#but every day i want to go kick kevin feige in the face

[tropicalfreckles]

I'll never be able to articulately describe how much I hate the MCU with all of my rage and hate in my soul lmao

[weirdos-am-i-right]

Fuck Traveling// Pete Davidson x reader

Request from @annalayton19

Hi! I’m a new follower and I really like your stuff! Could I request a Pete Davidson x reader (angst to fluff) where Pete is on tour or filming away from home and the reader is left behind. After like 6 months of being apart Pete starts to get tired of the long distance and basically like done with it. And then he realizes his mistake and comes home to make it up to her! I’m sorry if that’s super long! Also if this imagine doesn’t interest you, then no sweat! Thank you so much in advance 💕

A/n: This took so much less time then I thought it would. Anyway, here you go, I really hope you like it!

Warning: angst, swearing, like one cigarettes

€€€€€€€€€€€€€€€€€

Six months. Six months was an extremely long time to be away from someone you loved.

Y/n sat on the couch, a small pout on her lips. She looked at Pete—her boyfriend of a year—and frowned. “I wish I could go with you.” Pete frowns too, and sits down next to her.

“I know. I wish you were coming with me too. But hey, it’s only a couple of months, all right? I’ll be back before you know it.” He kissed her cheek.

“I just wish my contract would let me. You have no idea how annoying it is to not be able to do things because of freaking Marvel.” She groans, falling on her back with a slight ‘plop’.

“Well, because of freaking Marvel, you are one of the best actresses out there. And I know you’re going to kill it with filming. My tour isn’t even that cool. It’ll broke you to death.” He jokes, leaning back on the arm of the couch.

“Babe, you’re a comedian.”

“Oh right, I forgot.” He grabs her arm, and pulls her up into his chest. “I love you, okay?” He lifts her chin up, and kisses her. “So fucking much. We’ll face time everyday, I’ll call you every evening and wish you goodnight.”

“Okay.” She looked over a the clock, and sighed. “We have to go. Your flight is leaving soon.” He brushes hair behind her ear, bringing her eyes back to him.

“I love you. It’ll be over before you know it.”

“I love you, too.”

********

The car ride to the airport was long, and quiet. Pete was driving, he had one hand on the steering wheel, and one hand on Y/n’s leg, rubbing small circles into the center of her thigh.

She knew she was going to miss him so much, but she also knew she was going to be extremely busy with filming, so it wouldn’t be as bad.

Once they were at the gate, they tearfully hugged, and she kissed him. “All right, now get out of here. We’re not doing that rom-com turn back at the last second goodbye.” She laughed at him, tears steaming down her face a bit. He wiped one with his thumb, and kissed her again. “Love you. Now go, so I get to watch you walk away.”

“Really?”

“Yes.” She turns around, and starts walking back to her car. She knew he hated leaving her too, but he was a lot better at hiding emotions then she was, that was one of the only things she learned while dating him.

She got in her car, and put her head on her steering wheel.

She groans, and leans back. Starting her car, she pulled out of the airport, and drove home.

**********

The first few months were the worst. Y/n hated going to bed alone, the left side of the bed always cold.

She was filming almost every day, and seeing her co-workers and friends always cheered her up, after all she had been working with the same people for quite some time now, so she felt comfortable around them.

The fourth month was slowly becoming easier. She got use to coming home to no one there, and making dinner for herself. She still talked to Pete every day, texting him good morning, and Goodnight, and FaceTiming him a lot during the day.

Though she knew he loved her, she felt as though he was slightly pulling away. The FaceTime calls were short, and he never texted her back right away like he use to.

“And so, we we’re almost done with the shoot, so close I could practically taste the coffee in my trailer waiting for me, and then Kevin calls cut, and he makes us do the whole scene over again! I swear, I was about to strange that man. Ugh, I can’t wait til you come home. Only two more weeks, I can’t believe we made it.” Y/n rants, talking to Pete on the phone.

“Uh huh. Cool.” He wasn’t looking at her, instead his attention was somewhere else. Y/n frowns, tilting her head a bit.

“Pete…are, are you okay?” That seemed to catch his attention, and he finally looked at the screen.

“What? I’m fine.”

“Okay…you just seem so…different lately. I don’t know, maybe it’s just me, but you seem like you don’t have time for me anymore. Or if you do, you don’t like talking to me.” Pete scoffs.

“Of course I don’t have time for you right now. I’m in between shows, I’m driving to one as we speak. I mean, god forbid I get a minute to myself without my agents or you calling me.” Pete snapped.

“Wha-I’m just talking to you. If you didn’t want to, you could have said something.”

“That’s bullshit you would have thrown a fucking hissy fit or something.” He rolls his eyes.

“That’s not true. I understand when people are tired, believe me I would know.”

“Would you?”

“Yes!” She had tears stinging her eyes. “Of course I do, you’re forgetting what I do for a living. I work from 6 am to whenever we finish which most of the time is in the middle of the night. I have to re-do the same scene about ten times because RDJ won’t stop making jokes in the middle of the scene!”

“Oh, sorry, I forgot about your super-star actress life.”

“Why are you being so mean to me? I was only concerned about you.”

“Mean? What are you, five? I can’t-I can’t do this anymore.” She huffs, crossing her arms.

“What do you talking about? Are you breaking up with me?”

“Wh-”

“Because then fine. If you don’t want to be with me, I don’t have to take this shit. I’ll be with someone who, oh, I don’t know is actually here.”

“Oh that’s fucking rich, you know I can’t be there, don’t even do that.” She scoffs.

“I don’t care. You want to act like a petty bitch, I have no problem doing it right back.”

“No, I think you’re just a petty bitch.” She wipes her eye, and he laughs dryly. “Oh of course you’re crying.”

“Shut up. If you don’t want to be with me, fine. Go enjoy your show, Pete.” She hung up the phone, and turned off the ringer. She plugged it into her charger, and went into the bathroom, turning the shower on.

********

Pete rubbed his eyes, and took a drag of his cigarette. He knew he shouldn’t have snapped at her, it wasn’t her fault he was cranky, and needed to take it out on someone.

“I’m a dick.” He mumbles to himself, and bangs his steering wheel.

His phone rang again, and for a good second his heart leaping out of his chest, thinking it was his girlfriend, calling him back. He checked the phone, seeing it was Colson. He answered the call.

“What’s up, man?” Pete asks.

“The shows starting soon. You almost here?” Colson questioned. Pete looked at his google maps, seeing he was supposed to be there in ten minutes.

