talking about characters no one cares about

TMA Season 3 Countdown: Favorite Institute Member

Because Sims has his very own day set aside, I’ll reserve my flailing about Jonathan Sims, idiot and paranoiac and occasionally suicidally brave individual, for later.  For now, let’s talk about my other favorite Institute member for the @pilesofnonsense countdown.  This one was tough, because I really love Elias Bochard, and could meta about him all day, but in the end he really couldn’t compete with Martin.

Martin at first glance is the sort of character who is built for the audience to love.  He’s sweet, caring, a bit of a mother hen … basically custom made to make us like him.  But he’s also far more interesting than he first appears.  Despite my belief that his demeanor is genuine, and that he really does care deeply about his colleagues, and especially about Jon, he also spent a very long time lying to them all about basically everything about him.  I doubt we’ve even got the full story of why Martin was forced to drop out of secondary school to take care of his mother, or what led him to applying to the Institute under a fake master’s degree and a fake age, but there are layers upon layers of lies that build him up.  And because of that, we do have to question what about him that we’ve seen is genuine.

The caring is genuine.  He seems like a natural caretaker, who became a bit pathological about that when he had to take care of his mother.  He’s also resourceful.  He successfully faked being almost a decade older than he really was, and faked an advanced degree, to the point that I’m not sure who in the Institute really knows the truth about him aside from Jon (I suspect Elias does).

His slightly dim demeanor, though, may well be an act designed to make him less noticeable and therefore less likely to be questioned.  If he wasn’t that reliable and not that smart, he wouldn’t be chosen readily for projects that he was supposed to have knowledge about that he really didn’t.  But being able to successfully convince people that you’re even a not-very-bright graduate student when you’re a high-school dropout?  Yeah, Martin’s a lot smarter and a lot more tenacious than he lets on.

Even more than Elias’ backstory, I want Martin’s filled in more.  I want to know what happened to his mother.  I want to know about the decade he’s worked in the Institute, what he’s seen, what he knows, and what he suspects.  I can’t wait to see him probably step into the shoes of the Interim Head Archivist while Jon is walkabouts.  And I both can’t wait and dread to see what that position might do to him.

(Also, I forgot to add initially that he writes aggressively mediocre poetry in his spare time and records it on tape for THE AESTHETIC, which I find hilarious).

After thinking way too much about Ouat, I’ve realized that one of A&E’s great flaws might be the fact that they don’t know how to write characters who are romantically involved with someone, but also attentive parents. Rumple was hell bent on finding Bae, until he suddenly only cared about Lacey. Emma was a good parent until Hook became the only character she interacted with. Neither Belle nor Rumple seemed to care that, since they lived in a realm where time ran faster, Gideon had to lose his mother way earlier than necessary. I fear what will happen when Regina falls in love with someone.

The 10 Elements of a MAIN CHARACTER

To all the writers who have ever been told “Your characters have to be three dimensional!” or “They should be well-rounded!” and just felt like saying: “What does that even MEAN?! What goes into a 3-dimensional character? Specifically? And how do you go about creating one?!”

Good news. There’s a way. 

Great main characters – heroes, protagonists, deuteragonist, whatever you want to call them – have ten things in common. Ten things that are easily developed, once you know what to create within your character. So no one will ever be able to tell you “needs to be more three dimensional!” ever again. Ha. 

1) Weaknesses: Main characters should be flawed, but I’m not saying this because it will make them more realistic (though it will) – I’m saying they need to be flawed because if they’re not, they shouldn’t be a main character. Story is another word for change, or more accurately, character growth. Not character as in “fictional person”, character meaning “heart and soul”. Story is someone’s character changing, for better or worse. Main characters at the beginning of the story are lacking something vital, some knowledge of themselves, some knowledge of how to live a better life, and this void is ruining their lives. They must overcome these weaknesses, if they’re going to become complete, and reach a happy ending. There are two types of weaknesses: Psychological and Moral. Psychological ones only hurt the main character. Moral ones cause the main character to hurt other people. Easy.  

2) Goal: Characters exist because they want something. Desiring something, and the fight against opposition for that desire, is the lifeblood of story; and because character is story, it’s also desire that can breathe life into words on a page, and begin the process of creating a real person in a reader’s mind. It’s this ‘desire for something’ that sparks that first connection between reader and character. It makes us think “Well, now I have to find out if this person gets what they want.” This is a powerful link. (How many mediocre movies do we suffer through, when we could easily stop watching, because we’re still trapped by that question of “what happens?”) So if this is powerful enough to keep people watching an annoying movie, imagine how powerful it can be in an excellent story. 

Like in Up, the goal is to get the house to Paradise Falls.

3) Want: If the main character wants something, they want it for a darn good reason. Usually, they think that attaining the goal will fill the void they can sense in their lives, the deficiency they can feel, but don’t know how to fix. And they’re almost always wrong. Getting the goal doesn’t help anything; which is why, while pursuing that goal, they discover a deeper need that will heal them. Which brings us to …

4) Need/Elixir: Main characters are missing something, a weakness in their innermost selves is causing them to live a less-than-wonderful life. Through story, these main characters can be healed. Once they discover what’s missing, and accept it, and change the way they live to include this truth they’ve uncovered … they’re healed. Learning this truth, whatever it is, forms the purpose of the story for the main character. The reader, and the character, think the story is about achieving that big tangible goal the premise talks about; really, underneath it all, the story is about someone achieving a big intangible truth, that will ultimately save their life and future. Often, this need is exactly what the character fears or professes to hate. 

Like Finding Nemo, where Dory states exactly what Marlin needs to learn. 

5) Ghosts: 

Not this kind of ghosts.

Ghosts are events in your character’s past which mark the source of their weaknesses and strengths. Because these happened, the character became who they are. All we need to know about backstory are these moments, because who the character became is all we care about. There’s really only one ghost you absolutely need: the source of their moral and psychological weakness. Something happened that knocked the character’s world off kilter, and everything from that moment onward has been tainted by what happened. This moment haunts them (hence the name), and holds them back from uncovering that need that will heal their weaknesses. Pixar are masters of this: the source of Carl being stuck in the past, curmudgeonly, unable of loving anyone new? Ellie dying; his ghost. In Finding Nemo, the source of Marlin being suffocating, protective to the point of being harmful, possessive, and fearful? His wife and 99% of his children being eaten in front of him; his ghost. 

6) True Character: These are the strengths, values, convictions, fears, faults, beliefs, worldview, and outlook on life that make the main character who they truly are. 

7) Characterization: This is everything on the surface of a main character. The way they look, talk, act, etc. All of this originates from those deeper elements of their being, the strengths, values, ghosts, weaknesses, needs, that make them who they truly are. So often, you can think of this as a facade they’re projecting, a way to shield the the truth about themselves, how they wish to be perceived. The story, and the other characters, are slowly going to see deeper than this characterization, revealing more and more of the reasons it is the way it is. 

