anyone who has spent five seconds around him ever:
yes, you love Trina, we know, you love Trina so much, she's the light of your life, you love her so much, you just love Trina, we KNOW , you love Trina you fucking love Trina ok we know, we get it, YOU LOVE TRINA. WE GET IT.
Excuse me… excuse me… but Aang’s behaviors towards Katara…
the unwanted, unwarranted advances
the sense of entitlement to her affection
the aggressiveness when his advances are not returned
the jealously when her affections are directed somewhere else
the physical aggression when she avoids his questioning
…are far too often dismissed because “Aang is just a kid.”
Let me tell you something - Male entitlement starts at that age. Feelings towards love interests, thoughts about love interests, affection, entitlement, rape culture, it all starts at that age. Aang displays every behavior that a woman would normally fear from a man, whether it’s someone she’s close to or someone she’s just met.
I don’t care if “he’s only twelve.”
If Zuko had acted like that towards Katara… Wait, wait no, not Zuko, that subject is too hotly contested for some of you to handle.
If Haru had acted like that towards Katara, hewould’ve been crucified. If Jet had acted like that towards Katara, he would’ve been crucified. If any other boy on the show, besides the hero who’s so pure and perfect and ‘nice’ he couldn’t possibly be wrong, treated Katara like that, he would've been crucified.
It does not matter that Aang is only twelve. What matters, is his explicit disrespect for a disinterested female.
Aang should’ve been taught better, by Sokka, by Hakoda, by Zuko, by Haru, byANYONE!By teaching him respect, A:TLA could’ve sent a very powerful message to boys and girls all over the world -Just because you like someone, doesn’t mean they have to like you back.
“How long do you think it’s gonna take Oak to get shit-faced tonight?” Anthony asked, looking towards Daveed, who sat at the bar stool next to his own.
The guys of the cast had set up shop at a bar after not getting together for a while, and Oak was definitely drinking enough for the entire group.
“It depends. Under two hours. At least,” Daveed replied, gesturing down the bar where Oak sat, flirting with a bartender under the prospect of getting free drinks. Lin stood next to him, watching on.
“Nah. I think he’ll last. Over 2 hours.” Anthony countered, sipping his beer.
“Really? I don’t believe you.” Daveed narrowed his eyes. “Have you seen him? I’m sure he’s already tipsy.”
“Depends, what are the terms and what happens if I lose?” Daveed replied, drinking out of his own beer.
“He usually ends up hitting on literally anyone when he’s drunk. As soon as he does, we check the time. If it’s past,” Anthony glanced at his phone. “-11 o’clock, I win. If I do, you dye your hair. Temporary, of course. We have a show tomorrow. At least through rehearsal and the Ham4Ham show. I’m thinking pure rainbow. ROYGBIV. It’ll be perfect.”
“That’s harsh. I haven’t met my soulmate, I imagine this would make them hate me. Hopefully, they won’t care. Whatever. I’ll win. And when I do, you have to dye your hair. Deal?” Daveed asked, offering his hand. He was willing to risk a lot for a simple bet, but it was just who he was. Even if it meant risking his soulmate’s hair.
It was a weird quirk of society. Soulmates had the same color of hair. Whatever changes were made to one party’s hair happened to the other’s. For example, if one person died their hair blue, their soulmate’s hair would change blue as well. This made dying your hair very frowned upon, along with any drastic changes to body appearance.
Anthony stopped, thinking for a minute. “You’re on. Deal.” He reached out, shaking Daveed’s hand. The two turned to watch the storm go down. Oak was taking shots; Daveed was confident he would win.
“I’m going to fucking kill my soulmate when I meet them, I swear. My interview’s today! I’m never gonna get the job now, Sara.” You vented into the phone to your best friend, fingers clawing through your hair. You had woken up to find rainbow colored hair covering your head on the day of a very important interview.
MOLLY RINGWALD: Growing up, were you obsessed with girls, as so many of your male characters are?
