#mcu analysis

[xx-w0rlds-0k4y3st-f4g-xx]

been having a bit of an early mcu clint/natasha/steve/bucky/precanon SHIELD hyperfixation resurgence recently, and let me just say, i always shipped mcu steve and bucky bc idk man they just work, but now after that hyperfixation has been dormant for nearly 5 years and is now just reeawakening and now that I have a lot more knowledge of queer history and that stuff, most of my mcu stucky shipping is more "the writers did this and I have a feeling it wasn't on purpose"

an example being the fact that bucky calls steve 'punk', which, at the time (30s/early 40s) was one of the slang words used to describe either a prostitute (in reference to punck in a couple of Shakespeares works) or a queer man (which is where the term punk as we know it partially came from, lets be real here, whether people like it or not, punk has some pretty queer roots)

which is to lead to my point here, bucky was basically calling steve the period equivalent of fag, and I find this very funny (see: URL). i have other reasons, such as them living together (which could be written off as great depression money saving), bucky always dragging steve on dates, the area of NYC they lived in (if my knowledge is correct, it was a pretty queer area at the time, at least in the underground scene), etc. but like, the punk thing is funny to me bc given the time, it wouldn't have been like people now calling things gay or calling a friend fag or dyke to make a joke, this felt like an actual nickname (that the writers prob used the modern meaning of but I digress), this felt the same as two queer friends (or lovers in the case I'm presenting here) calling each other that bc its what they were, like one of my friends calling me fagtard bc I made one joke and I'm a queer weirdo who cant function in a classroom setting.

it feels like an honest genuine nickname with roots

leading to my conclusion that stucky may very well have been canon bc this story is fake, its a movie/comic book, steve in endgame going back to see peggy was extremely out of character knowing what we do about steve (and peggy!) in earlier movies, writers don't always do historical research, especially into queer history that may well have been relevant to the movie setting, and fuck you I make the rules here this is my dumb blog

signed someone who's first ever url was the-brooklyn-boys

[phillipjaekwoncoulson]

Welcome to my current hyperfixation, creating as accurate a timeline as possible for the life (until 1st death) of one Phillip J Coulson, under the cut for your convenience

July 8, 1964

Born in Manitowoc WI to history teacher and football coach Robert, and homemaker Julie Coulson.

Summers 1970-73

Played Little League (batted .400), fixed up a cherry red 62 Chevy with his dad

1973

Death of his father, circumstances unknown, but was considered a Defining Moment in his life. He's "forgotten more about [his dad] than he remembers." He and his mother then moved away from Manitowoc.

1982

First contact with SHIELD, right out of high school. Canon differs on whether he was recruited straight out of senior year or simply tapped and recruited after some college (reported history degree which got him on SHIELD's radar, but Coulson personally said "younger than [Skye, early 20s] when I was recruited, straight out of high school." My personal thought is that he was approached during/just after high school, but was encouraged to get a degree to help him get into SHIELD Academy

1986 (likely)

Formal recruitment into SHIELD Academy of Communications, to study data analysis and become "The analysis expert" -Agent Tripp.

1990

Coulson + Melinda May's first mission, in Sausalito, CA, with no proper exit plan that ended with May stuck in the bay for 5 hours.

(this year, presuming he entered SHIELD Academy after a 4 year college degree, is exact and lines up better with him being a Junior Agent in Captain Marvel, 1995. According to Jemma Simmons' stated biography, the Academy is a 4 year program. When undercover in HYDRA she stated she started at SHIELD at 17. She was born in 1987 and graduated the Academy "in 2004, 3 years early" meaning she only spent 1 year there max. She could not have entered the academy any younger for multiple reasons (had at least 1 PhD, and to gain a visa to study/work younger than 17 would have been nigh impossible))

1990s

Ran multiple missions with Katherine Shane and presumably had a casual relationship