8) Arc: If the character is going to change from “Incomplete Person” to “Complete Person” there’s going to be a journey they go on to make that possible. The external story, the pursuit of that big tangible goal the premise is about, is causing an inner journey to take place. What they have to do in pursuit of that external goal will apply pressure to those weaknesses, and pressure causes change. This process has seven steps, but if I write it all here this post is going to be obscenely long. So I might wait and give this its own post.

9) Changed Person: Who is the character going to be at the end of this story? They better be different, or else the story didn’t work. How do they show how different they’ve become? What is the moral choice they make, that spins their trajectory from “the future doesn’t look so great” to “happily ever after”? This should be known right away, maybe even before anything else is settled about the character. This gives a distinct end goal, a way to work backwards, a destination in mind that you can navigate towards.  

10) Fascination and Illumination: The surface characterization, and the brief glimpses of the true character underneath create curiosity in the reader/audience. What the character says, and the implied subtext beneath the dialogue, creates a puzzle the audience wants to solve. Actions they take work the same way; if the writer indicates there’s deeper motivation behind why a character behaves in the way they do, we buy into solving that mystery right away. We can’t help it. “Who are you really? Why are you the way you are? And how is that going to effect the story?” These are all the unspoken, almost not consciously acknowledged, questions that fascinating characters provoke. Searching out meaning, connecting the dots to find the truth – we can’t resist this. We’re not fascinated by tons of backstory and exposition about a character; we’re fascinated by story, by mystery, by the technique of withholding information and having to interpret and hunt out the truth on our own.  So gradually, the story and the characters will force that character to reveal a little more, and a little more, until we have a complete picture of who this person is. Crucial that this information isn’t told up front. Gradually illuminate it. It’s just like getting to know a real person. 

So how does this work in a real character? Let’s take a look at Flynn Rider/Eugene Fitzherbert, because almost everybody has seen that movie. 

Moral Weaknesses: He’s selfish. He’s a little greedy. He’s a little rude. He uses his charisma and bravado to keep people at a distance from the real him. 

Psychological Weaknesses: Insecurity, fear of vulnerability, feels like the real him (Eugene) would be unwanted, unlovable, and have nothing – just like when he was an orphaned kid. Also, he doesn’t know who he wants to be, what he wants to live for. 

Goal: Flynn wants to get that crown. So he has to get Blondie to see the floating lights, so she’ll give it back to him, and then they can part ways as unlikely friends.  

Want: Why does he want the crown? What does it mean for him? He actually states it (reluctantly) in song: “I have dreams like you, no really. Just much less touchy feely. They mainly happen somewhere warm and sunny. On an island that I own, tanned and rested and alone. Surrounded by enormous piles of money.” He senses there’s something off in his life, something is missing. But he mistakenly believes this missing piece is money, which will allow him to buy a lonely island, where he can live out his days as Flynn and no one will ever know Eugene. 

Need: “All those days chasing down a daydream. All those years living in a blur. All that time never truly seeing, things the way they were. Now she’s here, shining in the starlight. Now she’s here, suddenly I know. If she’s here, it’s crystal clear, I’m where I’m meant to go.” He wants a crown … he needs to fall in love with Rapunzel. He needs to love something more than himself, and find out that love isn’t something to fear and push away. He needs to abandon the 'Tales of Flynnagin Rider’ ambition, and get a more worthwhile, new dream. 

Ghost: The source of all of his weaknesses can be linked to his “little bit of a downer” childhood as an orphan. Interestingly, he isn’t aware of another facet of that ghost, and Rapunzel points it out to him. “Was he a thief too?” she asks. He looks taken aback, before answering “Uh, no.” Something’s gone wrong. The choices he’s making are not living up to that original role model.  

Characterization: Flynn’s charming, funny, smart, charismatic, and arrogant (in a somehow charming sort of way). He’s also rude, contemptuous, and sarcastic. All traits that help him keep up that 'swashbuckling rogue’ facade, and push people away from the real him. 

True Character: Underneath all that, he’s a Disney prince. That pretty much sums it up.  

Changed Person: “Started going by Eugene again, stopped thieving, and basically turned it all around.” He started the story as the guarded and evasive Flynn, he ends as the selfless and thoroughly-in-love Eugene. 

Fascination and Illumination: Imagine if everything about Flynn had been told, right up front. We know he’s an orphan, we know he’s upheld a fake reputation, we know he’s a kind and loving guy underneath it all, we even know about his “tales of Flynnagin” childhood dream. You know what happens? We like him … but we’re not interested in him. There’s nothing we need to find out. There’s no curiosity. And if there’s no curiosity, and nothing being illuminated, your story’s not going anywhere. So instead, we find out – alongside Rapunzel – more about Flynn as the story progresses. And that is how it should be. 

So!

Developing characters in this way, I’ve found, really reduces worries about how “well-rounded” and three dimensional I’ve made them. They feel real to me. And besides helping me create characters, this ten element technique has also let me analyze characters I like, which is strangely fun. It’s a great way to figure out why a character works, what causes them to be so effective, and how you can go about creating them yourself. 

Yeah, I’m a bit of a nerd. 

But if you want, try it out. Develop a character. Analyze a character. You might find it as useful/fun as I do.

folks …… listen ….. we need to talk abt andi mack 

bc this is a disney show that is about a biracial girl in a chinese american family (let’s make a side note, the three main bffs are: half? i think? chinese, black, jewish!!!!!! bc representation1!!!!!!) about a girl who discovers her older sister is actually her mother who gave her up to her parents bc she wasn’t ready to take care of a child and the shift in their relationship when she discovers this 

it’s already dealt with the complexity of a family dynamic in this situation, dealt with teenagers not letting their crushes define them, talked about protesting unfair dress codes in schools, had an ep about a principal telling the main black character that she can’t wear her natural hair, in its next episode is going to centre on chinese new year (i.e. giving the main character a connection to her chinese heritage) and in the first ep of this season, gave one of the main characters (a jewish boy!!!!!!!) a coming out arc!!!!!! like!!!!! folks!!!!!!! disney is doing that 

y’all who were obsessed w girl meets world (and yes i was too) best get your asses over here and stan this show bc as much i loved gmw, this has diversity and representation eVERYWHERE and i am living for it and i want this show SUPPORTED THANKS

can we talk about the fact that hunk and pidge had a genuine scene where they talked science and tech and got excited about it together?

can we talk about how lance and keith were shown to have genuine respect and care for one another?

can we talk about how allura was given moments of both vulnerability and strength?

can we talk about how shiro was set up for a truly terrifying character arc, and that the seeds were planted for matt’s return?

can we talk about how lotor and his generals were given distinct personalities that made each of them interesting and terrifying in their own ways?

can we talk about how the size and scope of this universe has increased tenfold?

can we talk about how these seven episodes were perfectly paced in comparison to last season, and set up the stakes perfectly for the coming season?

well done, voltron. well done.