JOHN HUGHES: No. I was obsessed with romance. When I was in high school, I saw Doctor Zhivago every day from the day it opened until the day it left the theater. The usher would say, “Hiya, your seat’s ready.” And I just sat there, glued to the screen. Most of my characters are romantic rather than sexual. I think that’s an essential difference in my pictures. I think they are more accurate in portraying young people as romantic - as wanting a relationship, an understanding with a member of the opposite sex more than just physical sex.
MR: What about teen sex in your movies? You never show it in Sixteen Candles or Breakfast Club. Did you want to leave it up to the viewer’s imagination? Or were you just looking for a PG rating?
JH: No. What’s the point? In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss. The kiss is the most beautiful moment. I was really amused when someone once called me a purveyor of horny sex comedies. He listed Breakfast Club and Mr. Mom in parentheses.
MR: Oh, god!
JH: I thought, “What kind of sex?” Yes, in Mr. Mom there’s a baby in a bathtub and you see it’s bare butt. And in Breakfast Club, there’s some kissing.
MR: You wouldn’t believe how many people came up to me after they saw Breakfast Club and said, “So what really happened between you and Judd in the closet?”
JH: Older people or younger people?
MR: Mostly older people.
JH: Yes, older people asked me that question too.
MR: I never even thought about that. I did a phone interview and somebody said, “So, what really happened in the closet?” And I thought, “Why are you asking me that? What happened was shown there on the screen.”
JH: Yes. The only thing we took out of the scene was a bit of dialogue. You walked into the closet, and I cut away to the other story I was telling.
MR: You did cut out one great kiss between Judd and me, though.
JH: Too much kissing. I find that screen kissing wears very thin very quickly. I go into the editing room and say, “Less, less.” Why watch someone kissing when people really close their eyes when they kiss?
MR: I see your point, but I just thought you cut out a great kiss. Anyway, would a woman like Kelly LeBrock have been your ideal when you were a teen?
JH: No. Too scary.
MR: So why did you create the character she played in Weird Science?
JH: Well, the object there was -
MR: That she taught them a lesson, right?
JH: You’re making fun of me.
MR: No. I’m sorry. Go on.
JH: Two lonely guys tried to create the perfect woman. But, they didn’t. They created a physical fantasy who turned out to be an actual person. They hadn’t planned on getting a real person, just a great body. They were concentrating on the physical, which is only a very small part of anybody’s identity.
MR: Isn’t it a contradiction to talk about how kids have more on their minds than just sex and cars and then show two characters dreaming up the perfect mate? That was purely sexual. They didn’t even want to give her a brain at first.
JH: No. I don’t think there’s a contradiction, because when those guys got her, sex was the last thing on their minds. They wanted a girl, but they had no idea what girls were. They didn’t understand them at all, because girls weren’t really accessible to them. So, their concept of girls was media-based.
MR: Do you think that goes for most teenagers?
JH: I don’t think so, no. There’s a very fine line there. And it’s a line that I probably didn’t respect enough in directing the film. You know those sexy pinup posters people put up in their bedrooms? I always saw them as being kind of silly and vacant. That was to be the point of the movie - that this glistening body in this semi-revealing outfit with this come-on look on the face is a real empty, pointless image to carry around or to look for.
MR: So, which of your characters were you most like while growing up?
JH: I was a little bit like Samantha. A lot of my feelings went into her character. I was also very much like Allison in Breakfast Club. I was a nobody. And I’m also a lot like Ferris Bueller.
MR: But of all the characters, which would you say is most like you?
JH: Most like me? I’m a cross between Samantha and Ferris.
MR: How did you write the story of Pretty In Pink?
JH: You told me about the Psychedelic Furs’ song.
MR: About Pretty In Pink? I just love that song.
JH: And the title stuck in my head. I thought about your predisposition toward pink. I wrote Pretty In Pink the week after we finished Sixteen Candles. I so desperately hate to end these movies that the first thing I do when I’m done is write another one. Then I don’t feel sad about having to leave and everybody going away. That’s why I tend to work with the same people; I really befriend them. I couldn’t speak after Sixteen Candles was over. I returned to the abandoned house, and they were
tearing down your room. And I was just horrified, because I wanted to stay there forever.