“I’m a good ten minutes away. I’ll be there.”

“You sound weird. What the fuck did you take without me?” Colson asks, trying to lighten the mood.

“Uh…Y/n and I just broke up. I think.” The line was silent for a few seconds.

“Why the fuck would you do that, you idiot? Are you kidding me?” Colson scoffs. “Man, what the fuck?”

“Shut up, man. I can’t stand talking on the phone with her. I’m busy, she’s busy, she plays a superhero for fuck’s sake. I didn’t even expect it to last this long to be honest.”

“Man, you fucking dumbass. That girl was probably the only good thing you had going for you. Get her the fuck back.I thought you loved her.”

“I did-I do. I do love her. I’m just so stressed right now, and excuse me for not wanting to hear about fucking Kevin Feige being a shitty director.”

“Hey, fuck-shit, you ever think that maybe this is more hard on her? Acting is fucking hard, you should know that, especially for a company like Marvel.

“Man, who’s side are you on?” Pete turns into the parking lot, and grabs his phone.

“You think I’m on your side here? You’re forgetting that we were friends before I met you. I can not believe you just fucked up the best thing in your life. Fix it, man. You’re going home in a week, fucking fix it.” And with that, Colson hung up, and put his phone away.

He kicked a rock across the pavement, and cursed under his breathe.

********

The worst thing about breaking up with someone you live with, who so happens to be long-distance is that their stuff fills the apartment with an existential amount of regret.

Y/n laid on her couch, flipping through the channels of the TV. She had called off work for the next few days, not feeling up to put on a performance for anyone. She knew she would get shit for it later, but she didn’t care.

Her head perked up when there was a knock on the door. She sighed, and got up, going over to the door. She really didn’t feel like company at the moment, and was sure she was going to send away whoever it was.

When she opened the door, her breathe caught in her throat. Pete stood in the doorway, looming over her. He looked like shit. She could tell he hadn’t slept, and probably didn’t eat anything, but she knew he didn’t look much better.

“Why-why didn’t you use your key?” Y/n asks, opening the door a bit for him.

“I uh, didn’t want to barge in on you. You also probably weren’t expecting me.”

“I wasn’t. I thought you didn’t get back until next week.” She says. It took every ounce of her not to jump into his arms, and kiss his face until she was sure she kissed every part of it.

“I took off early. Can we talk? Please. I was a dick. I was such a dick. I’m sorry, I know we grew apart in the last few months, and I promised we wouldn’t but we did, and I’m so sorry for that, baby.” He grabs her hand, and she slightly pulls it back, but let’s him grab it. “Please, forgive me. I love you, so much, okay? So fucking much, you’re the best thing that’s happened to me.”

She felt tears welling up in her eyes, and she looked away from him. “What you said really hurt.”

“I know. And I’ll spend every day trying to make it up to you.” She quickly wrapped her arms around him, pushing her face into his chest. He didn’t hesitate to hug her back, leaning down and kissing the top of her head. “I love you.”

“I love you, too. Fuck traveling.”

“Fuck traveling.”

.

[pierrotdameron]

1) Jean Grey: The Early Years

While X-Men: Apocalypse introduced a grown-up Jean to the First Class timeline, it turns out that Charles Xavier has a longer-standing relationship with her. “There are not a lot of flashbacks in the movie, but that foundational relationship between Young Jean and a younger Charles is one of the core themes of the film,” Kinberg explains. “The question of Jean’s relationship to her own powers becomes a big conflict for her throughout the film once she’s transformed by something that happens up in space, that has nothing to do with her childhood. It opens with a mission that takes them up into space that has consequences for Jean that ripple throughout the movie.”

2) The Professor’s Problem

In previous tellings of the Dark Phoenix story, Professor X has limited Jean’s capabilities after seeing the full potential of her power – and the Dark Phoenix trailer teases at a similar strand here. “Charles has been hiding secrets about Jean’s past from her that get revealed over the span of the movie, and only make her more unstable,” say Kinberg. “It’s the most inopportune time for this character to become unstable emotionally, because she’s becoming unstable in a much different way after this cosmic thing that happened to her in space. In this way, Dark Phoenix is the most intimate, emotional and personal movie we’ve made, and yet also has the biggest breadth in terms of spanning beyond our planet, even beyond our galaxy. There’s a sense that the things that are happening emotionally for Jean and what’s happening cosmically inside her is making her incredibly unstable, dangerous, destructive.”

3) Present Day

Cut back to the main timeline, and a reasonable amount of time has elapsed since we last saw Prof X and co. “It’s 1992, nine years after Apocalypse,” confirms Kinberg. “The X-Men have become the X-Men that many of us know from the comics – they are heroes. They’re still viewed as different by society, but they’ve been more embraced than ever before. And when the movie starts in 1992, they are a known superhero team.”

4) Suburban Outfitters

In a move sure to please many long-term fans, the X-uniform in Dark Phoenix finally brings in a classic yellow-and-blue design similar to the comic and cartoon incarnations. “I’ve been waiting to do that from the first time I ever got a call from Avi Arad,” Kinberg enthuses. “Avi and Kevin Feige were the chief two people that called me about an X-Men movie 15 years ago. We talked about the costumes, and what Bryan Singer had done I understood and liked, but they were very different to what I had grown up seeing in the comics. So I was excited finally as the director to have more of a say and clothe them in their classic costumes.”

The new look pinches elements from various designs seen on page and screen over the years. “I had a board full of my favourite images from the comics, and then I worked with our costume designer, who also worked on Logan, to create something that was incredibly loyal to the comics and then also had a little bit of its own feel. There’s little nuances from the cartoons, the comics, from whatever it is that if you were a fan you grew up reading or watching.”

5) Sense Of Mystique

While Mystique was primarily an antagonist in the original X-Mentrilogy, working alongside Magneto, she’s skewed more heroic as Raven since her introduction in First Class. At the end of Apocalypseshe chose to stay with Charles, and help establish the X-Men – and she’s still part of the group nine years on. “Raven is a part of the X-Men, but she’s critical of some of Charles’ methodologies, in terms of him feeling as though they can just dress up in those costumes and be considered the same as the rest of humanity,” Kinberg explains. “So there is a schism forming between her and Charles. That struggle has been present in every movie, and we do it in a hopefully slightly more subtle way in this film. She toggles back and forth between Raven and Mystique, and there is meaning to that as there has always been in the previous three X-Men movies.”