Y’all need to be fucking better about the way you interact with young artists on here. And don’t you dare see this and think “oh I’m a minor so this post isn’t for me” cause you know damn well half the inappropriate asks artists get are from other young people. Think of all the kids who were contacting the creators of BMC and asking sexual questions about the characters. Think of how many asks you see popular artists get with sex jokes and talking about which of the characters they draw are bottoms, and how often you see them have to post asking their followers to stop, and remember that most of the people in our communities are minors. 
We constantly post about how the adults on tumblr need to be careful with the way they interact with minors, and they do, but i can say from experience that more often than not they’re not the one trying to discuss inappropriate things with random people they’ve never spoken to. Being around someone’s age doesn’t give you a pass to make them uncomfortable. 

I’m so tired of hearing my underage friends complain about all the inappropriate asks they get, even after saying time and again they want people to stop. It’s not fair to them at all. Have respect for the people you follow, they aren’t your friends, you don’t know them, sending them asks about this kind of stuff is so uncool and uncalled for. 

And hell, this doesn’t even apply to underage artists. There is no reason for you to send unprompted inappropriate asks to people you follow, no matter their age. You have no idea how they feel about what you’re saying, if they’ve had uncomfortable experiences. You don’t magically become chill with sex jokes and talking about character’s sexual lives because you turned 18. Just show people the respect they deserve??

I’m gonna go on a quick rant on feminism/femininity and Disney here.

Originally posted by disneylandwheredreamscometrue

It just riles me up when people seem to get the idea that femininity means a lack of feminism. When people take a look at the girl in the pants and the girl in the ballgown and says the one in pants is more feminist and empowering than the one in the dress. The whole point of one of the many aspects of feminism is that as women we have the right to choose to be and wear whatever we want. A woman in a dress is just as feminist as a woman in a burqa, and they’re both just as feminist as a woman in a suit or a woman in a bikini. And beyond clothing, a woman who’s married and in love is just as feminist as a woman who’s single. Here’s where Disney comes in, no one princess is a better more feminist role model than another. It’s important to have more than one type of role model yes, but just because one girl likes to fight and another girl likes to sew, it doesn’t mean that one is a better role model. All the princesses and other Disney ladies have good values to teach us and our kids in different ways and I’m gonna go through them with you.

Originally posted by badxbaby

Snow White:

For one thing this girl is 14. She is a child and her outlook on the world and her dreams in life shouldn’t be measured up to an adult’s. She’s kind, caring, and yes, she does dream of true love’s kiss. But she’s 14. When I was 14 I was dreaming of the same damn thing. But what we can learn from her is that when you care for everyone, even strangers, you’ll see that kindness returned. When she’s lost in the woods and scared for her life, she still finds the strength to be kind to the animals. In return they show her to the Dwarves’ cottage. She’s sweet and decides to clean up the place and take care of the dwarves out of the kindness of her heart and they return the kindness by giving her a home when she had none. At the end she’s rewarded with the true love’s kiss she wanted. We can even learn from the Evil Queen that vanity is a terrible thing. 

Originally posted by snowwhitecinderellaaurora-blog

Aurora:

The main thing to remember about Aurora is that for one thing, she met Phillip when she was a baby. The other thing is that while the good fairies did love her and take care of her, she grew up isolated and alone. She’s always had these dreams of meeting someone (anyone) else to break that isolation. But in that isolation she’s still strong, kind, and trusting. She loves her adoptive aunts, and for a side character(might make a post about that later) I would still count her as a good role model because of that kindness. 

Originally posted by goldensilverdisney

Cinderella:

Her, I’m definitely going to expand on in another post. But, she’s one of my favorite princess. Ironically, not one of my favorite movies, but she’s an amazing character and I love her. She’s a survivor of child abuse. That’s the very first thing that you need to understand about her. She doesn’t stay happy and content with a grin and bare it attitude, she got mad. She was snarky, and she only found happiness in the little free time she had and in her pets/friends. All she wanted that night was to go to the ball. All she wanted was one night to have fun and get out of the house. She wanted one night where she wouldn’t be berated and yelled at and ordered around. And when she met the prince, she didn’t even know who he was. She didn’t even mind that she would probably never see him again. And at the end she more or less saved herself. She didn’t wait around and sing a song from her tower to get rescued, she asked her friends to get the key and help her out. She was smart enough to pull out the other slipper. There’s nothing wrong with getting help from those around you and there’s no shame in asking for it. There’s nothing un-feminist about getting help, especially when you’re an abuse survivor. And that’s what Cinderella is about. Her fairy godmother coming to help her. Women helping women. 

Originally posted by disneymoviesanywhere

Ariel:

The one big thing that made the Disney renaissance so great is they decided to follow the rules of Broadway musicals. One of the trademarks of this is the “I want” song. That’s the motivation for the main character and it’s the driving force for the plot. 

Ariel wants to live in the human world. That’s her dream. She desperately wants to be a human. Eric was just the straw that broke the camel’s back. Ariel is strong willed and curious. She’s the undersea equivalent of an anthropologist. She’s 16, so of course she’s going to make stupid mistakes, but she gets to live out her dream in the end and become a human. The main point and what makes her a wonderful feminist role model is that she uses that drive and curiosity to pursue her passion. 

Originally posted by mkgaud

Belle:

I’m not sure I have to go into too much detail about her although I will mention, she is not a victim of Stockholm Syndrome. And to be honest how would being an abuse victim make her any less feminist? Anyway, of course she’s smart and loves reading. She loves adventure books and that’s what her “I want” song is about. She wants adventure and she wants someone who understands her and doesn’t think she’s weird for her interest. She’s a good role model not only for her love of reading but also of course for her kindness and seeing the good in people despite their appearance. 

Originally posted by moviewhorexo

Jasmine:

She. Is. Not. A. Prize. To. Be. Won. Moving on,

Kidding. But anyway she’s great because what she values is freedom and love. I feel like a lot of people forget is the line, “when I marry, I want it to be for love”. She wants to make her own choices in all aspects of her life and she decides to leave her life of privilege to pursue that freedom. You can hear and see it sprinkled in all around the movie (and the stage show). She sees herself as a bird in a cage and she’s happiest when she’s free and litteraly flying. And at the end she chooses Aladin. It’s all about her choice. 

Pocahontas:

Originally posted by anightmarefantasmic

So unintentional racism, stereotypes, white savior trope, erasing history, and pairing her with the horrible monster aside for a moment…

Let’s talk about 18 year old Disney Pocahontas as her own character. The main thing that comes to mind when I think of her is strength and bravery. She knows herself and she knows what she loves, and she’ll do anything to protect it. She also cares about the earth and environment. All of those are wonderful traits to have as a role model. 

Originally posted by magical-rasputin

Mulan:

Again, I don’t think I have to go into much detail about why she’s a great feminist role model. She’s usually who everyone thinks of when it comes to great feminist characters.

