street villains

‘Street Fighter 2’ brings an old racist trope to Nintendo Switch — brown-skinned villains

  • Street Fighter 2 launches on Friday for Nintendo Switch, bringing the classic fighting franchise to the company’s latest hardware.
  • The release also features the return of couple faces we haven’t seen as playable characters in almost 15 years: Evil Ryu and Violent Ken.
  • But here’s the problem: In the game, Evil Ryu and Violent Ken are just brainwashed versions of Ryu and Ken, yet their evil alter egos have way darker skin.
  • This old stereotype of evil, dark versions of white heroes just feels dated and sad. It’s 2017. When can we retire this trope? Read more (5/26/17)

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“Bravo! Bravo! A marvelous performance! Although I was expecting you fifteen minutes earlier. Trouble with the chemistry set, old boy?”

-Professor Ratigan, “The Great Mouse Detective”

Idea: the bats give the villains a way to contact them after they realize that since many of the villains compete for resources, it would be in their best interests to report their competitors.

This is a very important idea because it comes with the image of Two-Face and Penguin yelling at each other in a back alley, deciding to report each other at the same time, and diving for their phones. Cobblepot frantically scrolls through his contacts while Harvey screams HEY SIRI CALL BATMAN into his speaker. If only they had put Batman on speed dial
Action-Packed Kingsman 2 CinemaCon Footage Will Get You Amped Up For The Sequel - CINEMABLEND
With a sequel gearing up almost immediately after big box office numbers started rolling in, we've been waiting for Kingsman: The Golden Circle for a while now... but the first-look footage we saw this week definitely suggests that the follow-up will be worth the wait.

Here is a more detailed description of the Kingsman: The Golden Circle footage shown at Cinemacon:

Beginning with scenes from the first movie featuring Eggsy’s (Taron Egerton) first tour through Kingsman headquarters with Harry Hart (Colin Firth), the footage then immediately cut to a fast paced car chase with Eggsy being hotly pursued by three vehicles through city streets. As the villains open fire on our hero’s vehicle, Eggsy gets in contact with Merlin (Mark Strong), who is at his computer and navigating him away from danger. When in a safe open area, the hood of Eggsy’s car slides open, and we watch from an aerial view the launching of three missiles that completely destroy the attackers.

It happens that this conflict is no random incident, as we learn in voice over that there is an underworld organization that is swiftly working to specifically take out Kingsman agents. As we see a creepy robot assassin in action, it becomes clear that this group is highly technologically advanced, with members distinguishable by their lack of fingerprints and a circle tattoo made of 24 carat gold (hence the movie’s subtitle). It’s also clear that their tactics are wildly successful, as a montage shows some massive explosions – including the haberdashery that guises the Kingsman headquarters.

It seems that these events leave Eggsy and Merlin all but completely out of resources, and while the former is panicked, the latter tells him to remember his training. Initiating “Doomsday Protocol,” Merlin reveals a safe, and explains that the answers to their problems rest within. What they are surprised to discover, however, is that the only thing inside is some bourbon labeled Statesman Whiskey. They drink until they hit the bottom of the bottle, and it’s there that they discover what they need to do next: the printing of “Distilled in Kentucky” with a circled, counter-clockwise-turned “K” tells them they have to head to the Bluegrass State.

With the sound of “Saturday Night’s Alright (For Fighting)” by Elton John queuing up, Eggsy and Merlin make the 3000 mile journey across the Atlantic - and in another montage of awesomeness, we not only meet a couple of the fantastic actors joining the franchise as members of the Statesman (including Channing Tatum and Jeff Bridges), but also learn that Harry Hart is still alive and sporting a spiffy new eyepatch (you may remember he was shot in the eye while in Kentucky in the first Kingsman).

From there, the footage sped up considerably, as we were treated to the sight of a robot dog in a bowling alley, our first look at Halle Berry (who proclaims to “like them geeky”), as well as the preferred weapon of Channing Tatum’s character: a laser lasso that we see him use to cut a dude cleanly in half. The big showstopper at the end featured a ride on a ski lift going incredibly wrong for our heroes with the cable snapping and plunging the car down the side of a mountain. Fortunately, it’s a pod that is outfitted with a giant American flag parachute (a clear reference to The Spy Who Loved Me). The first look ended with Eggsy saying, “That’s very American,” and Tatum’s Statesman agent laughing and enthusiastically replying with a thick Kentucky accent, “Fuck yeah!”

All That’s Dead, and Gone, and Passed

Summary: One-shot. They’ve reached the end of the book and gotten their happy ending, but Emma doesn’t know how to not worry about losing it. Fluffy, feelsy, future fic inspired by the song “Safe and Sound” by Taylor Swift and The Civil Wars.

Word Count: 1639

Rated: T

A/N: I was watching The Voice the other day and one of the contestants performed “Safe and Sound” by Taylor Swift and The Civil Wars and I was reminded what a beautiful song it is. So, naturally I listened to it on repeat a few times and ended up getting Captain Swan/end of the book (seriously was anyone prepared for that Isaac/Henry scene at the end of the episode?) feels. 