1995

Junior Agent Coulson, along with Nick Fury, is tasked with investigating an unusual circumstance at a Blockbuster in LA. Plot of Captain Marvel happens here, along with the first mention of the (currently unnamed) Avengers Initiative. At this time Coulson does not know the true story of how Fury lost his eye

1996 (likely)

First meeting with Audrey Nathan (the cellist and proclaimed Coulson's true love). Proceeded to start a relationship, including trips to Hawaii (to get a tie as a gift and eat some poi) and dinners at The Richmond

Marcus Daniels' wiki says he was in a lab accident at college sometime between 1992-96. Watsonian logic, Coulson was likely picked for the case because of his previous experience with light-based powered persons

2001 (likely)

Recruitment of Clint Barton

Wiki says he was hand-picked by Fury in the early 2000s. He met Laura working with her at SHIELD and his oldest daughter was born around 2004.

2002

Coulson stationed in Cusco, Peru alongside Camilla Reyes, a member of Policia Militar del Perú, with whom he formed some form of romantic/casual relationship.

Best guess, Coulson considered all his relationships casual/incidental, saying goodbye to Audrey each time and hoping to be able to come back but making no promises of fidelity. Either that or he's a prolific cheater because Marvel can't get their stories straight. I prefer option A.

2003-5

Promoted to training teams of agents

Between being an attache to a foreign governmental body and gaining Akela (next bullet), a notoriously difficult recruit, he had to have cut his teeth training other teams/agents. Akela's training absolutely falls under this timeline as well, given how well she knew him

2006

sent his recruit Akela with a small team to raid a gulag owned by criminal Vanchat, where Akela was either captured or killed somewhere in the Shanxi Province, according to record.

2008, likely early spring

Coulson and May were sent as the Welcome Wagon to talk to a possible gifted in Bahrain, resulting in the birth of The Cavalry and May's cold personality change

2008, June

Word of The Hulk reaches SHIELD. Coulson questions whether Fury wants to fold him in, to which he's told the Hulk is "Thunderbolt Ross's problem"

2008, October

Sent as the Welcome Wagon to recruit Tony Stark to SHIELD after his return from captivity under the guise of a debrief

2008, early winter

Sends Agent Barton on a mission in Russia in which Barton runs across the Black Widow. Barton is then sent back to kill her, resulting in a standoff in Budapest, days off grid, the death of a young girl, and the recruitment of Natasha Romanoff

2009

Takes up overseeing the TAHITI project (in 2014 one of the agents who had taken part and was wiped was officially declared dead 5 years previous). Also shuts down the project due to the insurmountable issues presenting in the subjects.

2010, May

Sent to babysit Tony Stark on his house arrest, threatening to "tase him and watch Supernanny while he drools into the carpet"

2010, May/June

Sent to investigate an 084 alongside a science team and Agent Barton, resulting in the plot of Thor

2011

Captain America found in the ice. Defrosted and set up in a 1940s dummy hospital setup, presumably planned by Coulson, the resident expert on Captain America, history, and gifted recruits. Plus he "watched Steve while he was sleeping"

2012, pre-May

Hawkeye is assigned to infiltrate the helicarrier under Fury's orders and learns of the Avengers Initiative, as well as Coulson's involvement.

2012, May

Coulson dies. Had a date planned with Audrey in Portland, missed it due to gaining a new piece of Asgardian hardware in his chest

2012, June/July

Coulson undergoes multiple invasive surgeries in an attempt to revive him using Kree blood as part of the TAHITI project.

2013

Starts up a new team composed of Melinda May, Grant Ward, Jemma Simmons, and Leopold Fitz to take on interesting problems, functioning as a quick-response unit (and to allow May to keep a very close eye on Coulson)

[traveller-of-the-knight]

I AM MAAAAD AT ELIAS SPECTOR OK?!

So I rewatched episode 5 because I loke pain and I just realised-

At the Shiva.

He hadn't seen his son for more that a decade!