MR: Do you think you’ll always work with young actors?
JH: Not every time, maybe, but …
MR: You won’t abandon them?
JH: No, I won’t abandon them.
MR: Do you think the Brat Pack’s recent obnoxious image is deserved, or does the press just pick on them because of their age?
JH: I think that this clever moniker was slapped on these young actors, and I think it’s unfair. It’s a label.
MR: People my age were just beginning to be respected because of recent films such as yours, and now it’s like someone had to bring them down a peg or two, don’t you think?
JH: There is definitely a little adult envy. The young actors get hit harder because of their age. Because “Rat Pack” - which Brat Pack is clearly a parody of - was not negative. “Brat Pack” is. It suggests unruly, arrogant young people, and that description isn’t true of these people. And the label has been stuck on people who never even spoke to the reporter who coined it.
MR: Such as myself. I’ve been called the Women’s Auxiliary of the Brat Pack.
JH: To label somebody that! It’s harmful to people’s careers. At any rate, young people support the movie business, and it’s only fair that their stories be told.
MR: A lot of people said in the reviews of The Breakfast Club, “Why should somebody make a movie about teenproblems?” I couldn’t believe that. I mean, we are a part of this society …
JH: I think it’s wrong not to allow someone the right to have a problem because of their age. “People say, "Well, they’re young. They have their whole lives ahead of them. What do they have to complain about?” They forget very quickly what it’s like to be young.
MR: Who would want to remember? I’m tortured. People forget the feeling of having to go to school on Monday and take a test in physics that you don’t understand at all. It’s hard. Right now, I don’t think I’ll ever forget it.
JH: Ferris has a line where he refers to his father’s saying that high school was like a great party. Ferris knows what his father was like, and he knows that his father has just forgotten the bad parts. Adults ask me all sorts of baffling questions, like, “Your teenage dialogue - how do you do that?” and “Have you actually seen teens interact?” And I wonder if they think that people under twenty-one are a separate species. We shot Ferris at my old high school, and I talked with the students a lot. And I loved it, because it was easy to strike up a conversation with them. I can walk up to a seventeen-year-old and say, “How do you get along with your friends?” and he’ll say, “Okay.” You ask a thirty-five-year-old the same question, and he’ll say, “Why do you want to know? What’s wrong? Get away from me.” All those walls built up.
MR: Do you think that society looks at teenagers differently today than when you were one?
JH: Definitely. My generation had to be taken seriously because we were stopping things and burning things. We were able to initiate change, because we had such vast numbers. We were part of the baby boom, and when we moved, everything moved with us. But now, there are fewer teens, and they aren’t taken as seriously as we were. You make a teenage movie, and critics
say, “How dare you?” There’s just a general lack of respect for young people now.
MR: I think so, too. What were you like growing up?
JH: I was kind of quiet. I grew up in a neighborhood that was mostly girls and old people. There weren’t any boys my age, so I spent a lot of time by myself, imagining things. And every time we would get established somewhere, we would move. Life just started to get good in seventh grade, and then we moved to Chicago. I ended up in a really big high school, and I didn’t know anybody. But then The Beatles came along.
MR: Changed your whole life?
JH: Changed my whole life. And then Bob Dylan’s Bringing It All Back Home came out and really changed me. Thursday I was one person, and Friday I was another. My heroes were Dylan, John Lennon and Picasso, because they each moved their
particular medium forward, and when they got to the point where they were comfortable, they always moved on. I liked them at a time when I was in a pretty conventional high school, where the measure of your popularity was athletic ability. And I’m not athletic - I’ve always hated team sports.
MR: You’ve been sticking pretty close to Chicago, but now that you and your family have made the transition to L.A., do you think you’ll go back and film everything in Chicago?
JH: I think I will. I’m very comfortable there. It’s out of the Hollywood spotlight. And I like the seasons.
MR: What about what you were saying about the way Dylan and Lennon were constantly moving forward? Don’t you think you’ve done a lot of movies about Chicago?
