nico-incognito:

willczarnecki:

This turned me gay

Being reminded of this as a queer adult is so wild because you realize some very overt shit. Like, Bobby emits ice from his whole body. Grabbing the bottle was enough! In fact, he didn’t even have to grab the bottle, a simple poke would have worked or he could have shot ice from a distant. Him blowing on this bottle was 3000% overt flirting and honestly the gayest thing I’ve probably ever seen a mutant use their powers for and Wolverine was here for it all and no one will tell me differently.

Violet Beauregarde should‘ve won Wonka’s chocolate factory

tinofcatwhiskers:

evayna:

Have I watched the movie in the last decade or more? No.
Do I have iron clad evidence to support my argument? Yes.

1. She’s the most knowledgeable about candy. She’s committed to it, and knows her stuff. When Wonka holds up a little yellow piece across the room, she recognizes it immediately. She was able to switch to candy bars for the sake of the contest, so we know she has personal discipline and is goal oriented. Also, two major projects play directly into her strong suits: the 3-course-meal gum that Wonka failed to make safe (gum) and the neverending gobstopper (longevity).

2. She’s the most fit to run a business. Violet is competitive, determined, hard working, and willing to take risks. Her father is a small town car salesman and politician, so she could easily pick up knowledge and support from him. (Veruca’s dad is also a business man, and in a compatible market (nuts), but it’s made very clear that Veruca has no respect or knowledge of business practices or hard work.)

3. She’s the most sympathetic to the Oompa Loompas. She critiques Veruca when Veruca demands to buy one. More importantly, Wonka has been testing the 3-course-meal gum that ‘always goes wrong’ on Oompa Loompas while he presumably just watches. Violet is ready to put herself on the front line, instead of treating the Oompa Loompas as disposable, and would therefore be a better boss.

4. Her personality ‘flaw’ is the most fitting for the company. In the moralizing Oompa Loompa song, they just say ‘gum is pretty cool, but it’s not socially acceptable to chew it all day‘. The thing is, we already know that she can stop if she wants, because she already did that to win the golden ticket. And yeah, she is defensive about the perceived impoliteness of her hobby (like when her mother tries to shame her about her habit during a televised interview) but the obsession with candy and neglect of social norms is EXACTLY what Wonka is all about. This is on brand.

5. Her misstep in the factory is reasonable. Wonka shows everyone a candy he’s very proud of. Violet is like “oh sick, that’s gum, my special interest.” Wonka is then pulls a “WRONG! It’s amazing gum!” So in the very moments before she takes the gum Wonka has mislead her just to belittle her. So when he’s like “I wouldn’t do that” why should she give a shit what he has to say? She’s not like Charlie over here who’s all “Sure Gramps, let’s stay behind while the tour leaves and secretly drink this thing that has been explicitly stated to fill you with gas and is too powerful for safe consumption, oh and also I just saw what happened to Violet so I actually KNOW what this stuff can be capable of” Also, Violet is not selfish about her experience, she tells everyone what she’s tasting and feeling, and everyone is eager to hear it. Taking a personal risk to share knowledge with everyone. Violet is Prometheus: fact.

So Augustus contaminates the chocolate river. Charlie sneaks around and contaminates the vent walls. Veruca destroys and disrupts the workspace. Mike knows exactly what will happen to him and transports/shrinks himself deliberately. Violet had no idea what the gum could potentially do to her, and caused no harm to anyone or anything but herself.

Lastly: Can you imagine Charlie filling Wonka’s shoes? That passive, naive boy? Violet is already basically Wonka. She’s passionate, sarcastic, candy-obsessed, free thinking, and a total firecracker. She’s even better than Wonka, because she doesn’t endanger others.

Violet should’ve been picked to inherit the chocolate factory.

Me 3 minute ago:

Me now:

glycerineclown:

152glasslippers:

I’ve been
wanting to dump all my thoughts about this into a post for a while now and #tpappreciation
week is giving me the kick in the butt I need to finally do it.