But what I will say is one thing not a lot of people mention in her great feminist role model-ness is that she doesn’t mind being feminine. She knows the ”perfect porcelain doll” isn’t her, but she doesn’t mind dressing up when she can make it her own. Another thing that I’m surprised get’s as ignored as it does especially since it’s scattered through the whole movie including her very first scene, she’s smart. She’s not a fighter, she’s a strategist. She makes her chores easier for herself. She wins the game of Go on her way to meet the match maker. She figures out how she can protect her dad. She uses the weights to her advantage. She does trigonometry in her head on the fly. She comes up with the distraction and using the fireworks. And the epitome of it all, she uses the symbol of femininity in the movie, her fan, to outsmart Shan Yu and take his sword. 

Originally posted by definite-disnerd

Tiana:

Can you believe I’ve heard people say Tiana isn’t feminist enough? Most people know how hardworking and practical she is, but she also learns a very important lesson that you’ll never be truly happy if you don’t let loose and have fun in reasonable amounts. She’s an amazing role model just as wonderful as everyone else in the line up and her morale is one of my favorites to try and live by. “Fairytales can come true, but you’ve gotta make them happen. It all depends on you.”


Rapunzel, Merida, Anna, Elsa, and Moana:

Honestly I feel like I don’t have to do much defending for these four. Everyone on this site has already pointed out what great feminist role models they are and many people regard them plus Tiana and Mulan as the “best” most feminist princesses. I love them all too, and of course they’re all great feminist role models, I just don’t think there’s much I could add. 

Anyway, I think a /lot/ of other Disney ladies are also wonderful feminist role models but this was supposed to be just the princess lineup. and I might make separate posts for them. But if you’ll notice I didn’t take relationship status, style choices, hobby choices, sexuality headcannons, or appearance into account when talking about what great role models they are because you shouldn’t. Of course women and girls deserve more than just one type of girl to look up to, but one type of girl isn’t any better or worse than another. You can be hyper feminine like Cinderella, Not feminine at all like Merida, or a little bit of both like Mulan. You can be smart like Belle, or naive yet kind like Snow White. All of them are wonderful. 

I’ll go ahead and leave you my favorite Disney feminist hero.

(she’s amazing. google her real quick)

hunk enjoys cooking, he enjoys food and that’s great! but that is not all he is. stop reducing the fat character to just food. talk about his love for engineering, how smart he is. talk about his newfound dedication to saving the universe because he met shay. talk about how he’s gone from puking by just being in a flight simulator, to being one of the paladins of voltron.

lance enjoys flirting and he enjoys pretty girls and that’s great! but that is not all he is. stop reducing the latino character to just being The Flirt. talk about his sharpshooting skills. talk about how strategic he is, how observational he is. talk about how smart he is because while he may not be a genius like hunk and pidge, he IS intelligent. talk about his homesickness. talk about his selflessness and how much he cares about his team.

hunk and lance are 3 dimensional characters just like everyone else.

Chosen Jacobs

 - He loves performing, he sings and plays the guitar. He started performing opera internationally at SIX so its not surprising

- His cover of A Team is so cute!!! He wants to put out an EP someday and I know I’d buy it

- Not only can he sing, he’s funny as hell. He was the best part of V Team, fight me

- facing the wall: “Does this look mysterious?” *turns around* “oh hi”

- “right now I’m working on my thighs”he says, lifting weights

- When he took Finn’s shoes off his dead body dudiqwdid

- alright moving on from that skit to another, i can’t forget the hidden gem The Chosen Show. He’s a comedian ™

- Campaigned for teen suicide awareness at 14 and feeds the homeless in his spare time, what a man

- got cast in IT after ONE audition tape, holy shit he’s so talented?

- He loves Mike Hanlon so much??? Bring him up in an interview and he will talk about him for 10 minutes. “I feel like my character is sweet. He really cares. He’s a genuine person. He’ll do for you if you do for him. He doesn’t have many friends growing up isolated, black in the ‘80s in a primarily caucasian environment. But he’s got a sweetness about him and he really cares about this friendship because it means the world to him. I think that’s why he’d go and fight a clown.” He just hyped Mike up more than the entire fandom, iconique

- Not only does he really understand Mike, he really understands the story. “This story really is about our friendship and without Pennywise we never would have come together. Pennywise is really just symbolism for all the hard things that happen in life that brings people together… I think this horror film is more than just gore. It’s a coming of age movie” he just described it better than IMDB

- the only cast member who can dance, bless him

- he should be a model, have you SEEN this boys insta? Finn found dead in Miami

- He has such a bright smile it melts my shrivelled heart, look at a picture of Chosen Jacobs smiling and try to feel angry. It’s impossible 

- If I see a single racist comment toward him I will personally eat your liver

- goodnight ONLY to him

okay I’m catching up on my dash and like…… I know y'all mean well but you KNOW that if Bucky *is* in Black Panther even if he’s just in the post-credit scene he WILL upstage everyone else because the fandom will not shut the fuck up about Bucky ever. I mean the guy has been in like 30 minutes in three movies combined and the fandom acts like he’s the main character of the MCU. shit, Spidey was in civil war for ten minutes and he created a whole new fandom, while Sam and Rhodey have been in multiple movies with more screentime than Bucky or Peter and everyone is suspiciously quiet about them (I wonder why…). when Bucky was in that little post-credit scene in ant man it was almost as if nothing else happened in the movie with how much the fandom focused on Bucky alone.

and like in a movie about a black nation, with a 99% black cast, a black director and black writers and the first solo black superhero movie marvel has made in the post-2008 MCU we really don’t need the little flavor of the week character to appear and have everyone talking about him, and being sad about him being in cryo and persecuted and a victim and all the old Bucky discourse. we don’t need Bucky in the movie, period. I don’t care that he was frozen in wakanda. they can unfreeze him in infinity war. Sebastian has plenty of movies to appear in, still. black panther should be about the black panther characters. I mean, my god, let the white male faves rest for one fucking movie.

Ricks speech to Jerry was honestly incredible because every word, while meaning to be pointed at Jerry, was a perfect example of Ricks character. “You play the victim like you’re the prey, but you’re actually a predator” Rick is consistently the “prey” toward his family, playing like he’s some kind of victim of his own intelligence, using that toward his survival. Without Morty/summer/Beth, rick would have no one to care about the things he makes or the things he sees. Even though he directs his speech at Jerrys incompetence as a person, in reality he’s just talking about himself and reflecting that on Jerrys insecurities. I love that this season is delving into the complexity of rick; we have long seen him as this infallible character with occasional soft moments, but at the end of the day he’s just a predator abusing his family’s bond with him.

anonymous asked:

shiro is vld's damsel in distress and keith is his knight in shining armor

Ok so I know I joke about Keith saving Shiro like a princess, but actually, this is honestly how their dynamic is portrayed?? Keith is always shown as the first one at Shiro’s side when he’s in danger, always running to his rescue. If he has to choose between the mission and Shiro, he’ll take Shiro every time. But now, let’s talk about this idea he’s a knight for a minute. Because it’s very much a purposefully drawn comparison. In the comics, when the paladins are all likened to pieces on a chessboard, Keith is delegated to this role. The narrative literally refers to him as a knight by name. 

