(( under the cape: To avoid confusion tbh, ( and because it’s a pet peeve of mine tbqh) unless there is a particular reason to hide or be inconspicuous Thor doesn’t arrive or leave Midgard in Midgardian clothes. In fact, the majority of the time he will don his armor, or a simple version of it ( see Avengers during the briefing and Age of Ultron post-battle and during the briefing). The Asgardians are out of the bag so to speak, at least in MCU, and unless there are good reasons to be less flashy they probably won’t be. The Warrior’s Three arrive in full armor in Thor 1, Sif returns to full armor in Agents of Shield once it’s clear who she is etc. In MCU they have no reason to hide, furthermore, randomly finding and using fitting clothes is a hassle. People are aware they exist, they are also very prideful, and no, they wouldn’t desperately try to fit in unless it’s a serious matter of security/safety and being incognito benefits them in some way.

anonymous asked:

Can you give us your thoughts on Tommy's pep talk to Charlie in the caravan in 3.03? Thanks for all you do!

Hi anon! Thanks for the ask (but not making me re-live this lol). I think Tommy’s half-talking to himself, half-talking to Charlie and a lot talking to the audience in this little monologue. After sorting out as much as is vital for business both legitmate and less-so, Tommy is taking time off with his son to get rid of the ‘cursed’ sapphire in a caravan that is drawn by Grace’s most-loved horse, which also represents him; as he says: ‘That was her favourite horse, Charlie and he’s been all over the place since she’s gone.’ It really is all about Tommy.

Tommy segues into the talk with the plan for the trip through Meriden and into the Black Mountains, then he asks Charlie for a mint leaf and we proceed to actually see Tommy sharing food with somebody for the first and last time (so far) on PB, very intimate. It’s likely that it’s the first ‘conversation’ Tommy has had with anybody about Grace since her death and pretty painful in its simplicity and delivery. Tommy is telling their son that his mother isn’t going to return, but in voicing it he’s trying to let the idea settle in his own mind too (he is looking out, away from Charlie, for most of the one-sided chat). And the audience’s: this is Tommy truly telling us Grace is dead. He uses the words ‘gone’ and ‘not coming back’ which are a sort-of denial of the fact to himself. He’s in fact clearly in a state of some denial about it until the scene with her photograph in episode 6 (or perhaps the aftermath of my favourite khlysty scene, it’s a moot point). Keeping things as they are speaks to that, as well as maintaining some kind of continuity for Charlie in his surroundings. The theme of Grace being ‘by his side’ is also begun in the line about her being with them in their hearts “’cause we love her.”

It’s notable that he specifically mentions her photographs, because while the one in the bedroom probably is still there (we don’t see it again in the show except in his khlysty hallucination), the one on his desk at the company offices goes in the drawer almost immediately. There’s business and there’s love, indeed, in a theme picked up the next episode as he proceeds to fuck Tatiana for information he’s already obtained in said bedroom while she emulates Grace with scent (smh). Sorry, that moment he touches Tatiana’s face the way he did Grace’s is horrifying. Grief is no excuse, Thomas, you are far from keeping things the way they are there (and breaking the promise about guns). Anyway, the desk photo is replaced (at least by episode 5) with one of Tommy and Charlie in a literal representation of the ‘it’s just you and me’ line from the speech.

Finally, the phrase “I’m not much good, Charlie and you’ll find that out soon enough” intrigues me, because it looks and feels like it foreshadows something that can’t happen while Charlie is so young, but will in later series. Whether it’s a more straightforward gangster-vs-upstanding citizen thing; or that Tommy’s culpability in the death of Charlie’s mother will emerge to create a deep, legitimate grudge has yet to be seen. But I am looking forward to its implications whatever they become.


How can anyone criticise Brian Epstein? Look at his rivals. Mike Jeffrey managed the Animals, and their money disappeared in the Cayman Islands. Andrew Loog Oldham signed a deal with Allen Klein that even now he does not understand and the Rolling Stones’ money disappeared. Look at Colonel Parker and what happened to Elvis’ money, so yes, Brian Epstein was not aware of the kind of money that could be made from merchandising but nobody was, and he still got a slice of the action. There are managers who came later and cut better deals than Epstein but Epstein was the first rock band manager and he was vital to the band. It is easy with the hindsight to criticise him but he did a great job and it wouldn’t have worked without him.
—  Music writer Paul Trynka (Love Me Do to Love Me Don’t: Beatles on Record by Spencer Leigh [2016])