6) Star-Crossed Lovers

Jean and Scott Summers, aka Cyclops, both entered the prequel saga in Apocalypse, with sparks of chemistry between the two. In the comics and original film trilogy, the pair are a fully-fledged item – and in the intervening nine years they find themselves in a similar place emotionally here. “The love story between Scott and Jean is such an integral part of the Dark Phoenix saga in any iteration, whether it’s the comic book or the cartoons,” reasons Kinberg. “Obviously we don’t have Wolverine, so that’s one less part of that love story. It is very central [to the movie], and they are a couple. As Jean starts to become more unstable, there are people in the X-Men who don’t think she can be helped and saved, many of whom think the world and others need helping and saving from her. And so Scott is probably the most prominent person who’s holding on to the hope that Jean can be saved.”

7) The Village Green Preservation Society

While Charles remained at his mansion to build the X-Men team at the end of Apocalypse, Erik Lensherr, aka Magneto, went his separate way. In the Dark Phoenix trailer, he’s in a leafy commune when Jean approaches him for guidance. “What you’re seeing is the beginnings of Genosha,” reveals Kinberg. “That’s where Erik is when we meet him. It’s like Magneto’s Israel – a land built for mutants, a homeland where they can be safe and self-sufficient. Jean finds him there because what’s happening to her is making her do destructive things, and she doesn’t know why. The only person she’s known who has done destructive and lethal things in the past but came back from it is Magneto. She feels he alone can give her answers because he’s lived both sides. He’s lost control and killed and hurt people, some of whom he even loved, and yet he’s also found a measure of peace and that’s what she’s searching for.”

8) Intergalactic Influence

The main new cast addition to the series is Jessica Chastain, who’s gone all platinum-blonde to play… well, we don’t know. But Kinberg elaborated a little on the origins of her character. “I can tell you this much. Jessica’s character is not of this Earth. She’s an extra-terrestrial character, an alien character,” he teases. “I won’t say much more in detail on the specifics of that. While everyone else is trying to control this power inside of Jean, she’s much more interested in essentially encouraging her to go further with it and try to be the peaceful side of herself. She is the devil on Jean’s shoulder, so to speak.”

9) Cosmic Jam

Cut to the end of the trailer, and we get a glimpse of the outer space incident that kicks off the whole Phoenix takeover. “Jean is in space, and what she’s taking in is a cosmic force that she thinks is one thing, and over the course of the movie realises is something far different, that our human science can’t explain,” says Kinberg. “But she needs to find a way to control it or she’ll destroy more than just her friends – and even our planet.”

10) Cracked Actor

Before the title card, we see Jean in Phoenix mode, face streaked with white lines – and she’s only just getting started. “That’s not maximum [Phoenix]. That’s a two or a three on the Dark Phoenix spectrum,” warns Kinberg. “It is a manifestation of her transformation from the Jean we know into Phoenix. Over the span of the movie we see different symptoms or iterations of that. The lines on her face let you know that Jean is losing control, and that force inside her is trying to escape, push through, take over. Those cracks are almost as if something inside her that’s more powerful than she is is trying to push out of her body.”

11) Earthy Tones

For years, the X-Men logo and title card has been emblasoned in bold metallic fonts – but not here. X-Men: Dark Phoenix (or simply Dark Phoenix, as it’s being called in the US) has a darker, more mellow typeface that Kinberg explains is emblematic of a new tone for the franchise. “The way I wanted to make the movie was very different than the aesthetic of previous X-Men movies, which I’ve been very involved in and proud of,” he says. “But I wanted it to feel more naturalistic, I wanted it to feel edgier, more handmade, more real. I was very inspired by what James Mangold did with Logan, and I felt like if I could bring a measure of that aesthetic in the film that all of the intergalactic and larger-scale things that happen in the movie would feel more shocking, more realistic, more emotional. They’d be grounded in some reality. And so, all of the movie – from the costumes, to the title card, to the set design, to the way the X-jet looks – all of that stuff is just more analogue in a way. More like, let’s say, the original Star Wars movies. Not that analogue, but the movies I grew up loving had this very gritty, edgy, cool, human feeling to them.”

[ifyoufeelit-chaseit]

If Only You Knew: Chapter 3

The next morning, much to your disappointment, you were woken up by the chirping of birds and cars passing by. You look over to the nightstand to check the time, and its 8. Last night was the longest amount of sleep you've gotten in a long time, and boy did you need it. You didn't realize how exhausted you were from tour until right now. Rolling back over, you face Sebastian. God he looked like such an angel in the mornings. His hair was tossed around all over the place, mouth slightly open, light snores leaving it, and you could have sworn you had never seen something so perfect. He was everything you ever wanted, and more. Knowing well enough he wouldn't be awake for another hour, you got up and decided to make breakfast for the two of you. You quietly got out of bed, not wanting to wake him from his slumber, and headed downstairs.

Once you entered the kitchen, you decided on pancakes, eggs, and bacon: three of Sebastian's favorite foods. Morning like this were always normal when you two were together. so you knew exactly where everything was.

Fifteen minutes later, breakfast was done, and you were preparing coffee when two strong arms wrapped around your waist making you to jump a little, causing Sebastian to chuckle.

"Didn't mean to scare you doll." he said in his husky morning voice, causing shivers t go up your entire body. "Just wanted to make sure you were ok. Missed waking up with you beside me is all." he said leaving multiple kisses on your shoulder, causing you to turn around and wrap your arms around his torso, pulling his body close to yours.

"I'm sorry, I just thought I'd make breakfast. You know, like old times."

"You didn't have to do that, we could have went out and got something."

"Well, I wanted to, so I hope you're hungry because I made your favorites"  you said smiling up at him. He smiled back down at you.

"I swear, I'm going to end up marrying you, that's a promise." he said leaving a sweet kiss on your forehead.  That got you to thinking about last night. He said  he loved you. Of course he thought you were sleeping, but he still said it. Did he feel the same way you did? Did he want more with you, as you did with him. That got you thinking back to what Jesy said yesterday: "Everyone sees I except for you two." Was it really that obvious, and you were just to blind to see?

"You ok over there?" Sebastian asked snapping you out of your thoughts. Play it cool you said to yourself.

"Yeah, I was just thinking."

"Well that's pretty obvious" he said, earning a smack against the head from you.

"Asshole" you said earning a wink from him. You got your breakfast, and ate on the back patio with him. Sebastian had one of the best views in California from his house, and mornings or evenings out here just made you relax altogether.

After you both finished breakfast, you cleaned up and did the dishes together: Sebastian washing and you drying.  After the dishes were all washed and put away, Sebastian's phone started ringing, to which he quickly answered.