And he finally saw him crying in the middle of the street alone, after his mother's death and he just let him leave?!

Like- No, nonononono you don't do that! You don't fucking do that! That is your son! Your son you haven't seen in ages and you are just letting him go???? You are not running to hug him?! DUDE!!! I'm so going to mention this in my fanfics

[indominusavenger]

Looking back at Civil War and Homecoming, I found intriguing parallels at their endings. When Tony arrives back at the Avengers Compound, he looks at the Avengers symbol with what I'd describe as disdain but I think it's mostly regret and pain. Then, fast forward to Homecoming's finale at the Compound and when Peter sees it, his face lights up. He looks hopeful, happy, excited. I find these as interesting comparisons. Here they are side by side for you to see what I'm talking about.

Captain America: Civil War (2016)

Spider-Man: Homecoming (2017)

Do you see what I mean? I want to believe these are intentional because we end Civil War on a somber note-the Avengers are divided, Tony comes home defeated after being stranded in Siberia and he found out the truth about his parents' deaths. What's there to believe in anymore of Earth's Mightiest Heroes? And then, we get to Homecoming. At this point, several months have passed and Spider-Man has just taken down his first major supervillain and saved Iron Man's tech. Tony Stark requested Peter's presence at the Compound and this is the first time he gets to see the place. There's a hope of rekindling of sorts with his mentor. So now, we're embracing a more hopeful tone once we see the Avengers symbol again. To me, that's an important contrast.

The resentment, hurt, and defeat we see from Tony's view reflects that lost hope in the Avengers, in a way. From the veteran Avenger who is tired and tried his best to keep the team together, we feel his shame and suffering at the downfall of his best laid plans. Now, moving onto Peter, we regain that hope and enthusiasm in the Avengers because that's how he sees this team of heroes as an outsider. He's a new recruit, a young aspiring superhero that wants to fit into that world and where better than in the Avengers by Iron Man's side? He's the most relatable of the main characters because his perspective matches that of the audience; we see the Avengers with that same hope, reverence, etc. They feel untouchable, other-worldly in a sense. I think it's also supposed to be a hint from Marvel that just because of the current conditions with the Avengers at that time, they would be back together soon and not all hope is lost, hence Infinity War. But at the moment, it's simply a subtle nod to that. Notice how hope keeps coming up as the key word in this post? I conclude that this theme of hope is supposed to reflect the way we as humans work; we may lose hope due to unfortunate circumstances, however, deep inside, that feeling of hope still lingers and stirs within us. That's why it was the last thing in Pandora's Box and I think it serves to remind us that it's always there, no matter what happens. It's so integral to us, even superheroes.

[faithbetryin]

Thinking about the fact that Matt survived a building falling on him, and while he survived, the love of his life- that he just got back from being resurrected into a soulless weapon, died. They wanted to die together, yet Matt survived. Then he found refuge in the place he felt the most alone in his life: the orphanage where his mother cared for him without his knowledge. The basement of a church where he's surrounded by angel statues whilst rejecting religion, forced to be watched under their stone faces. And after a suicide attempt, he has to hear the choir singing above him, surrounded in a tomb of graves in the walls. He is surrounded by death, failure, by religious symbols and sounds. Yet he's supposed to find meaning, challenged by the comments of his mother who tells him not to dwell in selfish "self pity."

DAREDEVIL, 2.01 "RESSURECTION"

[prettydjarinsoloinspires]

no but think about the Loki from Thor. from Avengers. the fact that he’s fighting for something good that he believes in means so much. the fact that he can sit there and say he just wants his friends back. these friends. the ones who see him for him. who don’t judge him. who he feels like he BELONGS with.

when has Loki ever felt like he belongs anywhere? he’s always been the outsider, the outcast, the villain. at the TVA he has felt appreciated and accepted. no one is singling him out or giving him a hard time for being himself. he FITS. he has come so so far. and shipping aside, the main reason for that is Mobius. someone who has seen every dark crevice of his life and his bad choices and his darkest moments and treated him with compassion and understanding.

the orphaned, abandoned, misunderstood villain has been able to write his own story because one ordinary man believed in him.