Gran Fury was an artistic collective active in New York between 1988 to 1995 that operated in tandem with ACT UP, the AIDS advocacy group founded in the city in 1987. The organizations’ graphical material, in particular its iconic SILENCE=DEATH design, eventually disseminated beyond the city and beyond activist circles into national discourse and popular culture. Named for a line of Plymouth cars used by the police department, Gran Fury’s tactics embraced advertising techniques - bold aesthetics and graphic design, the exploitation of public spaces, emphasis on wide distribution. At the same time, its members remained wary of the branding of its art as trendy “convenient product” and consistently emphasized the limitations of art and importance of direct action, exemplified by the recurring slogan “Art is not enough”.

Our first projects were poster sniping (illegal wheat-pasting of posters on vacant signage), and Xeroxed flyers, a working method which grew out of an ACT UP aesthetic and our limited funds. After about a year, our tactics changed as we questioned whether postering was the most effective means of reaching a large general audience. 

As Gran Fury received increasing art world support, we did so with the condition that we receive the greatest possible public access to our work, in most cases exhibiting outside the art space itself. We decided not to produce work for the gallery market. Art institutions provided us with access to public spaces a group such as ours would otherwise never have had the resources to acquire; they profited through supporting AIDS work by an activist group which met their aesthetic standards and which was willing to observe certain boundaries of wheat was and was not allowable-explicit obscenity or critique of their sponsors.

…At the same time, our work began to feel like a signature style, a convenient product for the art world to use to fulfill its’ desire to “do something” about the AIDS crisis. Gran Fury’s status as flavor of the month in the American art world was over; interest in our work had shifted to Europe where we consistently felt handicapped by attempting to understand their specific issues, as well as by our inability to use colloquial slogans. In 1992 we designed a campaign for Montreal which utilized the symbols of Quebecois sovereignty to draw attention to AIDS issues – specifically a warning to conduct research and design programs that would apply to the Canadian situation. The project backfired because the icon we chose to use was too potent – some did not recognize it as an AIDS campaign. In general, we found that we could only produce the most general messages, otherwise we ran the risk of misreading a local situation or creating something that would fail in translation.

Good Luck…Miss You ~ Gran Fury

We want the art world to recognize that collective direct action will bring an end to the AIDS crisis. And that collective direct action can mean a whole lot of things across a whole lot of communities: we have already been co-opted, we are complicit with the art world’s institutions in what we hope are strategic ways. We do not only act as an irritant, we also point to what’s going on in society at large. 

Whenever we can, we steer the art world projects into public spaces so that we can address audiences other than museum-going audiences or the readership of art magazines…

Our main beat isn’t with the art world, it’s with the United States government’s lack of response and the political crisis that underlies the medical crisis of AIDS. If we can use the art world as a tool to broadly articulate concerns, then we are glad for that support. My fear is that the heavy emphasis on the cultural analysis of AIDS distances us from the fact that this is a living, breathing crisis in which lives are at stake right at this moment.

BOMB: Gran Fury by Robert Gober


If you’re going to shop on Black Friday, do it respectfully
  • Be organized by the time you get to the register. Know where you wallet is, have your discount card in hand, and be ready to immediately hand over coupons.
  • Don’t write checks. Pay with cash or a card so that you don’t hold up the line.
  • If you pick something up and decide not to buy it, put it back in the correct spot. You have the power to keep the store neat.
  • If the store is messy, it’s because other customers messed it up. Don’t blame the employees for having their hard work ruined by the crowd.
  • Don’t complain to the employees about how tired you are, how early you got up, or how crowded the shop is. They know and they have it worse than you.
  • You’re going to wait in line for a long time. You walked into Black Friday knowing this. Deal with it.
  • Don’t ask for price checks. If it rings up “wrong,” you either looked at the sign wrong or another customer put it in the wrong spot. Buy it or put it aside instead of having everyone stand in line for another 5+ minutes. You already know the price is correct, so accept it.
  • Don’t buy shop workers any coffee, donuts, etc. It’s weird and they probably can’t accept gifts anyway. Leave a tip if you can, otherwise just thank them at the end of the transaction. They’ll appreciate that just as much. 
  • Just be nice. If the fact that retail workers are humans with feelings isn’t enough incentive, remember that most stores have coupons at the registers: If you’re disrespectful, the cashier won’t take that extra discount off for you. Be nice and you may save $10.