So. Here it
goes. In honor of day 6: a theme or a
parallel
, my favorite thing about The Punisher:

it’s (not
so) secretly a violent takedown of toxic masculinity

I know that
sounds crazy about a show that’s so brutal and bloody and—well, hello—violent,
but if you think about it for longer than a second, it’s almost glaringly
obvious.

And—cause
I’m a corny ho like that—it’s also one of the things I think makes it so
special.

Here’s what
you expect when you press play on The Punisher: Frank taking down bad guys,
Frank throwing punches, murder, torture, blood, bullets, aggression, rage
yelling, violence, enough guns to outfit an entire global military, Men Being
Men™

And sure,
you get all those things, but here’s what you also get:

  • an intimate examination of the mental health of veterans
  • **bonus points for a not-so-subtle critique of the lack of both resources and opportunities available for veterans upon leaving the service**
  • **double bonus points for an accurate representation of the people who serve in the military, i.e. a large number of poc/not just men** 
  • group therapy

  • frank (ba dum tss) discussions of the importance of mental
    health and group therapy
  • “we’re gonna need a lot of therapy”
  • seriously, this show loves therapy
  • men reading
  • men choosing analytical, long-game strategies over immediate,
    aggressive, violent tactics
  • men cooking
  • Frank, at his most unhealthy/unhinged, eating beans out of a
    mcfreaking can with a KNIFE, I mean come ON
  • men sharing
  • men opening up to each other about their wives and their
    families and their feelings
  • two men having a conversation about sex and it never?? turns
    into locker room talk?????
  • a heterosexual couple that splits the Thanksgiving cooking—a domestic responsibility—EQUALLY
  • I quote, “50/50”
  • a father acknowledging his 12-year-old son is still a baby
    and NEEDS HIS FATHER and almost
    throwing his mission and blowing his cover because he’s DESPERATE to take care
    of him
  • men showing emotion
  • men admitting fear
  • “I guess, if I’m gonna be honest, I just…I’m scared”
  • death to the I-hate-my-wife trope
  • men missing their wives
  • loving their wives
  • their children
  • their friends, including
    other men
  • the number!!!!!!! of male tears!!!!!!!!! over other
    men!!!!!!!!
  • David crying over Frank’s almost-dead body
  • Frank and Curtis crying together
  • physical affection and closeness between men!!!!!!!!
  • Frank and Curtis resting their foreheads against each
    other!!!!!!!!!
  • this update: men can be squeamish about blood without it
    saying anything about their masculinity
  • terms of endearment
  • David “me, too, little bunny” Lieberman
  • Frank I-casually-call-children-sweetheart-because-I-just-can’t-help-myself
    Castle
  • Leo Lieberman, actual icon and future engineer
  • poetry
  • a book by Oscar Wilde

And I don’t
think any of this is by accident or some elaborate series of coincidences. Giving
toxic masculinity the middle finger isn’t just something The Punisher does, I’d argue that it’s part of its
central thesis: Traditionally accepted male behaviors and masculine stereotypes
are confining, dangerous, and ultimately lethal.

Putting the
rest under the cut, cause ya girl’s about to pull some receipts.

Keep reading

Men, society, the patriarchy: keep your feelings bottled up inside
Curtis Hoyle: kEeP yOuR fEeLiNgS BoTtLeD uP iNsIde

*fist pumps* THAT’S FUCKIN’ RIGHT I LOVE THIS TED TALK

marguerite26:

kk-maker:

2spoopy5you:

lohelim:

winterthirst:

sabacc:

Steve Rogers did, in fact, realize that something was off when he saw the outline of the woman’s odd bra (a push-up bra, he would later learn), but being an officer and a gentleman, he said that it was the game that gave the future away.