"Hey Kevin, what's up?" he said, sitting down at the counter. Kevin, aka Kevin Feige, was the president of Marvel Studio, and also a producer. Kevin was the best in the business, and everyone knew that. You'd known him for years now, ever since your father filmed the very first Iron Man movie, and looked to him as a second dad. "Yeah. no don't worry about it, give me a hour and I'll be there." he said quickly hanging up the phone.

"Is everything ok?" you asked.

"Yeah everything is fine. Something came up for Kevin this weekend, so we aren't filming, so he asked if I could come in today and get it done with, then id have the rest of the week off, plus the weekend."

"Oh well, I guess that is kinda good news for you then if you have the next five days off. You need it." you said walking over to him and ruffling his hair. You could tell that he was stressing lately with this movie, especially since in a couple weeks he starts filming for I. Tonya too, but we would never show it. That just wasn't his character. "I'll head home then that way you can get ready and head over there and get the filming done."

"Why don't you come with me? He said it shouldn't take but a couple hours, four hours max. Then when were done there, we can go get lunch. I'll even see if Chris, Anthony and Elizabeth wanna come with us." You loved everyone on set, and you wanted to spend as much time with Sebastian as possible.

"Ok Stan I'm in." you said pulling him up from the chair. "Now come on, we both need to get ready, and we don't have long until you're needed." You both made your way upstairs and got ready in thirty minutes, which was a new record you you two being together. Once you were both ready, you headed downstairs, and got into his car, and headed the set.

Once you two got there, you realized everyone was here. You thought just Sebastian was filming, but you were wrong.

"Oh look, Romeo and Juliet finally decided to show up" Anthony said teasingly giving you and Sebastian a big hug. "We are needed in hair and makeup in five minutes, so we might wanna head that way now."

"Ok cool" Sebastian said. "You gonna be ok?"

"Its not like I don't know everyone here" you said causing him to laugh. " Ill be fine. Go kick some ass!"

"Always do don't I?" There it was, the cocky side of Sebastian. He quickly went with Anthony to hair and makeup. while you went over to talk with the girls.

"Soooooo" Elizabeth says smirking, " How was last night?"

"Yeah, anything juicy happen?" Scarlett joins in.

"We had a movie night, and ordered Chinese, oh and Sebastian happened to say he loved me ."

"WHAT?!" both women said at the same time, making you giggle. "So are you two together now?"

"No. He said it, thinking I was asleep, but I wasn't. I froze, I didn't know what to say. He said we wanted to tell me when I was awake, but he just wasn't ready yet."

"OMG, Y/N that's still so exciting. See, we told you he felt the same way as you did. Now its just a matter of time before he says it to your face, and then the two of you will get married, and have lots of babies, and live happily ever after." Elizabeth said causing Scarlett to nod her head in agreement.

"What if he never finds the courage to say it to me?" That scared you. Sure, he loved you too, but what do you do if he never finds the courage to tell you.

"He will, I promise" Scarlett said giving you a reassuring hug. "You two are meant for each other. Now, come on, gets go see what kind of trouble the boys have gotten into" she said causing you and Elizabeth to laugh, walking towards the rest of the cast.

Sebastian's POF

As I was on set, taking a break from filming until my next scene, I couldn't keep my eyes off Y/N. Gosh, she is so breathtaking. She was talking with Scarlett and Liz, laughing at something they had said, when Anthony and Chris sat down beside me.

"I hate to say it dude, but you are whipped. She's got you wrapped around those little fingers of hers." Anthony said causing Chris and I both to laugh.

"Is that such a bad thing?" I said.

"No man. I've never seen you this way over a girl, and its kinda nice." Chris said. "Y/N is like my sister, and there is nobody I trust her with more than you. She's just as crazy about you, as you are about her. Her face says it all. She lights up immediately whenever you're around."

"It's true dude, she is crazy about you. All she ever talks to me about is you." Anthony adds.

"You didn't hear this from me, but she wants the same thing you do. She wants you Sebastian. I've never seen here so into someone like she is with you, and I've known her for eight years. In her eyes, nobody can top you." Hearing Chris say that made me feel a sense of pride. I didn't want to lose Y/N. I lost her for seven months, and I just wanted to make up for lost time. Spending last night and this morning with her made me realize something: I was madly in love with this woman, there was no denying that. Still I was scared. What if he didn't love me back? What if I tell her, and she doesn't feel the same? That could easily ruin everything we have.

" I just don't want to ruin anything we have now. Things are so good with us. I cant lose her" I said being honest with them. Y/N is one of a kind. You don't meet many people like her in your lifetime.

"I can promise you, she's never going anywhere. You're stuck with her, but I don't think you mind that." Anthony says jokingly. He was right, I didn't mind. I want mornings like today for the rest of my life with her, plus a couple mini versions of us running around. That's the dream. I'm pulled out of my thoughts when I hear my phone ringing. It was my mom.

"Ill be right back guys, I gotta take this" I say walking outside. When I get away from the noise I answer the call. "Hi Mom!"  

"Oh sweetie, its so good to hear your voice again,. I feel like I haven't spoke to you in ages. How's everything going?"

"I know, I'm sorry, I've been crazy busy the last couple days, and haven't had time to anything because I'm always on set." I felt horrible. I used to talk to my mom every day, but the busier I got, the harder that got to make happen.

"Oh my love, you don't have to explain anything to me, I understand. I was gonna call last night, but I figured you'd be in bed early from filming all day."

"Well actually, I was with Y/N last night. She got back from tour yesterday, and we hung out."

"Oh my goodness, she's back? How is she? I feel like I haven't seen here in ages." To say my mom loved Y/N as an understatement. She met her for the first time at the Captain America: Civil War premier, and immediately took a liking to her. That just goes to show what type of person Y/N is.

"She's great. I think she's really happy to finally be back home."

"And I'm sure you're just as excited for her to be home as she is." she said making me blush. She knew about my feelings for Y/N and she's always made it very clear she'd love to have her as a daughter-in-law. "We'll its funny that were on the topic of her because I called you for a reason. I thought you could come up to NY for the weekend. We're having a cookout, and I miss my boy and I wouldn't mind seeing him. Plus, Y/N is back in town, so if she came that would be even better."

"I'm starting to think you like her more than me, and I'm kind of hurt."

"Well can you blame me?" she says jokingly.