JH: No, they weren’t about Chicago. Chicago’s a setting.
MR: But, they’re about suburban life …
JH: I think it’s wise for people to concern themselves with the things they know about. I don’t consider myself qualified to do a movie about international intrigue - I seldom leave the country. I’d really like to do something on gangs, but to do that, I’ve gotto spend some time with gang members. I’d feel extremely self-conscious writing about something I don’t know.
MR: I think one of the most admirable things about you is that you do write about the things you know and care about. I think that teen movies were getting a bad reputation because these fifty-year-old guys were writing about things they didn’t care about.
JH: I love writing. When I finish a script, it’s a joy to sit down and go all the way through it. It’s a very private thing, because a screenplay is not like a book. When a book is written, it’s a final product. But, when a script is finished, it’s really just a blueprint. And it’s an extraordinary experience for me to watch someone take what I wrote and imagined and make it three-dimensional. And it’s great if someone adds something I hadn’t thought of.
MR: Would you consider yourself fashion-conscious?
JH: Yeah, I think so, as far as I’m conscious of everything. I’m a former hippie, so clothes are important to me - your clothes defined you in that period. I guess clothes still defines people. But, I change a lot. I’m in my Brooks Brothers period now. I think when I first met you, it was -
MR: High-top tennis shoes.
JH: Yeah? But I’ve changed.
MR: So how does your wardrobe define you?
JH: My wardrobe is a hundred shirts, and I don’t like any of them. How does that define me? Well, I get bored easily. I have a real short attention span, and that feeling transfers to clothes as well. And if I see somebody else wearing the same thing I am, I always think he looks better. I admire people like Judd Nelson, who have an innate sense of fashion. Judd could wear a bathrobe and sanitarium sandals and a fedora and look good.
MR: If you weren’t in film, what might you like to do?
JH: I’ve always wanted to be in music, but I’m not talented at all. Now I just go to concerts, and I’m fascinated by the bands and their music. When I go to a concert, I can’t believe that people pay lots of money to see a band that they obviously like and then they dance the whole time.
MR: But a lot of people dance as a way of communicating.
JH: You can go home and put the record on and dance. I want to watch how the band does it. I want to look at their faces.
MR: When we went to see Squeeze, these girls were standing on their chairs and getting on top of people’s shoulders to dance with a beer in one hand and a cigarette in the other. They were right behind me and my sister, and we were tempted to do something violent! It really bugs me when people act like going to concerts gives them license to act like jerks. But I don’t mind people dancing. In fact, I hate it when people say, “Sit down, sit down” when I want to dance.
JH: I suppose it would be really alarming to an artist to play in a concert and see everybody just watching.
MR: Oh, that’s terrible!
JH: I’m one of those who do that.
MR: Yeah, I’ve been to a concert with you.
JH: I’m not a good-time guy. I’m not one of those guys who says, “Oh, we had some good times last night.” I’m just not.
MR: But you wanted to be in a band at one point?
JH: Yeah, but I’m too old for that now. Rock ‘n’ roll is a young form. People over twenty-five ruin it. This whole censorship thing has come about because old people are playing with a form that is essentially young and rebellious. Do you know how brilliant it was for The Beatles to break up when they did?
MR: Yes, it was great. But I don’t think rock 'n’ roll burnout has anything to do with age. I just think that people can go only so far. People reach a point.
JH: I can’t deny people their art form. But you have to be challenged, and you have to meet that challenge.
MR: What are your favorite bands?
JH: The Beatles and The Clash are the greatest. I’ve listened to the Beatles’ White Album for more than sixteen years, and when we were filming Ferris Bueller, I listened to the album every single day for fifty-six days.
MR: That’s the album I listened to all during Pretty In Pink, remember?
JH: Yeah, I know.
MR: How do you see yourself changing in the next fifteen years?
JH: Growing older.
MR: I know.
JH: It’s a foregone conclusion. What’s next for you?