The imagery of Keith’s bayard also serves to reinforce this. Instead of a more sci-fi weapon like a laser gun or some advanced alien tech, Keith’s weapon of choice is a classic sword. Nothing evokes the image of a knight more than a sword and shield (which the paladin suit has). Keith’s belief system also feeds into this archetype. Time and again, he’s singled out as the most dedicated to the mission. He is a paladin first and foremost. When Pidge wants to leave to find her family, Keith is the one who lashes out and lectures her about how they need to defend the universe and make sacrifices for the greater good. When Allura is captured, Keith again notes that their duty as paladins must come first. Keith leaves the castle when he believes his presence will do more harm than good. And the paladin guidebook even lists his most important value as honor–a clear reference to knightly chivalry. 

Keith’s initial role in Voltron is also a clear indicator of his character. If the head of Voltron is a leader whose men will follow without question, if they’re like a “King,” then as Voltron’s “right-hand man” Keith is a loyal knight. And just like any good knight, Keith will call out rulers for failing to serve the people and treating their subjects unjustly. The way Keith reacts so strongly to Lubos is a good example of this. Again, nobility and honor are distinctly important to him. 

Another trope with a knight and damsel you often see in fantasy is that, like a typical knight, the protagonist highly values chivalry and champions a noble cause. But ultimately, that means learning to sacrifice their own selfish desires for the sake of the greater good. So their love interest is often seen as a distraction from the hero’s quest. They can’t afford to indulge in their feelings because the mission must come first. And often times, this culminates in a decision where the knight must choose to sacrifice the person they care about most–a representation of their own desires–because their duty demands it. 

And in his trial, who is it that’s sent to tempt the hero and divert him from his quest, who is it that Keith longs for most, the person he “desperately wants to see”? Who is the one person that Keith can afford to be selfish for, the one who he’ll throw away everything–including his obligations as a paladin–just to be with?

And we know that this is an archetype VLD is very much aware of and acknowledges in their narrative. After all, heroes who fail to give up their own wants and needs, chasing after their love and abandoning their duty–they’re often cast down, vilified, characterized as foolish and selfish and bringing about disaster for their arrogance. And Zarkon is the literal embodiment of this character. He’s a glimpse at what Keith’s future could look like if he continues down the same path and chooses Shiro over the universe. Just like how Zarkon chose his love over everything else. 

So when I mention all the sheith and zaggar parallels, I really do believe it’s wholly intentional. Especially given all the foreshadow that Keith will eventually reach the same crossroads where he’ll have to decide whether or not to sacrifice Shiro for the sake of the universe. But being that Keith doesn’t believe in things being so “black and white” and also the trope that a successor will surpass their predecessor, I believe Keith will figure out an alternative answer that will allow for both Shiro and the the others he defends to stay safe. 

Now, as for Shiro’s role as a “princess,” the notion is pretty interesting. Obviously, it’s a clear subversion of gender. But there’s never any shame or weakness to it. Quite the contrary, actually. Shiro is established as the strongest and most formidable member of Team Voltron. He’s their brave leader, their fearless protector, their unshakable rock. But he is so often idolized, seen as impossibly perfect and infallible, and this inevitably takes its toll. The fact that he allows himself to be vulnerable with Keith, to let Keith help him and take care of him, is never shown as a point of pathetic inability or weakness. 

Rather, Voltron portrays it as okay to admit that you aren’t strong enough, that you’re not okay, that asking for help is perfectly alright and there’s nothing wrong with admitting you can’t shoulder the weight of the world on your own. Shiro asking Keith to come save him is important because he never asks the others for help. He puts up a facade and tries to keep everything together in front of them. And when Keith says things like Shiro really changed his life, you can infer that, before this, Shiro was probably always the one taking care of him. So Keith always being the first to defend Shiro in turn reads as You were always the one protecting me, now let me stand by your side and protect you

This concept of sheith’s dynamic resembling a knight and princess is also established immediately. Their very first scene together is Keith saving Shiro, and it really feels like knight rescuing their lost love. Right away you associate these two characters with one another, see just how intimately familiar they are with each other. Keith fights fiercely on Shiro’s behalf but softens up when he looks at him, leans it closer and tenderly reaches out to him. And I’ve talked about this a lot before, but the way Keith mourns Shiro is distinctly reminescent of someone grieving a lover. 

The way he’s inconsollible and claims to be the only one who really cares about Shiro, the way he searches relentlessly and needs to be told time and again that it’s time to move on, the way his voice breaks when Black accepts him and he pleads, “Please, no.” Keith really loves Shiro. And his devotion to him, including leading Voltron in honor of his last wish as well as vowing to never give up on him, Keith’s desperation to be with him, this notion that he’d be all alone without him--yes, he loves Shiro. But it’s a love that’s passionate and intense and possessive and desperate in a way that platonic or familial love just isn’t

I think Kuron’s rescue and recovery in season 3 is also very remenescent of this whole damsel in distress theme. For one thing, Keith is established as Shiro’s sole rescuer, and the “reunion” scene is an intimate moment between just the two of them. Kuron’s hero is here to save him, and they can both finally be at ease. The start of the next episode is very interesting because it just seems like business as usual. The paladins are all off on a mission, but Kuron is nowhere to be seen. He’s taken out of the action. Instead, this is the first time we get to see Allura use her bayard. And she makes for a fearsome opponent. It’s a distinct reversal of how you’d usually see a knight go off on their quest while the princess waits back at the castle for their safe return. Here, Kuron takes on that position. And the way we see Keith dutifully caring for him at his bedside afterwards reinforces this idea. And it’s okay for Kuron to rest and take as much times as he needs. It’s okay because Keith will still lead in the meantime and he’ll always be there to check in on Kuron and help him through his recovery. 

Of course, there’s more than one way to save someone, and I think it’s important to make that distinction with Shiro and Keith’s relationship. Because it’s not Keith carrying all of Shiro’s weight for him and taking care of everything. It’s about Keith really supporting Shiro and reaffirming that he is a good and worthy paladin–“You mean, your bayard.” It’s the way that Shiro has already given himself up for dead but Keith looks him in the eye and tells him that he’ll be alright, that he can make it. It’s the fact that Shiro struggles with his trauma and still believes that he’s a monster, that he’s undeserving of the title “paladin” and that there’s no way he can stand against the empire and survive. Keith asserts time and again that Shiro is their leader, that Shiro is strong and kind and loving, that Shiro isn’t broken, that he deserves to live. It’s that Keith gives him hope, and Shiro is able to stand by his side and push forward because of it.

Ultimately, I think the best way to describe this dynamic is by just quoting what Josh said at wondercon about his favorite scene: “Shiro is in really bad shape and he’s waiting to pretty much get rescued by Keith. I love this clip because you really see the weak side of Shiro, you really see Keith’s determination to find him. And it was just really exciting for me to watch it. Because it really looks dire, and it really looks like he’s not gonna make it in time. And then–a hero comes through and saves the day with the lion.” Keith is really Shiro’s hero. And just like he’s promised, he’ll always be there to save Shiro–as many times as it takes

Can we talk about the importance of Dante in “Aristotle and Dante Discover the Secrets of the Universe”?