"No, I don't blame you at all, she's the best." Its true, she was. "I cant speak for her, but I will gladly come up. Today is my last day filming until next week so I'll be there. I'll talk to Y/N today, and see if she wants t come up with me, and ill let you know."

"Ok sweetie. Well ill let you go, that way you can get back to set. Talk to her and let me know what she says."

"I will. Te iubesc atat de mult."

"I love you more honey. Bye." The call ended, and I started walking back inside. Just as I was about to turn the corner, I'm met with two pairs of (y/e/c) staring at me. It was her.

"There you are. I was starting to get worried, I thought something happened to you" she said making me chuckle.

"Everything is fine dragă. I was just on the phone with my mom. She was actually asking about you" I said. That made her smile.

"Awh, I love your mom. How is she doing?'

"She's great, she said she misses you though"

"I miss her to. I feel like I haven't seen her in ages. I'll have to go up and visit her now that I'm back."

"Well its funny that you said that, because she just called me asking if you and I wanted to come to NY for the weekend and see her. The whole fam is having a cookout, and she said she wants us there. Now, its up to you if you wanna go, I'm not trying to force you. I'm just letting you know what she said." Do I want her to come with me? Absolutely. I always want her with me, but I don't want her to feel pressured into it.

"I would love to go with you." she said giving me that smile that made me weak in the knees. "On one condition."

"Anything you want love."

"We have to go to the Sugar Factory while we're up there." I should have expected that. It was her favorite place to get drinks because they were the size of her head. And it made her happy, so I couldn't say no.

"Ok deal" I said wrapping my arm around her waist and walking with her back to the set where everyone was at. Chris and Anthony walk over to me once Y/N walked over to go talk to Kevin and Robert.

"What's got you so excited Winter Boo Bear?" Chris knows I hate that nickname, but I let it slide.

"Well I'm going up to NY for the weekend to see my family, AND Y/N may or may not have agreed to come with me." I said proudly.

"That's awesome man. So is this gonna be the time to tell her?" Anthony asks me smirking. It was bout time I did this.

"Yep, no more being scared, I'm telling her."

"Its about time" they both said simultaneously as we went back to filming. This was gonna be the weekend that I got my dream girl, and nothing could stop me. 

A/N: I really hope you like this chapter. It took me a long time to write, and I’m really proud of how this series is coming along. I’m putting all my time in effort into this series for all of you! I really appreciate all the love and support you guys are showing me. It’s truly means so much!💛

[bewitching-elizabeth-olsen]

Press: Secrets of the Marvel Universe

  VANITY FAIR – After a decade of unprecedented success, Marvel Studios is at a pivotal moment: the looming farewell to some of its founding superheroes, and the rise of a new generation. Kevin Feige, the creative force behind the $13 billion franchise and a slew of Marvel stars, discusses its precarious beginnings, stumbles, and ever-expanding empire.

  On a sweltering October weekend, the largest-ever group of Marvel superheroes and friends gathered just outside of Atlanta for a top-secret assignment. Eighty-three of the famous faces who have brought Marvel’s comic-book characters to life over the past decade mixed and mingled—Mark Ruffalo, who plays the Hulk, bonded with Vin Diesel, the voice of Groot, the monosyllabic sapling from Guardians of the Galaxy. Angela Bassett, mother to Chadwick Boseman’s Black Panther, flew through hurricane-like conditions to report for duty alongside Robert Downey Jr., Scarlett Johansson, Gwyneth Paltrow, Brie Larson, Paul Rudd, Jeremy Renner, Laurence Fishburne, and Stan Lee, the celebrated comic-book writer and co-creator of Iron Man, Spider-Man, Doctor Strange, the Fantastic Four, and the X-Men.

  Their mission: to strike a heroic pose to commemorate 10 years of unprecedented moviemaking success. Marvel Studios, which kicked things off with Iron Man in 2008, has released 17 films that collectively have grossed more than $13 billion at the global box office; 5 more movies are due out in the next two years. The sprawling franchise has resuscitated careers (Downey), has minted new stars (Tom Hiddleston), and increasingly attracts an impressive range of A-list talent, from art-house favorites (Benedict Cumberbatch and Tilda Swinton in Doctor Strange) to Hollywood icons (Anthony Hopkins and Robert Redford) to at least three handsome guys named Chris (Hemsworth, Evans, and Pratt). The wattage at the photo shoot was so high that Ant-Man star Michael Douglas—Michael Douglas!—was collecting autographs. (Photographer Jason Bell shot Vanity Fair’s own Marvel portfolio shortly afterward.)

  But it wasn’t Samuel L. Jackson’s Nick Fury or even Chris Evans’s Captain America who assembled Earth’s mightiest heroes. They came for Kevin Feige, the unassuming man in a black baseball cap who took Marvel Studios from an underdog endeavor with a roster of B-list characters to a cinematic empire that is the envy of every other studio in town. Feige’s innovative, comic-book-based approach to blockbuster moviemaking—having heroes from one film bleed into the next—has changed not only the way movies are made but also pop culture at large. Fans can’t get enough of a world where space-hopping Guardians of the Galaxy might turn up alongside earthbound Avengers, or Doctor Strange and Black Panther could cross paths via a mind-bending rift in the space-time continuum. Other studios, most notably Warner Bros., with the Justice League, have tried to create their own web of interconnected characters. Why have so many failed to achieve Marvel’s heights? “Simple,” said Joe Russo, co-director of Avengers 3 and 4. “They don’t have a Kevin.”

Before Feige, Marvel Studios wasn’t even making its own films. Created in 1993 as Marvel Films, the movie arm of the comics company simply licensed its characters to other studios, earning most of its money from merchandise sales. (The popular 2002 Sam Raimi-directed Spider-Man movie, for example, was made by Sony’s Columbia Pictures.) Feige was part of the team that pushed for the studio to take full creative control of its library of beloved characters, a risky move at the time. “For us old-timers—me and Robert [Downey] and Gwyneth [Paltrow] and Kevin—it felt like we were the upper-classmen,” Jon Favreau, director of the first two Iron Man movies, told me shortly after the photo shoot. “We were emotional . . . thinking about how precarious it all felt in the beginning.”

  Feige has never really forgotten that feeling of uncertainty. He confessed that he experiences pangs of anxiety “multiple times” on every film, and told me he often wonders, “What is the movie that’s going to mess it all up?” But, as the vaunted Marvel Cinematic Universe enters its second decade, perhaps the more pressing question is: What’s the movie that’s going to keep it all going?