#EXCUSE ME MA’AM BUT YOUR TITTIES ARE NOT CONES I’M CALLING BULLSHIT (via)

No, see, this scene is just amazing. The costume department deserves so many kudos for this, it’s unreal, especially given the fact that they pulled off Peggy pretty much flawlessly.

1) Her hair is completely wrong for the 40’s. No professional/working woman  would have her hair loose like that. Since they’re trying to pass this off as a military hospital, Steve would know that she would at least have her hair carefully pulled back, if maybe not in the elaborate coiffures that would have been popular.

2) Her tie? Too wide, too long. That’s a man’s tie, not a woman’s. They did, however, get the knot correct as far as I can see – that looks like a Windsor.

3) That. Bra. There is so much clashing between that bra and what Steve would expect (remember, he worked with a bunch of women for a long time) that it has to be intentional. She’s wearing a foam cup, which would have been unheard of back then. It’s also an exceptionally old or ill-fitting bra – why else can you see the tops of the cups? No woman would have been caught dead with misbehaving lingerie like that back then, and the soft satin cups of 40’s lingerie made it nearly impossible anyway. Her breasts are also sitting at a much lower angle than would be acceptable in the 40’s.

Look at his eyes. He knows by the time he gets to her hair that something is very, very wrong.

so what you are saying is S.H.E.I.L.D. has a super shitty costume division….

Nope, Nick Fury totally did this on purpose.

There’s no knowing what kind of condition Steve’s in, or what kind of person he really is, after decades of nostalgia blur the reality and the long years in the ice (after a plane crash and a shitload of radiation) do their work. (Pre-crash Steve is in lots of files, I’m sure. Nick Fury does not trust files.) So Fury instructs his people to build a stage, and makes sure that the right people put up some of the wrong cues.

Maybe the real Steve’s a dick, or just an above-average jock; maybe he had a knack for hanging out with real talent. Maybe he hit his head too hard on the landing and he’s not gonna be Captain anymore. On the flipside, if he really is smart, then putting him in a standard, modern hospital room and telling him the truth is going to have him clamming up and refusing to believe a goddamn thing he hears for a really long time.

The real question here is, how long it does it take for the man, the myth, the legend to notice? What does he do about it? How long does he wait to get his bearings, confirm his suspicions, and gather information before attempting busting out?

Turns out the answer’s about forty-five seconds.

Sometimes clever posts die a quiet death in the abyss of the unreblogged. Some clever posts get attention, get comments, get better. Then there’s this one which I’ve watched evolve into a thing of brilliance.

This. This is why I love tumblr.

Amy Madison: A Dark Mirror and A Distant Echo

kyliafanfiction:

captaindylant:

kyliafanfiction:

the-fangirl-of-your-dreams:

alkenifanfiction:

Amy Madison, as all of my followers must know by now, is a character I’m hugely enthusiastic about – I firmly believe she deserved more screen, she deserves more love in the fandom, et cetera, et cetera.

What I’’d like to talk about here, though, is something I’ve alluded to a few times when talking about Amy, and that is the way that Amy Madison serves as a Dark Mirror to Willow’s Storyline, and a Distant Echo of Faith’s.

Now, what the hell does that mean? 

Before I can go into that, I need to talk about the Buffyverse phenomenon of what I call ‘Reflective Trinities’. 

What I mean is this – we’re all familiar with the way that Kendra and Faith kind of represent opposite poles for Buffy’s storyline. This has been discussed many times in the fandom – Kendra is all duty, order, rules, restraint. Faith is all passion, desire, instinct, fury. Both end up in bad ends because of their unitary approach to Slaying – Faith’s passion and fury goes dark, and Kendra’s obedient and orderly nature makes her easy prey for Drusilla’s hypnotism.

Buffy is successful because she manages to walk a line between the two extremes, is the implicit narrative of this Reflective Trinity.

One that I haven’t seen any real discussion of, however, is the Reflective Trinity of Willow, Tara and Amy – one that is (to me) so self-evident, I’m sure I’m not the first person to make this point, even if I haven’t seen someone do it.