He’s a character who’s completely unapologetic about wearing his emotions on his sleeves, while at the same time just being a genuinely good person.

Too often, LGBT characters and individuals in real life are forced to hide their emotions for one reason or another - generally at the fear of what others might think if we’re too open.

But nope. Dante doesn’t care. He’ll kiss his dad on the cheek and tell Ari he loves him without holding back in the least (even though he’s demonstrated to be worried about losing Ari as a friend in the process).

We need more role models like that.

Daenerys Targaryen: At this point, it’s just bad story-telling

The most important element of GRRM’s style of story-telling is that it follows certain key monomythic structures of story-telling, which form the heart of a good story. This structure is not followed for everyone - arguably, there are less than ten characters for whom Martin has painstakingly wrought a full arc.

Here is Dan Harmon’s (creator of Rick and Morty, [Adult Swim]) explanation of how he uses it, as mentioned on his blog (link to his tumblr included) [btw, this is a great read, and is the first part of a series about how to plot out a good story. If you’re an author, or aspiring, I highly recommend checking it out.]

Draw a circle and divide it in half vertically.

Divide the circle again horizontally.

Starting from the 12 o clock position and going clockwise, number the 4 points where the lines cross the circle: 1, 3, 5 and 7.

Number the quarter-sections themselves 2, 4, 6 and 8.

Here we go, down and dirty:

. A character is in a zone of comfort,
. But they want something.
. They enter an unfamiliar situation,
. Adapt to it,
. Get what they wanted,
. Pay a heavy price for it,
. Then return to their familiar situation,
. Having changed.

He summarizes it something like this. I think.

Hero - Want - Go - Fight - Get - Suffer - Return - Changed

There are the obvious characters for whom this arc has been granted - Jon and Daenerys and Tyrion and Arya.

And there are the less obvious ones - Theon, Sansa, Jaime, Sandor, Sam, and yes, even Cersei.

Now, the books and the show aren’t complete, but with the prevalence of so many parallel plotlines, they move back and forth within this circle repeatedly.

Here’s Jon’s first arc, for instance - he is safe in Winterfell, he wants to be a knight, he goes to the Wall, he becomes a brother, he realizes the Wall is manned by criminals and unwanted sons, he is horribly disillusioned, he realizes he can never go back.


Here’s another arc - he wants to prove himself, he goes beyond the Wall with the Halfhand’s party, he gets captured by the wildlings, he murders Qhorin to gain their acceptance, he betrays Ygritte, he returns to the Wall, broken-hearted.


Fast-forward to the show canon - he wants to take back Winterfell, he leaves the Wall with Sansa after having won repeatedly against the wildings and established himself as a notable commander, he fails to recruit the Northern Houses, he assembles an army, he watches Rickon be murdered, he loses to the Boltons and is saved by Sansa, he returns to Winterfell.

Between arc 1, and arc 3, there is a larger arc at play - when he is at Winterfell he’s deeply dissatisfied with his social status, so he leaves Winterfell to become a ‘black knight’, he adapts to the Night’s Watch, he becomes a leader, he loses his lover, his father, his family, his brothers, he becomes the Lord Commander, he returns to Winterfell as King, but now with no ambition except keeping his people alive and safe.


This. This is good storytelling.

This is what makes Jon Snow such a compelling figure. Because he fucking suffers, and it affects him. 

It alters him.

It makes him a better man, a better friend, a better commander.


This does not happen with Daenerys. 

If anything, her arc is in reverse.

Look at her first arc - she starts off in a terrible position, she is raped, repeatedly, by her husband, and abused emotionally and physically by her brother (let’s just go with show canon, since GRRM apparently green-lit this nonsense). Clearly, not a position of comfort or safety, but it goes some way in establishing her as a sympathetic character. 


Her ascent cycle begins - she seduces her husband, sidelines her brother and watches him die, becomes a Khaleesi in her own right, has her husband promise her to take back Westeros.

(Note at this point this she’s enabling slavery - the Dothraki trade in slaves. Dany personally is served by three slaves. The Lhazareen women she ‘saves’ she does so by taking in as her personal slaves. But there’s plenty of metas about Dany’s White Saviour trope. You don’t need mine.)

(Note also, that she is perfectly happy for her husband’s horde to rain havoc, bloodshed and destruction on her own country. At no point does this trouble her, that if the Dothraki cross the Narrow Sea, the women that will be raped, the men that will be murdered, the children that will be orphaned - they will be her subjects. But there’s metas aplenty on this as well, Dany’s all-consuming lust for power. You really don’t need mine.)

When Drogo dies, and her baby dies - she suffers, yes, for about the span of five minutes. She loses the khal, and replaces it with? Dragons.

She suffers what, in the universe this story is set in, amounts to, at best, a MINOR SETBACK, and has this addressed by gaining MYTHICAL WEAPONS OF MASS DESTRUCTION.

This is Daenerys’ arc, (along with the most vocal, popular reactions)

So, she starts off low (awww), 
becomes a Khaleesi, (yay!),
loses her rapist, destructive, murderous husband, (…awww),
becomes a Mother of Dragons, (YAY!)
advances onto Astapor, (YAY!)
gains a slave army, (YAY!)
marches on to Yunkai (YAY!),
loses Jorah, (…aw.),
conquers Meereen (YAY!)
destroys the economies of three cities, (…)
does nothing except throw a fit when Barristan is murdered by the Sons (…)
is almost murdered by the Sons of the Harpy (..awww??)
saved by Drogon (YAY!)
taken by the Khals to Vaes Dothrak (awww)
murders the Khals, and burns their most important religious site to the ground, to free herself from being sold into slavery* (YAY!)
sails to Westeros. (YAY!)
with three mythical, all-powerful weapons of destruction (YAY!)

*Oh, the fucking irony.

And so her character stays within the same loop of -

  • Arrive at new place.
  • Intimidate via dragon.
  • Murder those who get in her way.
  • Instate herself as Queen.
  • Rage when the people refuse to accept her.


Astapor, when she cannot actually afford to buy the Unsullied:

Yunkai, when the City sends a diplomat:

Meereen, at the fighting pits:

Slaver’s Bay, after Tyrion’s peace talks fail and the Cities’ economies are on the verge of collapse:


The sheer profusion of victories accorded to her character is frankly insane.

She never loses anyone she cares about, because she cares about no one. She says it herself. Over, and over. Westeros isn’t a country, a people, a culture. It is reduced, for her, to a pointy chair, and the legacy of her mad, murderous ancestors. 

If the smallfolk must die, let them.
If the soldiers must die, let them.
If the Lords must die, let them. 

She’s callous to the point of psychopathy, and so, I repeat.

SHE.

NEVER.

SUFFERS.


Even Cersei, arguably the series primary remaining antagonist has suffered far worse than the woman they’re pushing as the Saviour-Hero. 

Cersei loses her father,
loses all three of her children,
watches her son die in her arms,
is tortured in a dungeon,
is made to parade naked through the streets of her own city,
is heaped with literal excrement and abuse and the kind of horror that would break anyone.