  After Avengers 4, an ambitious multi-franchise crossover movie slated for release in 2019, at least some of the original characters who sit at the center of the billion-dollar Avengers team will be hanging up their capes and shields. That’s partially because the Marvel contracts with the actors who play them—Evans (Captain America), Ruffalo (Hulk), Downey (Iron Man), Johansson (Black Widow), Hemsworth (Thor), and Renner (Hawkeye)—are coming to an end. Meanwhile, DC Comics’ Wonder Woman, one of the top-grossing films of 2017, proved that Marvel doesn’t have a monopoly on beloved superhero icons.

  Disney promises that Marvel has at least another 20 years’ worth of characters and worlds to explore—for starters, the studio is finally delivering films with black and female heroes at the core—but declines to offer up any secrets of that ambitious slate. Moviegoers, for now, will simply have to trust in Feige. Luckily for Marvel obsessives, the 44-year-old studio executive is one of them. “At the heart of Kevin is a real”—Scarlett Johansson paused before using the same word everyone does to describe her boss—“fanboy.”

  THE FANBOY

  On the morning of the premiere of the latest Avengers film—Thor: Ragnarok—Kevin Feige sits in his office on the second floor of the Frank G. Wells Building, on the Walt Disney Studios lot. Alongside a shelf of his trademark baseball caps, some stacked four deep, Feige’s walls and tables are adorned with reminders of the characters, narratives, and modern-day myths he’s brought to the big screen. But when it comes time to tell his own origin story, Feige smiles warmly at me before . . . pretending to fall asleep.

  It’s not that he’s told the story too often—Feige rarely talks about himself in interviews—he just finds his own journey deeply uninteresting. Mark Ruffalo thinks this is actually the key to Feige’s success: “The people that I think are great, like Daniel Day-Lewis, don’t make it about them—it’s about the material,” he said. “You don’t see Daniel Day-Lewis trying to show you how fucking great Daniel Day-Lewis is, and he’s our greatest actor. Kevin’s like that.”

  Feige obligingly zooms through his biography for me: childhood in Westfield, New Jersey, in the late 70s and 80s, an obsession with blockbusters (Superman, Star Wars, Star Trek, Indiana Jones, Back to the Future), terrible grades in junior high, movies at the local theater every Friday night. Comics were O.K., but movies were his thing. Feige’s grades improved in high school, and he got into the University of Southern California—his goal since he was 11 or 12 years old—only to be rejected from its selective film school five or six times before he got in. All he wanted to do, his entire life, was make films.

  As he relaxes in the interview, Feige’s storytelling instincts kick in, and he begins to infuse his own narrative with touches of destiny or, as he calls them, “Can you believe it?” moments.

  The first of those moments came years before when Feige landed a college internship working for director Richard Donner and his wife, producer Lauren Shuler Donner. Later, when each Donner was looking to hire a full-time assistant, Feige thought the choice was clear. Richard Donner, who directed Superman, was one of Feige’s idols. (“Superman was formative,” he says.) But he ultimately decided to work for Shuler Donner—the busier of the two—and set himself on the road to becoming a producer. Which is how he found his way to Marvel and an important lesson in risktaking.

  Shuler Donner was a producer on, and a driving force behind, X-Men, a 2000 Fox film starring Marvel characters. One day on set, Shuler Donner and Avi Arad, then head of Marvel Studios, watched as an exasperated stylist, at Feige’s insistence, sprayed and teased actor Hugh Jackman’s hair higher and higher to create the hairstyle that would become the signature look of the character Wolverine. The stylist “eventually went ‘Fine!’ and did a ridiculous version,” Feige recalls. “If you go back and look at it,” he admits, “he’s got big-ass hair in that first movie. But that’s Wolverine!” The experience stuck with Feige. “I never liked the idea that people weren’t attempting things because of the potential for them to look silly,” he says. “Anything in a comic book has the potential to look silly. That doesn’t mean you shouldn’t try to make it look cool.”

  Feige’s passion and geeky attention to detail caught Arad’s eye. (He affectionately refers to Feige as a Trekkie.) Arad hired Feige and sent his new employee to studios that licensed Marvel characters to monitor the company’s intellectual property, offer helpful notes, and generally serve as a Marvel ambassador. Feige watched directors like Sam Raimi with fascination and others, occasionally, Favreau noted, in “frustration” in the era of films such as Daredevil, Ang Lee’s Hulk, and The Punisher. Feige’s advice was sometimes ignored, and many of those films became notorious flops. “The answers,” Feige still says, explaining why comic-book adaptations go wrong, “are always in the books.”

  By the time Arad had a financial plan in place for Marvel to finance its own films, Hollywood had turned its back on the superhero genre. Even Marvel’s most popular character, Spider-Man, disappointed at the end of his trilogy in 2007. “Some people were giving last rites” to the genre, Favreau said.

  Feige downplays it now, but like Sky Masterson in Guys and Dolls, Marvel Studios bet everything on the first roll. Borrowing money by offering up film rights to its biggest characters as collateral and tirelessly pitching the idea to skeptical foreign buyers, Feige and Arad finally hired three directors to make movies for Marvel Studios: Favreau for Iron Man, Louis Leterrier for The Incredible Hulk, and Edgar Wright for Ant-Man. (Only Favreau would become part of the enduring Marvel legacy.) “People forget Iron Man was an independent movie,” Feige says.

  The gamble paid off. Iron Man premiered to rave reviews and a huge box office in 2008, giving Marvel the financial cushion and industry credibility it needed to forge on with its strategy. Meanwhile, as the ranks of Marvel Studios swelled beyond a skeletal operation, its C.E.O. decided to depart. “You can talk to my friends and enemies, and they’ll tell you my weakest point is I’m a one-man show,” Arad said. Not wanting to deal with the infrastructure that comes with launching a major franchise, Arad stepped down before the first Iron Man hit theaters but not before anointing his heir apparent. At only 33 years old, Feige was officially in charge of the first significant independent studio since DreamWorks.

  BIRTH OF A UNIVERSE

  Marvel’s run as an indie studio didn’t last long. The Walt Disney Company had been looking for a producer of “tentpole” films that could expand its audiences beyond family-friendly fare and the girl-centric princess line. Marvel, with its built-in audience of young men, fit the bill, and Disney acquired the company in 2009 for $4 billion. (Another “Can you believe it?” moment for Feige, who spent annual childhood vacations at Disney theme parks.)

