. I’ve included no image because we all know what it looks like, we see these images repeatedly.

Here’s an image of rape in Elementary:

[image of an Asian American woman, the character Joan Watson played by Lucy Liu, reading some papers with a glass of white wine in the foreground and bookshelves in the background]

We don’t see the contents of the file. Nor are the contents of the file are described to us. The image of violence is *not for us* - because it’s not about the violence - it’s about Kitty. The viewer is not invited to see Kitty’s personal nightmare - she has not given *us* her consent.

As soon as I saw this scene, I knew I was right to continue to watching this show. How rare is it to see a show/read a book about rape that doesn’t include the voyeurism of rape in it? Honestly, that’s one of the things that I most hated about The Girl With the Dragon Tattoo. I know it’s supposed to be anti-rape and all - but by my reading, it’s still a male fantasy version of anti-rape. I read the book years ago, and I still have the visual image of a man stuffing a live dove up a woman’s vagina. Why is that image necessary to the storyline?

It isn’t.

Here was what was necessary to the storyline:

The victims suffered a horrific crime.

That’s all we need. Use your imagination. On screen voyeurism not necessary.

So again, this scene alone has me admiring the brilliance of the writing and directing of Elementary.

Second.

The interaction with Captain Gregson and his daughter after he has punched his daughter’s partner (work partner and sex partner) for physically abusing his daughter. Again we don’t see the punch.

‘Punching a bad guy in the face’ is a (white cis) male power fantasy - using violence to act out the white knight protecting a damsel in distress - whether she wants him to or not

Instead, we are introduced to the matter with Gregson being castigated by a higher up.

And then the daughter remonstrates with him. The contents of that conversation are also astutely written and I might write another post about them.

But since this post is about Kitty - Kitty and Gregson’s conversation about whether or not he has the right to undermine his daughter’s decisions about her life for the purposes of male protection. Kitty tells him - no you don’t. Just flat out - no. Your daughter is an adult. You’re doing the right thing to abide by your adult daughter’s decisions about her own life. Gahhh! This show!!!

(note - any quotation without quotations marks is not a quotation - it is an interpreted paraphrase.)

And then Kitty protects the daughter by scaring away the partner from the precinct. At the time I watched, I was like - well, that’s a good solution, but a little too neat, a little too convenient - ok. It’s nice to see women who have suffered sexual violence protecting other women who have suffered violence from a romantic partner.

But **combined with the next episode** Kitty’s protection of the daughter is brilliant.

Which brings me to:

Third - the pair of scenes between Joan and Sherlock then Sherlock and Kitty.

Joan has noticed that Sherlock has been sneakily giving busywork to Kitty because he doesn’t want Kitty to date some dude she met in the coffee shop.

This is a problem for several reasons

  1. Sherlock doesn’t have the right to be jealous of Kitty’s time
  2. Sherlock doesn’t have the right to determine who is appropriate for Kitty or when it is appropriate for her to start dating
  3. Sherlock is lying about the reasons he’s giving Kitty busywork and thereby manipulating her (I forget if Joan actually states this third reason, but if not, I am)

And Sherlock confronts Joan - you aren’t Kitty! Who are you to know this girl’s life just because you read her file!

And Joan confronts Sherlock - you have no right to determine what is progress for her when she makes her own progress!

And the beauty of it is - they are both right. Joan, as a counselor, is tempted to counsel Kitty instead of just being a friend - and Kitty is aware of that, she goes to the survivor circle because Joan wants her to and because Joan was Sherlock’s partner first - there is a power dynamic there. Joan also bases a lot of her reaction to Kitty on her own experience with Sherlock - which comes from a very different place than Kitty’s relationship with Sherlock. Yet Sherlock **doesn’t** have the right to manipulate Kitty’s agency any more than Gregson has the right to undermine his daughter’s agency.

So in the next scene, Sherlock asks Kitty to have a conversation with him and states - I’ve been manipulating your time and impeding your progress when I don’t have a right to. That was a mistake. I should have trusted you, your self-knowledge and agency, to determine your own progress. (and i’m sorry, i know i’ve said it but man! the way this show writes characters who engage in introspective personal growth! can you imagine season 1 sherlock saying this? no way!)