[kingofthewilderwest]

We need to start questioning the conflation of "maturity" with "increased stakes."

It's not to say higher stakes is always a bad choice. The first half of the How to Train Your Dragon book series has an endearingly whimsical, child-like feel. Hiccup's issues in the first half of book one are an obnoxious, cat-sized Toothless pooping in his helmet. The movie adaptation might have made the book and its counterpart distant cousins, but it was a thoughtful move to alter concepts to the appropriately theatrical: books and movies aren't the same medium. Hiccup riding alone on Toothless, exchanging fire blasts with a mountain-sized dragon, and losing his leg came off as well-done storytelling.

Hiccup staring at a prosthetic never happened in the book. He didn't lose his leg in his encounter with the Green Death. It was, as the creative powers behind the movie said, a result of the increased stakes. They didn't do this just to be more dramatic; they did it because it seemed that, based on how their narrative was going, this made sense. And this was a soft, quiet, shocking, breath-taking scene that instilled how good the movie handled its stakes. It gave us a reflective reaction to consequences that audiences might not have expected. This movie understood timing, pauses, quietness, narrative arc, poignance, reflection, emotion, love, and heart.

We know about the conflation of live action as "more mature" than animation. But a medium doesn't change maturity levels. We all know that's bogus, and many analyses have been given on that. Disney live actions add extraneous gunk, down to Gaston having a past relationship with war (so I've heard, from the people who actually watched the movie), and Disney giving us the sad scoop on why Belle's mom isn't around. Furthermore, lots of times, when I see the conversion of animation to live action, I notice creators feel a need to "raise the stakes" -- in line with the erroneous view of "giving maturity."

But "higher stakes" often means inserting action in place of mindful interaction. I feel today's Hollywood movies, in their treatment of "action," don't let movies pause and breathe anymore - ergo, they don't let us think. Isn't it more juvenile to actively avoid thought in favor of "hey look I made the building go boom"? There may be less "stakes" in introspection and mindful dialogue, but that's what gives it its maturity. That's how we went from Iron Man 1, with its grounded treatment of war and abuse, to the mindless high spectacle MCU is today.

Snappy one-liners or moments that clap at contemporary issues don't substitute for maturity. What can make a story mature is characters grappling with issues in a natural narrative through-line. A snappy one-liner is its own form of speedy spectacle.

We know about the conflation of "gore and sex" with "mature audiences." I believe they're right that graphic sex and gore is designed for adults. But that doesn't make it mature, and that doesn't make it the only way to target a medium for adults.

"Realisticness" isn't maturity. Per above regarding animation: realistic visuals are nothing. And if you think that putting more Debbie Downer material into your adaptation makes it more adult, you have to ask yourself why the themes that spoke to people's souls got muddled in its midst. We weren't mature enough to interact with the most subtle, nuanced, and impacting voice of the story. But hey! Look! There's more corpses, I guess!

It's not the visuals, it's not the events. It's not the "things." It's not the basic insertion of the external. Get past the superficial, get past the top layer of presentation. It's the mind. It's the ability to think. It's the ability to be still. It's the ability to be interested and attentive when something is slow or quotidian, because we can understand why that is important for narrative growth or arcs or themes or commentary on the human condition. It's the ability to know when and when not to include something. It's the ability to make resonant impact. It's the ability to be deep with your emotions or your themes. It's the ability to take what you have and grow it in a way by which we can derive something deeper.

Maturity is critical thought and well-conducted, appropriate responses to content of any kind.

As DeBlois tells Empire, the move to live-action brings a different emphasis to How To Train Your Dragon; a new heft, both physically and emotionally. “It’s so dialed-up in terms of stakes — having a fully credible, photo-real dragon stomping around trying to kill him,” the director says.