  Even with Disney’s deep pockets, Marvel continued to run a lean operation. Up until four years ago, Feige operated out of a series of unassuming offices—one shared with a kite company in West Los Angeles, one above a Mercedes-Benz dealership in Beverly Hills, and one Manhattan Beach office that, even after the success of The Avengers, was “cheap” and “dreary,” as Guardians of the Galaxy director James Gunn remembers.

  On the wall of one of those early, drab offices hung a 1988 Technicolor poster by Marvel artists Ed Hannigan and Joe Rubinstein, crowded to the margins with hundreds of characters from all different story lines with the words MARVEL UNIVERSE emblazoned across the top. Feige would challenge visitors to find the smallest figure in the scrum.

  Feige said he had long believed in the storytelling potential of weaving together Marvel’s superheroes and plots—in essence bringing that Marvel-universe poster to life. His hunch was validated by the media coverage around the astonishing $ 98 million opening weekend of Iron Man. Samuel L. Jackson’s brief appearance in that movie as Nick Fury, director of a counterterrorism agency central to the Marvel universe, initially was meant as an Easter egg, a knowing wink, for die-hard fans. “We put it at the end so it wouldn’t be distracting,” Feige said of the post-credits stinger that launched a decade-long trend. But after he saw how audiences—not just devoted comics fans—responded to Fury’s appearance, Feige knew the idea of cross-pollinating characters and movies had legs.

  One early challenge was getting actors to sign up for Marvel’s ambitious vision. A character might star in one film, be part of an ensemble in another, and just make a goofy guest appearance in yet another. Jackson signed an unheard-of nine-picture deal with Marvel shortly after Iron Man came out, ensuring his participation in the subsequent Avengers movies and other Marvel properties. Feige found it particularly challenging to secure Chris Evans as Captain America, a character who acts as leader of the Avengers. Evans, who’d previously tackled the comic-book genre as Johnny Storm in the Fantastic Four movies, was hesitant to sign a long-term deal that would prevent him from doing other projects. Evans asked for a weekend to make his decision—Feige cited those few days as among the most nerve-racking of his tenure—before committing to six movies. Once Hemsworth agreed to play Thor, another foundational Avenger, Feige’s grand plan was under way. (It doesn’t hurt that Marvel contracts can be supremely lucrative. Robert Downey Jr. reportedly made $ 80 million in 2015, thanks largely to his work as Iron Man.)

  Still, it wasn’t until a celebratory night in Rome in 2012, on the Avengers press tour, that the Marvel extended family really understood what its boss had planned. “I’m socially awkward,” Feige said. (“He’s short on kibitz,” Downey likes to say.) “So I talked about what we can do next.” As the hotel staff shushed them and the hour grew late, Feige pulled back the curtain on his master plan—or at least some of it. “I would like to take all of the comics and start to build the Marvel universe,” Feige declared. “We’ll have 15 productions in the next two years!”

  THE MARVEL WAY OR BUST

  Marvel’s first decade of moviemaking has not been without its misses and heartaches. Neither Iron Man 2, which came out in 2010, nor 2013’s Thor: The Dark World won critical raves. Two prominent directors—Edgar Wright and Joss Whedon—very publicly parted ways with Marvel after squabbling with the studio over artistic control. Wright, who wrote an early draft of Ant-Man but left the project in 2014 before filming began, declined to comment for this story. Whedon, who wrote and directed two Avengers movies and severed ties with Marvel in 2016, did not respond to requests to talk about his departure. But in published interviews both men have said they felt they had to sacrifice their own vision to serve Marvel’s interests.

  The exodus of two admired artists (Wright was known for his genre send-ups Shaun of the Dead and Hot Fuzz, Whedon for creating the Buffy the Vampire Slayer television series) was not a good look for Marvel, which until then had enjoyed a fanboy-friendly reputation. From inside the family, James Gunn, Anthony Russo, and Evangeline Lilly, an Ant-Man star, described this period as a messy “divorce” and the tone around the studio as “uneasy.” Some critics argued that Marvel’s success spawned so many big-budget copycats that creativity didn’t stand a chance in Hollywood. Even one of Feige’s childhood heroes, Steven Spielberg, took a public shot at the glut of comic-book movies.

  Feige doesn’t deny that directors need to play by a set of rules when they join Team Marvel, especially now that the concept of a single cinematic universe is non-negotiable. “Filmmakers . . . coming in understand the notion of the shared sandbox more than the initial filmmakers did because the sandbox didn’t exist then,” he said.

  At the same time the studio seems increasingly willing to let directors be experimental and original in other ways. “Guardians is probably the best example of the audience validating even our more esoteric instincts,” Feige said. The unabashed goofiness of the Guardians of the Galaxy movies and the gonzo tone of Taika Waititi’s Thor: Ragnarok signal a radical departure from, say, the staid bleakness of Thor: The Dark World. Director Ryan Coogler’s upcoming Black Panther movie marks another major shift for Marvel: in February, the studio will launch its first movie with a black actor, Chadwick Boseman, in the lead. Captain Marvel, starring Brie Larson in the title role of a female air-force captain with superpowers, opens in 2019. “I can’t think of anybody [at Marvel] that hasn’t directly approached me and had very, very in-depth conversations about Panther,” Boseman told me.

  LIFE WITH IKE

  It seems like more than happenstance that Marvel’s emphatic inclusiveness coincides with a long-overdue 2015 management re-structuring by Disney that put Feige firmly in control of the studio and quietly sidelined Isaac “Ike” Perlmutter, Marvel’s controversial chairman and former C.E.O. Perlmutter is a shadowy but essential figure in the world of Marvel. The 75-year-old mogul helped rescue Marvel Entertainment Group from bankruptcy in 1998, when he merged it with Toy Biz Inc., a company he co-owned. Though Perlmutter endorsed Marvel’s decision to make its own films, he clung to outdated opinions about casting, budgeting, and merchandising that ran counter to trends in popular culture, sources close to the studio said. For example, Perlmutter, citing his years in the toy-making business, reportedly made the decision to scale back production of Black Widow-themed merchandise in 2015 because he believed “girl” superhero products wouldn’t sell.

  Director James Gunn chalked up every conflict he had making Guardians of the Galaxy to Perlmutter and the Marvel “creative committee”—a legacy of the studio’s early days—which read every script and gave writers and filmmakers feedback. Said Gunn, “They were a group of comic-book writers and toy people” who gave him “haphazard” notes. The committee, for example, suggested Guardians of the Galaxy ditch the 70s music that the film’s hero loves. (The movie’s soundtrack, featuring retro hits, would later go platinum.) Members of the creative committee declined to comment for the story. Perlmutter also declined to comment, but a person with knowledge of his approach said, “Ike Perlmutter neither discriminates nor cares about diversity, he just cares about what he thinks will make money.”