And her response is - I know. I know what you’ve been doing and I’ve allowed you to, because your protection makes me feel cared for and loved.

[image of white woman with long brown hair, the character Kitty Winter, showing from the chest up, sitting on a red couch next to brown grocery bags. She is looking down and smiling a little. Wearing a black jacket with epaulette style buttons on the shoulder.]

!!!!!!!!!!!!

Like, pause. On American TV, we’ve definitely made the transition in writing to have former portrayals of the rape victim, damsel in distress, become the rape survivor - tough as nails. Has PTSD but is handling it. That’s it’s own trope. Tasha Yar on Star Trek is motivated by her past to become the tough as nails security officer, constantly escaping rape gangs. Even Jessica Jones (which is brilliant specifically in its portrayal of PTSD) doesn’t have people **care** for her. Girl with a Dragon Tattoo? She’s burning stuff down and blowing people up - which is great, nothing against that anger. But where is the care for her, the tenderness?

Here is a reminder to us then - yeah, I’m Kitty, I’m a detective, and I need love. I deserve love. I recognize this love and accept it for myself.

I just - this line just…is excellent. It’s not an either/or. Survivors aren’t damsels in distress or oh-so-damaged terrorizing badasses - there’s room for love without stifling. And each person’s journey and each relationship navigated is different.

And so Kitty’s protection of Gregson’s daughter - yes it’s convenient for the show. But she’s also coming from a place of deep empathy.

May I also mention how brave it is for Kitty to verbalize both her acceptance of and continued desire for Sherlock’s care? This act of trust and vulnerability is one of her most courageous moments.

So what does Sherlock do? Does he gloat like, oh, I was right to manipulate her all along? No. He was still in the wrong.

But now he knows that Kitty wants his protection. He has her informed consent.

So, he offers her a choice. He

  1. Gives her more free time *to do with as she will* stay in, go out, take music lessons, date, whichever
  2. Offers her an opportunity to be in a date-like situation- *with Sherlock as backup* i.e. Knowing that Kitty wants his care, Sherlock offers her more care.

So basically, yeah. I’m not even halfway through season 3 and I’m just blown away.

Can we please talk about this?!?!

Ok, so I’m doing an SPN rewatch because I’m house/dog sitting and who wouldn’t want to do an SPN rewatch? Anyway, I’m currently watching 10x18 (when Cas gets his grace back) and am ASTONISHED about a scene I’m watching. So Cas is in the library and says the “What’s the maddest thing a man can do? Let himself die” line before his grace returns to his body. Great scene. However, I’m shocked by what happens after he gets his grace back. You know, when we see his wings? There’s a moment when he’s kneeling on the floor and then begins to stand. Has anyone really looked at the way he stands? I mean really looked? Because Misha is able to stand so gracefully and so smoothly from that kneeling position that it honestly looks so easy! Spoiler alert! It’s not! In fact it is the furthest thing from easy to get out of that kneeling position - as smoothly and as gracefully as he does - without the use of your hands! Think about it for a second and try it yourself if you don’t believe me. Really look at it. When Misha brings his foot forward to stand, his knee is still over the floor. Which means his ankle is not directly under his knee. There’s an angle to it. Then he pushes out of that sitting position and starts to rise very smoothly and very gracefully. There’s no hesitation. There’s no sticking point. No leaning forward or sideways. Just a STRAIGHT UP AND DOWN MOTION. His hands stay by his side the whole time! That means that Misha rose out of that position using the power of his THIGHS ALONE! Now, we Misha and Cas girls all know his thighs are glorious anyway, but COME ON! This scene just proves exactly how strong those thighs actually are! Honestly, I can’t get enough of this scene. It’s glorious.