Sansa loses her father,
her mother,
her oldest brother, her youngest brother,
she is beaten and humiliated in front of her peers,
subjected to Petyr’s advances,
repeatedly beaten and raped by Ramsay Bolton,
forced to look at her Father’s decapitated head,
forced to look at her ally in Winterfell, dead and skinned
bypassed by the Northern Lords for her bastard brother even though her efforts turned the tide of a war Jon Snow lost. 



Jaime loses his father,
is betrayed by his brother, who joins the enemy,
loses all three of his children,
watches his daughter die in his arms,
loses his sword hand,
is tortured by brigands,
is called Kingslayer for saving a city from burning to the ground.



I could go on, but the point is this -

Daenerys has lost nothing.
Daenerys has gained everything.

If she survives this story, if she initiates the Targaryen Restoration, if she takes the Iron Throne easily, not only does it devalue the entire point of A Song of Ice and Fire, it is a step backward for the story - a series that has devoted itself to destroying fantasy tropes, deconstructing human ambition, and reminding us, again and again and again, that the most important battles are the ones that fought in our hearts.

It is a betrayal on a scale that spans two decades of ambitious, brilliant, life-changing work. 

It reduces the worth of everything they’ve constructed so far.

It isn’t the show we were promised.


But it could be.

Infatuation

Originally posted by king-beluga

Pairing : Taehyung x Reader
Genre : Fluff, smut, Hybrid!au
Word count : 3428
Warning : smut, demeaning names



“Yeah, that one is famous. Have fun with it.“

Taehyung seemed distracted with some coloring book you brought for him as he halfway nodded without a look at your direction. Lazily lying down on his side, the rug of the living room under him. His palm holding his head as one hand was mindfully coloring the drawing. His features were adorning a bored expression but you still assumed he was focused on what he was doing. The soft dim light of the lamp was bathing his face in an ethereal golden glow. With a smirk, you could not help but state, humming a little behind the counter.

“It seems you love that one.”

A teasing smile made its way to your lips as you took a deep breath, your hands busy with putting away the cutlery from the dishwasher. It was a nice cozy and quiet Friday evening among others. Your heart warmed up by the sole fact your dog hybrid ate all the food you prepared for him as your warm glance laid upon him. He was peering into your eyes from behind his long enthralling lashes, deep voice echoing around the living room.

“Yeah, I think these coloring books are fun. Truly, they are work of art, in a way.”

You cocked one brow at him as you put one clean plate on the counter, making your way to your dog busy with the coloring book you bought from the store on your way home the day before. A frown made its way to the silver-haired hybrid’s tan face as his contemplative eyes crossed yours.

“I guess that…”

The hybrid ended up his sentence in a whisper, his eyes flickering back to the page he was before busy coloring. He seemed absorbed by the coloring book as his hand roamed over the many color pencils. After all, you were best to know art bathed in his precise and creative being.

Fascination.

“Well, what do you mean by “famous?” These are strange looking characters. I mean…You don’t see people dressed like this everyday. Are they from the TV shows you talk about so much? Because if yes, I really wanna check that show. Their world must be truly interesting.”

Keep reading

it’s so funny to me how much the homestuck fanbase changed in 2011-2012

like, initially hussie’s audience was largely just nerdy webcomic fans until it kind of branched out and was comprised mostly of those geeky ass cishet dudes who argue about power levels and call themselves gamers and shit

however, around hivebent the fanbase shifted immensely and a lot of teenagers and young adults – esp girls, and esp LGBT ppl – got super into the comic to the point where it pretty much blew up

and a lot of the geeky cishet dudes who followed the comic the longest were super bitter about it and talk at length about how “gayness” and “tumblr” and “shipping” supposedly “ruined” homestuck

however… for the great majority of homestuck’s popularity and updates it was a character-driven story with a super cool concept that carried the story but was largely never explored in-depth. we know very little about the setting (alternia, earth, etc) or the intricacies of the game mechanics (classpects etc) but we DO know quite a bit about the characters’ relationships and interactions

and that’s what kills me! tbh, character interaction and character development was ALWAYS one of hussie’s biggest strengths as a writer. it’s so funny that weirdo nerd guys who care exclusively about classpect nonsense, game mechanics, etc and proudly proclaim the “only ship they care about is john/roxy” don’t like the way the comic turned out

whether they were the intended audience or not, homestuck was never meant to be the type of media they’d really enjoy. i don’t know why they expected back to back epic fight scenes and explosions and grand heterosexual romances instead of hundreds of pages of insecure teenagers talking about their feelings. that’s always been a huge part of what homestuck was.

Alright, I watched all the interviews of the cast and I have to say that yes, the stupid song and the comments that followed it were the worst part, but honestly, all the interviews were such a mess and so unprofessional. They kept messing around saying stupid things and not actually answering any question??? It was honest to god embarrassing to watch. 

All of this doesn’t concerne Katie, David and Odette. They were very nice and were actually giving serious answers even tho they kept asking them the same two questions over and over again. And also, Katie validated, again, ALL the fans and ALL the ships right after that ugly song and embarrassed all of them in doing so. A Legend. And she thanked more than once the fans for the response to her character and was actually the only one to openly welcome Odette in the show. She is the only one worthy of respect, always and forever.

I also want to say that if Chyler were there, and Floriana too (I know a lot of you don’t like her for a number of reasons but still, she always validated her fans), thing would have gone differently and it would have been glorious to have Katie and Chyler talking with passion about their characters because they understand them and care so much about them and their story.

I am so bitter right now. I expected a big mess, yes, but a whole different kind of mess. They didn’t even allowed the fans to ask relevant questions because they are cowards. That’s it.  

The only positive thing that we got out of this is Katie being her amazing self and showing once again to everyone how to handle correctly all the different views that people might have without invalidating any of them.

Star Wars and toxic masculinity though, I’m sorry, but what? Are we watching the same movies? They have a pretty clear message: Anger is the path to the Dark Side. If you want to be a hero, don’t go around getting angry and being violent, you have to be nice. Kind. Understanding. That’s kind of a central message. And it runs very much counter to the whole angry, prone to violence, emotionless macho thing.