MR: I don’t know. I’d like to finish high school, and I’m totally late on everything to do with my SATs. I’m going to apply to colleges soon. So do you have anything you’re dying to do?
JH: I have a hundred things I’m dying to do. Make that a hundred and four. I’m going to write for a while. Going to see Pretty In Pink. Get to go sit in theaters and look at the film with great pride. I like watching you work - you know that.
We all know how much strongly bonded this Team is, right? But we know that it wasn’t like that and their connections are sometimes deeper than we think.
Remember in ep04 when Pidge wanted to leave the Team?
Keith was the one to answer her with anger and he was so
enraged it made me think of something. In this same episode, Lance and
Hunk complain about how far away they’re from Earth and they wanna go
back there. Lance talks about his mother’s hugs.
But we never got to know how the paladins felt about
missing their family. And that’s why Keith is so angry at Pidge: he
never got to know his true parents or they left him too soon, meaning
that he has no family and he doesn’t care about it (well actually he
does but it isn’t about finding his parents, but who and where he comes from).
Pidge wants to left the Team because Matt and her father are important
for her, and Keith isn’t able to understand that. Of course, Pidge’s
decision is controversial, but Keith can’t see it from another point of
view than the one he has. He can’t believe Pidge is going to search her
family because for him, family doesn’t mean anything anymore. He says
“Everyone in the universe has families”.
But he doesn’t realise that he’s saying that for
him. In a way, just like Lance, this team is the beginning of his new
family, of his new life. It’s only ep04, guys.
(this baby has so much sad sides I just can’t,,,,,)
Plus, we’ve never seen Hunk, Shiro and Lance’s families.
And it’s one of the things that makes the show really deep: they wanted
to go back to Earth but they grew up (at least for Hunk and Lance)
enough to know that rescuing the Universe was an emergency and they
couldn’t go back on their home planet. They talked about this just once,
then it was over.
(The… The blue oceans, white clouds, green grass… I…I can’t see any of it.) Give that boy a tissue please.
Remember, Lance is stated to be 16 and Hunk is in his
late-teens too. I know there are many series that use 16yo characters
and show them a lot as grown adults, but consider this: Having to defend the Universe at 16 while putting away his feelings
and forget his home planet isn’t a fabulous trip for Lance.
(I know we’re supposed to be brave paladins and Defenders of the Universe or whatever, but, honestly, I just want to go home.)
That’s maybe why
Lance is shown lonely is most of angst fics: it’s that he needs family,
and if Team Voltron isn’t there for him, he would self-destruct.
It’s not really the same with Hunk since he is friendly with everyone
and hasn’t self-confidence issues, however, the fact that he wanted to
save Shay and his family so much is one hella proof that he stills wants
to see his parents again: he would give everything to save a family
because he feels like he’s saving his too.
About Shiro, we know nothing, just like Hunk. But after
Pidge has rescued the castle in ep05, she states that his father talked
about his crew like his family.
(Dad used to tell me how close he was with his crew members. They were like family. I’m staying with you guys. Let’s stop Zarkon for all our families.) For all our families, goddamit guys I’m crying,,
Shiro can’t help but smile at it,
because he has realised that he had memories with Matt, and now he’s
making memories with Team Voltron. He’s also the leader for this reason:
he doesn’t complain about his mission, he needs to understand the
situation and he lives for the entire Universe, not only for Matt and
his team. His future is the only thing that matters, not his past. He doesn’t talk at all about his family because he know it’ll brings painful memories or make the paladins sad.
Okay I’m finished, I never thought this would be so long (I
thought I’d be writing a 5 lines paragraph, but meh), feel free to add
your own commentary or more proofs that this show is pure perfection
when it comes to character development.
i love mike , but too many people erase or minimize his negative traits and im tired of it ok. appreciate the mike wheeler who’s awkwardness isnt “cute”. appreciate the mike wheeler who gets angry at little things. appreciate the mike wheeler who isnt necessarily the sweetest person because he doesnt know how to express it. please appreciate the mike that the show created, not the “perfect, pure baby” that a lot of you guys make him out to be