And maybe that DeBlois quote is taken out of context. Maybe there's more going on than that one sentence conveys. Maybe Empire is making their own erroneous assumptions. But "so dialed-up in terms of stakes," isn't, on its own, a good appeal. The animated movie already dialed things up - and knew when to include or not include something. A live-action that imitates the visuals of the animated movie exactly, as if no independent thought has been done to its unique adaptation, to the pros and cons of the medium, to what a independently-presented story needs and doesn't need... It has to make you wonder: how many conflations of "maturity" are going on?

How long are we going to keep making our own conflations?

[fizz-pop-thwip]

Oh Steve and Bucky's physicality? Why yes, I will deep dive into that, only if you insist 🙂‍↕️

The serums lead them to where they are now obviously, and the serums are DIFFERENT. Steve's was refined, the og. Its not just a biological feat beyond most people's understanding but what Erskine created was an ART. Utterly refined, working and 'super soldier-ing' in the most efficient and effective ways possible. Steve obviously had the MOST physical change, something Hydras serum wouldn't have achieved even if Bucky was Steve's original size when he got it.

Steve is lean (Not truely lean but leanER then Bucky.) his serum had the power and engineering to rely on the SUPER half for most of his strength. Does he have the correct muscle mass to be able to lift a bus? No. But does he have the super strength to make up for that? Yes. If we can take ANYTHING away from this over a decade old fandom, Steve is shaped like a Dorito, broad shoulders and smaller waist and lean, powerful muscle.

Bucky on the other hand, his serum wasn't so well crafted. To catch up with Captain Americas strength, hydra had to rely more on muscle mass and real strength. Bucky is bigger, wider, more raw muscle, obviously still with super strength but just less, not as much to make up for less muscle. Bucky's more rectangular, he's less then half an inch shorter then Steve, if that, but everything else culminates and makes you THINK he would be taller, you know?

I believe in general Bucky's weight fluctuates much more than Steve's ever would, (With Steve's serum being how it was, I doubt MUCH change is happening to his body, point blank period.) maybe Bucky's skinner when he's first starting to heal. He has muscles, there's no changing that any time soon with the serum in him but hes not really eating properly and hes been so sick. He's just paler and feeling weaker overall. And later when he's more healed, less nightmares, less stress, he puts on a bit of weight. With him not being as active as an assassin might be and adopting better eating habits, he gets some tummy on him.

Steve ADORES it, goes crazy for it but he goes crazy for Bucky always so maybe that doesn't say much. He just loves how healthy it makes him look, how it represents his progress in a way.

I think Steve also just naturally forgets he's technically the taller one. They're practically the same height really anyway but Steve carries himself differently around Bucky, not to mention their history. The natural feeling is just that he's smaller and that results in a lot of accidental knocking heads.

Anyway this is my copium for the evening, goodnight😴

[gloriousburden]

Omg so many people love to mock Avengers Loki’s hair for being “greasy”/“unwashed” (which I can’t stand because it’s so obviously hair gel…) but love and even praise his hair in Ragnarok/the all black suit outfit when his hair with that outfit GENUINELY looks greasy and not even just slicked back/styled with gel.

It’s so obviously styled. Greasy/unwashed hair doesn’t do that. Even when I was more tolerant of Ragnarok… I knew this was a mess. Does Loki’s hair in Avengers look crunchy? Yes. Does it look greasy/unwashed? NO!

Btw I really never cared for the all black suit outfit 😭😭😭😭 it’s nothing special to me, and I prefer Stuttgart/Thor 1 when he was wearing a suit. Feel like I’m definitely in the minority though.

On a more positive note, though…

Shitty pictures, but I actually kind of like what they did with his hair in IW. Is it perfect? No, but I like how you could see a bit of his natural waves more (which is adorable), the amount of volume, the fact it’s ever so slightly side parted/moved to the side, the way it’s more in his face and not entirely tucked/styled behind his ears, and how disheveled it is. It’s more natural looking, and not so crunchy/overly defined to the point it lacks volume/separation.