Originally posted by timetraveldean

2

OK BUT…

Look how small Scott is compared to Alex. It’s so rare to get a scene where you can fully appreciate their size difference and I’m a sucker for this kind of stuff. Someone please please PLEASE write a fic about this. Love you all ❤️❤️❤️

And seriously Scott’s body in a TAC vest…lets talk about it…Or maybe not…I mean…You don’t need any more words…seriously…

I just saw ghostbusters and let me just start with holy Christ. First of all everything was so much better than I was led to believe and you guys are totally underselling it. There are a few things I want to talk about (and as I do keep in mind that this movie may not be the first to do it, but it is the first time it is done by such a big movie, that will reach quite so many people).
1) The Slo-Mo fighting sequence Kate McKinnon got.
Ok the first thing is that gun lick. That was pure seduction and had me melting in my seat. Now that that’s out of they way, lets talk about the actual fighting. This is the first time (that was cool enough to stick in my mind) that I can remember seeing a woman have a fighting scene in a movie that was just a woman (not fighting with a man) 1, in slow motion, 2, not sarcastic, & 3, not sexualized. Although I do love black widow, she is a side character at best to the Avengers, and has yet to get her own movie, and I find she is almost never not sexualized. Another honorable mention is the implied fight scene in Serenity (River all killing reapers), and though it was incredibly epic, it was not actually shown, so it doesn’t count. I read somewhere (I don’t remember where but please assign credit where it is due) “the slow motion fight scene with Jillian Holtzmann was the scene I never knew I needed”. You wouldn’t think it makes such a big difference to have a woman filling in the role of ‘super kickass hero that is smart, funny, beautiful, and saves the day in slow motion with epic music’, but oh lord it does. When I saw it my heart exploded, and I might as well have been a little girl the way I squealed to my hearts delight. Kickass✔️
Genius✔️
Hilarious✔️
Flirty af✔️
Saves the day✔️
Slo mo fight scene with epic ass music and an orchestra✔️
Girl to pine after✔️
All that and on top of that she’s gay. This is literally all the representation I ever wanted now I just wish it were all like this.
2) Kevin (spoiler alert at the end of the paragraph)
This wasn’t the usual 'we’ve got a dumb guy’ act; they stuck with it the whole time. Usually when there is a stupid man there is a montage where he magically gets good at everything, or he gets trained by the women in 2 weeks and then suddenly he’s way better at fighting then they are and he beats her in the end, or he just magically gets smart in the end without the explanation, or sometimes he doesn’t get smart, but one of his stupid comments or exclamation leads the women to the right answer and then they 'couldn’t have done it without him’. They didn’t do any of that and all the glory, and all the credit goes to the women in the end. They even made a joke about it, when Kevin tried to say that he somehow helped and that it was all five of them who saved the city, him included. This was written to seem very laughable and point out the absurdity, and I though it was perfect.
3) The music
The soundtrack to this film was great. I don’t know what more to say other than it hit all the right spots and really amplified the mood and set the tone well. Also special shout-out to whoever did the music in Holtzy’s fight scene; Kudos to you that shit was great 👌👌👌
4) The girls
I’ve heard it said before, but this literally cannot be said enough, THEY WERE SO NORMAL. Sure they were super geniuses hunting the supernatural, but they were also normal people who DID NOT NEED TO BE WEARING SEXY COSTUMES AS WOMEN IN ORDER TO KICK ASS. They ate normally and they dressed comfortably. Sure it may seem like an easy simple thing, but if it is then why isn’t it done more often. Why don’t the women alway get practical eating habits and normal food which is not eaten in a super sexualized way. Like how hard is that to do, thank you for doing it for once.
5) The attraction
It would probably be stupid to have a character like Kevin who is basically a supermodel and not make some jokes about his looks/have somebody lust after them, but what I really appreciate is that it never got in the way of their work. It would have been really easy to make a cheap joke, and have one of the women get totally slimed because they were distracted by Kevin. Instead they made a few jokes and cracks at it here and there, but when it came down to it the women were professional, and while they were fighting/kicking ass they were allowed (by the writers in a sense) to focus on they fighting. ***

All in all, the new ghostbusters film was a great movie, with just about everything I need. Sure it has its problems (Holtzmann should have been explicitly gay because I went with my family and apparently none of them noticed and now think I’m crazy for seeing the gay everywhere, and I wish they’d chosen another character to pine after Kevin because to me it seems like they chose Erin to be a sort of no-homo between Erin and Jillian), but all in all I was really pleased with this movie. I think it’s a step in the right direction for big budget/large audience action films, and if for no other reason than to encourage Sony to make more films with nice female representation and more (and more explicitly) queer characters

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little fitzsimmons moments (3/?)