  In August 2015, a few months after rival Warner Bros. earned serious feminist bragging rights with its announcement that Patty Jenkins would direct Wonder Woman, Disney confirmed that it had changed Marvel’s management structure: Feige would report to Alan Horn, chairman of Walt Disney Studios, ostensibly as part of an effort to integrate Marvel into the bigger Disney film family. Perlmutter remains chairman of Marvel Entertainment. An early Trump supporter, he also advises the White House on veterans’ issues.

  Critics sometimes forget that Feige announced Captain Marvel and Black Panther in 2014—during the Perlmutter era. Instead they focus on how Marvel missed the chance to make the first female-led superhero movie of the modern era. I asked Feige if he wished Marvel had gotten there before Wonder Woman. “Yeah,” he answered carefully. “I think it’s always fun to be first with most things.” Ever the fanboy, Feige got chills recounting the heroine’s powerful stand in No Man’s Land for me in his office. “Everything’s going to work out,” he said cheerfully. “Captain Marvel is a very different type of movie.”

  THE AVENGERS, AND EVERYTHING AFTER

  One week before the Marvel 10th-anniversary photo shoot, on the set of Avengers 4, I watched Marvel’s biggest stars lounge on comfy couches under a canopy in the long stretches between takes. Mark Ruffalo scratched Scarlett Johansson’s back, while Johansson, Chris Evans, and several other Avengers hunched over their phones in a competitive game of Words with Friends. I reached for a camera to record the moment—some of the most famous faces in the world lit up by phone screens just like the rest of us—but the ever vigilant Marvel security team had wrapped my phone in layers of protective tape. Later, Chris Hemsworth mentioned that very moment to me. “I thought, Could somebody take a photo of this? We’re all aware that this is going to be the last time we get to hang out like this.”

  And yet the actors who have contributed so much to Marvel’s past successes have little doubt about the studio’s future. “I feel a lot of joy for the next generation,” Johansson said. “It’s a bittersweet feeling, but a positive one.”

  In true Marvel fashion, members of the original Avengers team will help pave the way for the new guard. The latest Captain America introduced fans to Boseman’s Black Panther while Downey’s Tony Stark mentored Tom Holland’s Peter Parker in Spider-Man: Homecoming—“serving at the pleasure of young Master Holland,” Downey said with characteristic flair. Spider-Man’s return to the Marvel fold is a coup for Feige, who helped orchestrate a hero-sharing arrangement with Sony.

  To hear Disney C.E.O. Bob Iger tell it, Marvel’s next wave is just beginning. He notes that the studio has rights to 7,000 characters, who can travel anywhere their creators wish to take them. “We’re looking for worlds that are completely separate—geographically or in time—from the worlds that we’ve already visited,” Iger explained.

  Both Iger and Feige hinted at how the franchise will expand into different realms, with James Gunn working in close collaboration to possibly spin off some characters from the extraterrestrial world of the Guardians of the Galaxy. Marvel is “22 movies in, and we’ve got another 20 movies on the docket that are completely different from anything that’s come before—intentionally,” Feige said.

  While Feige refused to reveal any details about the characters and stories Marvel has yet to introduce, he did promise a definitive end to the franchise that built Marvel. Avengers 4, he said, will “bring things you’ve never seen in superhero films: a finale.” This may mean a lot of dead Avengers at the hands of the villain Thanos, who has appeared sporadically and tantalizingly since the first Avengers movie back in 2012. But the Marvel Cinematic Universe will live on. “There will be two distinct periods. Everything before Avengers 4 and everything after. I know it will not be in ways people are expecting,” Feige teased.

  “Everything after,” without these Marvel mainstays, will be hard work. The studio constantly needs to cast new actors, develop surprising new narratives, and risk looking a little silly—as Feige did with Wolverine’s hair—all under the harsh glare of millions of fans and detractors watching the studio’s every move. Feige, however, has no worries about Marvel’s longevity, a point he illustrated by quoting one of his personal heroes: “On opening day, when people asked Mr. Walt Disney if Disneyland was finished, he said, as long as there’s imagination in the world, Disney will never be complete.” And as long as people are willing to watch superheroes save the world, Marvel—and Kevin Feige—won’t be done, either.

Press: Secrets of the Marvel Universe was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

[the-irish-mayhem]

rosalindmosis replied to your post “In the party scene in AOU, Thor says that Jane travels so much that...”

I suppose if Jane isn't mentioned and there's no romance between him and Valkryie after all, we can ignore Kevin Feige? I mean, Word Of God doesn't have to be canon?

Ignoring shit that comes out of Feige’s pie hole is one of my talents. 10/10 endorse this plan.

Also, Jane Foster stans are in a weird position- if it turned out Jane was, say, seriously ill, like WITH A CERTAIN SERIOUS ILLNESS, we'd all be dangerously excited... That's why she broke up with Thor- because she didn't want him to see her get sicker, but then Mjolnir lands on her back door step and-

I’m counting down the days until I have to headcanon my way out of disappointments in Thor 3. But just like.... imagine. You don’t even need Natalie for a cameo. You don’t even have to show her face. Do every single shot faceless.

After credits scene kicks in. The camera pans over what appears to be some sort of long term health care facility. There are star charts on the walls, someone rolled in a white board for her that is covered in mathematics and physics scribbles. Pan over to the bed, where we see Jane with her back turned to the camera. She’s holding the IV stand as she rises from the bed. She walks over to the window of her room, which has been left open. We see her sigh deeply. She stretches her hand out. The camera switches to focus on her hand, reaching out of the window. We hear the metallic hum we’ve come to know, and hear the distant rumble of thunder.

Cut to black.

(Granted, Marvel is allergic to female superheroes and their extra strength Claritin isn’t kicking in until like 2076.)

OR there was that instagram Taiki Waititi sent out of a comparison photo thing of Natalie Portman carrying a plant in Leon and Where the Heart Is, ONE OF THEM SHE IS PREGNANT and hashtaged it 'Heed the Signs.' Like, they broke up, but turns out she's pregnant? He has to at least go back and see his kid...

That’s why Thor refuses to go to Jane while he and Loki are on Earth. He won’t put their unborn kid in danger.

God I need a new ship/fandom, this is killing me. Marvel's tit-punched me so many times why should I believe anything good comes out of this?

Fuckin same

I'll stop now.

NEVER