Willow, being the main character of the three, is at the heart of this Trinity – She’s a witch. Tara represents light magic, selflessness, balanced existence, and restraint on using magic. She’s always trying to get Willow to really respect magic, and not use too much of it, and she’s an incredibly selfless woman.

Amy, on the other hand, when you look at her whole character arc, represents dark magic, selishness, selfish use of magic, unrestrained application of power. What happens when you use magic you can’t control – and then keep using it anyway. Amy uses magic for her own gain, for sheer sake of it. She clearly knew of Rack even before she turned herself into a rat, which means she was probably taking hits of his ‘drug’ for some time before then. Amy didn’t have to turn out this way, but it is the way she went (and I may talk about this more some other time, though it is addressed in my fanfics The Spellbook and The Spellbook: Another Path)

So Willow has the two poles as well. Xander and Giles have Trinities of their own, though they’re slightly less well defined and established than Buffy’s and Willow’s.

Amy, as a character, uses magic. But from the start, she’s using it for her own ends, and using magic she can’t control – she’s messing with minds to get out of homework, she’s turning other people into rats, turning herself into a rat with no way back, and she’s doing all this before Willow can even levitate a pencil. She’s taking the path of quick and easy power, of overindulgence in magic. She introduces Willow to Rack, then tries to get Willow to relapse when she makes an effort to recover from magic, born out of resentment and a desire for revenge on Willow.

Even after she recovers from her addiction to Rack’s magic after his death, after Rock Bottom, Amy remains a petty, vindictive and kind of malevolent woman. She filled with resentment and envy towards Willow, and acts on it. Whether or not she meant for her little hex on Willow to go as far as it did, she used it without any regard for the consequenes.

Amy is, then, a Dark Mirror to Willow. She is what Willow could have been like if she’d started magic too early, and trained herself, unlike having some tutelage. She’s what Willow could have been like without someone like Tara to hold her in check, both in actuality and in spirit. She’s what Willow could have become without friends to help her when she hit Rock Bottom. She’s what Willow could have become if she’d decided she liked the neighborhood at Rock Bottom. She is Willow There But For the Grace of God – and Willow is her, There But For The Grace of God. The two characters are same basic start – witch – taking divergent paths. Willow made some bad choices, but for whatever reason, Amy made all the bad ones.

We don’t know why – there’s so much of her growth that we don’t see, we don’t get just why she’s so hateful and resentful and angry at Willow. We don’t know why she picked up magic or why she started using it so selfishly from the word go. We didn’t see it happen, we just see the result of it. But Amy’s storyline is deliberately, I think, a mirror held up to Willow’s. 

With Faith, Amy represents a Distant Echo. Both characters indulge and revel in their powers, and even when they’re using them constructively (such as Slaying vamps for Faith, Amy helping Willow cast a protective spell at the start of ‘Gingerbread’), you get the impression – and in Faith’s case, know, that it’s more about the thrill of their abilities, not the fact that they’re being used for good ends.

Both Amy and Faith get into trouble thanks to their indulgence in their abilities. Both go dark in the aftermath. Both are fueled by intense resentment of their counterpart in their Relective Trinity. (For some discussion of that, including relavent dialogue, see here: (X)  Both have to crawl their way up from Rock Bottom. 

But there’s a reason that Amy’s storyline is only an Echo, and not something more similar. When Faith hits Rock Bottom, she decides to try and committ suicide by Cop, taking the job to kill Angel, trying to get him angry by shooting him, hitting Cordelia, torturing Wesley, etc, because she wants him to kill her. When she begs him to kill her, she’s at the bottom-est Rock Bottom you’ve ever seen. But Angel is there. Instead of killing her, he helps her. As she says, he’s effectively her sponsor. He helps her up, helps her carry herself away from Rock Bottom and helps start her path to redemption.