While this isn’t the first fic I’ve written, it is the first I’ve felt brave enough to post! I would love feedback! Thanks for reading!


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Byron did not do with the Gothic hero-villains what Blake and Shelley did–infuse them with existential force, ramify them profoundly. Rather, Byron made the Gothic hero-villain into a bourgeois attraction, the merely interesting man. For if Byron is himself the hero-villain–an original enough stroke–he never confronts what’s darkest in himself with a transforming urge.

Byron lacked all capacity for introspection. He had a sharp, mercurial mind, capable of lightning response to events, but he had the analytic ability of a songbird.

And what is darkest in the Byronic hero is not really very dark. He cannot see deeply enough, look with sufficient coldness, to reveal anything truly disturbing. Byron is forever playing at evil. He’s sentimental, shallow, always posturing, never conveying the intensity of precursors like Hamlet, or even of Ambrosio. The Byronic hero is charismatic, but thoroughly conventional and small-scale in all of his crises and woes. He performs the role of alluring aristocrat to the philistine middle classes. Without intellectual capability, without emotional nuance, the wildly popular Byronic figure cheapens the image of the Gothic hero-villain, and makes the serious Gothic-visionary encounter that much less tenable.

Byron had what Freud would call a stunningly mobile libido. He was able to shift commitments of psychic energy with the speed that an accomplished trader can move futures on the floor of the Exchange. Byron never rests where he might be caught out an made to commit himself. He’s always on the move, always changing–in part out of a fear of being confronted for the opportunist that he is. He’s radically attractive, but loves no one but himself.

Byron turns the idiom of the Gothic into the stuff of Hollywood entertainment; his persona influences every cheaply alienated actor from Humphrey Bogart to Jack Nicholson, as well as the femme fatale. In his vision of life as endless irony (for what is irony but the expressed unwillingness to render full investment in one’s beliefs or relations?), he offers a deconstruction of the various modes of mental strife that Blake and Shelley and Emerson practice. He’s a progenitor of everything in the Anglo-American mind that’s attracted to our various postmodernisms, predicting and endorsing the world of parody, cut-up, pastiche, mime, impersonation, repetition, surface flash, and ceaseless movement. (If David Letterman could rhyme, he’d be a second-tier Byron.) Byron saps the potential for Gothic and visionary conjunction, leading culture toward a new age in which wisdom lies in the art of sliding well on surfaces. In the current cultural imagination, one of Gothic’s main alternatives is the skimming mode manifest in the postmodern culture of unabated irony.

—  Mark Edmundson, Nightmare on Main Street: Angels, Sadomasochism, and the Culture of the Gothic [1997]

Is it just me or is there a noticeable difference here? XD
It’s a little cute though too, on one hand (reality) Seb went all out in beefing up for playing Bucky again - and on the other hand (cinematic universe) Bucky just really enjoyed his chips and toffee bars (as seen on top of his little fridge in Civil War) but also enjoyed doing some fucking insane upper body work outs…. either honestly works for me ;)
Also the friendly reminder that Hydra only kept him alive to efficiently complete missions so it’s not like he was eating 3 square meals a day…. (that wasn’t very friendly I am so sorry) and now that he’s back in the real world and in control of himself he’s eating like a normal human being on top of being a beefy super soldier…. also Romanian street foods are really fattening but also really tasty :P

hamilton starters. pt 2.

change pronouns as you see fit!  /  part one.

  • “ no one really knows how the game is played. ”
  • “ we just assume that is happens. ”
  • “ i have no where else to turn. ”
  • “ i wanna be in the room where it happens. ”
  • “ hold your nose and close your eyes. ”
  • “ but we dream in the dark for the most part. ”
  • “ the ink hasn’t dried. ”
  • “ see how he lies. ”
  • “ i wanna give you a word of warning. ”
  • “ a moment alone in the shade. ”
  • “ all alone, watch them run. ”
  • “ they will tear each other into pieces. ”
  • “ i don’t have anything to tell you at all. ”
  • “ she courted me, escorted me to bed. ” 
  • “ in the eye of a hurricane, there is quiet. ”
  • “ i couldn’t seem to die. ”
  • “ you said you were mine. ”
  • “ the world has no right to my heart. ”
  • “ he will do what it takes to survive. ”
  • “ i hope that you burn. ”
  • “ you don’t want this young man’s blood on your conscience. ”
  • “ you did everything just right. ”
  • “ there is suffering too terrible to name. ”
  • “ that never used to happen before. ”
  • “ he is working through the unimaginable. ”
  • “ i don’t pretend to know the challenges we’re facing. ”
  • “ forgiveness, can you imagine? ”
  • “ don’t laugh. ”
  • “ shake hands with him. ”
  • “ charm her. ”
  • “ i am slow to anger. ”
  • “i don’t wanna fight, but i won’t apologize for doing what’s right. ”
  • “ come back to bed, that would be enough. ”
  • “ look him in the eye, aim no higher. ”
  • “ it’s him or me, the world will never be the same! ”
  • “ i hear wailing in the streets. ”
  • “ now i’m the villain in your history. ”
  • “ and when you’re gone, who remembers your name? ”
  • “ have i done enough? ”