That’s shown in the characters as well, because we’ve got some really big tough no-emotion macho hero types there, let’s review:

  • Luke Skywalker, bleeding heart idealist, has a lot of feelings and shows all of them. Whines about wanting to see his friends. Cries when upset or in pain. Appeals to people’s conscience, does the right thing, big on calming your mind and listening to your heart. Makes friends with everyone immediately, can’t hate anyone for longer than two minutes. Does not hesitate to rush headlong into danger, but can’t necessarily save the day with fighting prowess. Cares deeply about everyone. If you could be friends with any character, I’d recommend this one.
  • Han Solo, resident idiot, has many feelings and tries to hide them, everyone knows anyway. Will glance broodily around so that you can tell he’s upset or conflicted. Really wants to talk to the girl he likes about her feelings, but has no idea how. Says he doesn’t care, continually runs straight into danger to save the people he cares about. Doesn’t even try to look tough in the face of torture, immediately starts screaming, would never say “it’s just a scratch”. Constantly needs help, always barely one step ahead of total disaster, definitely not your knight in shining armour.
  • Lando Calrissian, actual ladies’ man, charming and suave, arguably the closest we get to a fuckboy except not because he totally respects Leia. Shows polite interest, does not push or manipulate when he realises that she’s not interested, despite the fact that this happens very subtly. Does not hesitate to do the right thing, loyal to his friends, even at great personal cost. Also does not hesitate to follow Leia’s orders, and not because he thinks it’ll get him laid.
  • Anakin Skywalker, drama queen extraordinaire, has far too many feelings and most of them make him cry. May seem a little whiny. Always wants to talk about his feelings, readily shares them with anyone who’ll stand still for long enough. Loves very deeply and is not afraid to show it. Gets very angry, but this is shown to be a Bad Thing. Gets too attached to the point of obsession, which is also shown to be a Bad Thing.
  • Obi-Wan Kenobi, drama queen support group, is a lot better at keeping his feelings under control but still has them. Will absolutely cry at emotional moments (possibly because he is tired). Understands everyone, even if he kind of wishes he didn’t. His need to be rescued by Anakin is a running joke, but not in a way that demeans him as a man, or a person. Makes snarky quips to reassure himself. Knew all along that This Is A Terrible Idea. Definitely the Mom Friend.
  • Palpatine, the big bad, an evil nightmare of a man. Literally uses his anger and hatred as a power source. Enjoys torture and violence, wants to corrupt the hero with hatred and anger. Likes to pretend he knows everything, needs no help, thinks love and friendship are weakness. Has no friends. Employs no women (in the movies). Shows no emotion except smug superiority, anger, and, briefly, panic. Ultimately defeated by the power of love and forgiveness, which serves him right.

Star Wars very explicitly portrays excessive anger and violence as BAD, and caring and understanding as GOOD. The guys are allowed to cry, they all need rescuing at various points and they aren’t “less” for it. They work together with women, as partners and equals. When Anakin finds out that Padmé is pregnant, he doesn’t roll his eyes or get cold feet, he’s delighted. He’s excited to be a father and start a family. The only disparaging comment I can think of that any guy makes about women in the movies is Han’s “If we can avoid any more female advice” which is followed by Leia telling him to shut up and do what he’s told, and Han grumbling and doing what he’s told. So that plays more like Han trying desperately to find some way of getting back at Leia because he does not like being told what to do, and immediately losing another round.

We see Han trying to get Leia to admit how she feels about him, while Leia is more concerned about getting him to join the cause. We see Padmé trying to be practical and focus on the mission while Anakin can’t shut up about his feelings. We see Luke saving the day not by being the ultimate badass macho fighter man, but by appealing to his father’s conscience, his love, the good in Anakin Skywalker. We see plenty of instances of men asking for help and accepting help, showing emotion without being judged or fear of being judged, wanting love and family, etc. We also see romantic rivalry between Han and Luke, and Han and Lando, that does not turn into any kind of “fight” for Leia’s affections, because it’s Leia’s choice and they all know and respect that. In fact, the three guys are friends and stay that way.

All of that is the opposite of toxic masculinity, as far as I can tell.

If anything, the prequel trilogy is a cautionary tale about the importance of keeping your emotions, especially your anger, in check, and the original trilogy is basically how to do it right. Darth Vader is not portrayed as some kind of masculine ideal to strive for, he’s the bad guy. Luke, with his emotional openness and explicit refusal to give in to anger and hatred and violence, is the good guy. Luke is a character you can show to a little kid and say “this is a hero”.

I guess if you twist it enough you can see sexism and toxic masculinity in everything, and I’m not saying these movies are perfect. They have plenty of problems. But when it comes to portrayals of male heroism (and villainy), I think they’re actually pretty damn good.

So I went to see Justice League...

But before I continue, I would like to make it clear that I am not a film critic so this will be all over the place. I promise NO SPOILERS.

First thing’s first tho - When the movie ends, do not leave right away. Wait for the post-credit scene. You will not be disappointed. I was stoked. One of my favorite villains - to some who knows me will know who I’m talking about - is in this scene and I am very happy.

Now onto the film - I’ve always been a DC fan so I am a bit biased. I’m not going to say there wasn’t anything I didn’t like about the film - There is ONE THING but it’s not the acting, not the storyline, not the dialogue. Everyone’s great in the movie. Even Miss Amber Heard - She’s awesome. But this one thing I think really distracted me in the beginning but I got over it. And yes. I’m talking about Henry’s CGI :/

BUT - the rest of the film - At least to me is brilliant. Each characters I think were given enough scenes that we got to know more about them. JL in my opinion is a good base for the stand-alones coz this film made you care about each one of them. I just cannot wait for part 2.

The entire movie for me was very entertaining. I love seeing the Amazonians - And during some flashbacks, we’ll see some characters that is definitely gonna be in the next JL film/s. Definitely. 

We saw a lot of action in the trailers but I was really happy that most of the things we saw on the trailer were just BITS. There’s so much MORE especially when they are all UNITED [wink wink.]

I’ll give you this tho. All Barry scenes are both priceless and precious. He’s absolutely a favorite. He’s the one you’d want to protect ha And his scenes with Supes are my favorites… 

So, yup. It was great, it was entertaining. There’s one small detail that almost distracted me but I can forgive it coz I mean, come on, JUSTICE LEAGUE on the big screen. If you’re a DC fan, you will love it! Go get your tickets and see it! I know I’ll see it again sometime this weekend :)

Enjoy your evening everyone!!

-A

ETA: HOW DID I FORGET TO MENTION -

Miss Prince kicked a lot of asses in this movie. She was great as always.

Kisses On A Plane (Grayson)

You shut your eyes tight, pushing your head back against the headrest as the plane jolted to life. Passengers were still filing in and taking their seats as the pilot announced you would be departing in a matter of minutes. You hoped to God no one would take the vacant spot next to you. You booked first class solely for that reason. A five hour flight from L.A. to New York with some stranger asleep on your shoulder? No thanks. Your eyes scanned the passengers taking up the aisles before landing on one in particular. He had headphones wrapped around his neck, brown hair swept across his forehead and the most stunning hazel eyes you had ever seen. There was a small mole on his chin and his lips were plump and pink. He was undoubtedly one of the most attractive guys you had ever laid eyes on. You were surprised to find he was alone, expecting some kind of model girlfriend to be trudging along behind him. When he stopped next to your seat, eyeing the spot next to you, your mouth went dry. He looked down at you, giving you a small smile.

“Uh. I think this is me.”

“Oh!” You stood as best as you could, shifting over so he could take the aisle seat next to you. “Sure, help yourself.” You smiled back, laughing awkwardly as you scrambled to move over. He laughed lightly before plopping down beside you. Holy shit he smelt amazing. He got himself situated then outstretched his hand towards you.

“I’m Grayson.”

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