Amy never gets that. She hit Rock Bottom sometime between her last appearance in Season 6 and her appearance in Season 7. She even says as much: “

Because you know that’s the crazy thing about hitting rock bottom, you get to relive all the crappy things you did.” She claims she had help from the others in the Wicca circle, but if she did, she didn’t have very good help – because she really didn’t have anyone there to help her.

So she’s not recovered. She’s no long an addict, it seems, she’s no longer an overdosing witch. But she’s come back from Rock Bottom even more angry and resentful than ever. Willow went full dark, tried to destroy the world, killed a man by ripping his skin off and she’s embraced by her friends. Amy does nothing anywhere near as bad, but there’s no one there. No dad, no friends, no anything. Combined with the resentment about Willow’s power, and the whole thing goes overboard for her. She lets that hate and resentment fuel her descent into the dark.

If there hadn’t been an Angel there, is Amy what Faith could have been? Or is she just the Distant Echo? She reaches the same point Faith was at – but with no one there to help her… She’s another one of those what could have been – but the what could have been is what Amy could have been. She could have been the magical equivalent of Faith. Instead, she’s just an echo, a sort of plaintive possibility. Amy’s storyline is an echo of Faith’s, a deliberate almost.

Amy’s character arc is a story of almosts, could’ve beens and what ifs. She exists to hold a mirror up to the story of Willow, and to remind us of Faith’s journey, and how hard it was. How others can falter on that road to redemption, when weight down by resentment, self-loathing, jealousy, hate. Maybe not 100% deliberately, on the part of the writers, but to a degree, it was deliberate, I think.

These parallells to Faith and to Willow are only half of the reason why I love Amy Madison so much and find her fascinating. I hope I’ve helped you appreciate the complexity of the character, who despite only having eight episodes (one of which she was in for all of three seconds), manages to have a very deep story arc. And at some point, I hope to explore the other half of why Amy is so very awesome here on my blog.

If you have any questions about Amy or this Meta, or clarification on some of the ideas discussed herein, or just want to share your own views on Amy, please, please feel free to come into my Askbox. It’s always open, and especially for things related to Amy. 

Wow. You made me like a character I (violently) disliked. That’s a first. Congratulations 😄

If you’re interested, then actually in the comics, Amy resurrected Warren after he had been dead for a few seconds. The curse was Warren’s idea. They were dating; that is what fueled her hatred for Willow. I don’t buy that storyline for whatever reason but that’s how they explained it in season 8

don’t buy that storyline for whatever reason

Probably because you have a brain? And because even if you didn’t like Amy, her dating Warren makes no sense 😛

And glad to here I’ve made you look at Amy differently!

Do you talk anywhere about Giles and Xander’s Reflective Trinities? This is all fascinating.

Not really in any detail, no. They’re much flimsier or at least, less well established trinities compared to the ones that center on Buffy and Willow.

Loosely, the poles of Xander’s trilogy would be Oz on the ‘Good/Light/Ordered/Disciplined’ end (sorta) and Warren on the Dark/Impulse/-driven/chaotic/Evil end. Loss of control for Oz is a major problem, so he has to be ordered – and not being ordered is what leads to his departure from the show. Warren’s impusliveness is what brings him down. Had he been less impulsive and egotistical, even if just as evil, he’d never have shown up at Buffy’s house with the gun, fired the shot that killed Tara and thus brought about his death by Dr. Dark Willow, Dermatologist Extraordinaire. 

For Giles, it depends on how you want to look at it. There’s a few options, but the most obvious is Ethan as the Dark/Chaotic/Impulsive/Evil end, and Wesley as the ‘Light’/Ordered/Disciplined end – Ethan gets brought down by his love of chaos, his love of staying to watch the fun, time and again. Wesley’s (on BtVS, anyway) obsession with obeying the strictures and rules of the Council, in contrast to Giles’s more relaxed approach (overall) leads to his downfall when they don’t work on Faith and Buffy.