It’s so cute to me that he has naturally more wavy hair rather than straight, so I’m glad that they sort of let that show. Like in TDW too, since his hair had a more natural wave even though it was seemingly still styled. As well as obviously after his breakdown.

[thevibraniumveterans]

What do you mean he teased one?? I mean, Bucky’s been doing well without a hero outfit, even though he did wear a battle jacket in TFATWS (which is honestly my favorite outfit of his) but I don’t know if he even needs one. I’m 50/50 about it, great if he sticks with civilian clothing, great if he gets a hero outfit, but y’know, there’s a reason why Marvel didn’t give him one. Here the ScreenRant article in question…

(x)

[solid-white]

Professor X could unironically be the funniest person if he used his powers differently, like sure, he'd be a terrifying villain and all, and yeah, he's one of the greatest heroes or whatever, but just IMAGINE how much of an inconvenience he could be if he found out your least favourite song.

Like, when (because let's be honest, he WILL) finds out Wolverine is a Flames fans, he would replay the oilers winning over and over in his mind. Oilers and Flames fans just have a natural hate for each other.

He would also play the most god awful song in the morning just to wake up the students, and he would just watch their dreams like he's binging a tv like "oh look, Sanji Yamamoto is having a dream about dating a tomato, how queer"

And then like, he finds Wolverine and Deadpool making out when it's an emergency and he's all "no, you're good, take your time."

Dude would be SO funny.

[whereserpentswalk]

The reason why that joss whedon/mcu style "he's right behind me" humor is so unpleasant is because it's written with contempt for the worldbuilding most of the time.

Basically a lot of that quippy joss whedon style humor is written by people who are uncomfortable with the concept of genre fiction, but who are writing it any way, so they basically end up having their characters voice their opinion on the setting. Something like the "a cannibal named Hannibal isn't that a little on the nose" from that what if other movies were written by joss whedon meme doesn't work, not just because it's humor in an otherwise serious thing (tons of serious movies have comic relief) but because it's a comment someone would only make if they're reacting to the the name as if it's something written, and not like it's a real name they encountered.

It's terrible writing, but it's not about tone like how most people think, it's about characterization. Good character writing tends to rely on thinking about who the character is and what they'd do in the situation they're in. This type of humor does the exact opposite, it ignores crucial elements of who a character is so they can say something that the writer wants desperately to be said.

To use a more concrete example, there's an exchange in Firefly, a series joss whedon wrote before his worst writing quirks infected all of Hollywood like a locust plague. The exchange surrounds the characters reacting to one of the characters being revealed to have gained psychic powers via lobotomy. One character says skeptically "psychic powers, what kind of scifi nonsense is this" and another character replies "we live on a spaceship."

Now, this exchange has bothered me since I was a child. Spaceships are a normal thing in the firefly universe, every single character has lived their entire life with them being mundane vehicles, while psychic powers have just been revealed to be a thing to the audience. There's no reason why it would make sense for any character to see those two things as equivalent. The only people who that line makes sense to are the writers. It's like a perfectly constructed attack on suspension of disbelief, actively making fun of an audience who gets invested in the characters and their lives.

And the worst part about it, is that if it was just the first line, (the, "what type of scifi nonsense is this") without the reply, (the, "We live in a spaceship"). It would have worked better, both as a joke and as a peice of character writing.

It would have worked better as a joke without the reply, because it would have been actually subtle about the irony of a character in a spaceship complaining about something in his life seeming too scifi. The reply is basically just explaining the joke. It would have worked better as a worldbuilding line. Because what's weird for characters in a setting vs what's normal for them is a really hard thing to get across, and the first line gets it across pretty elegantly. And then the reply takes that elegant peice of writing and completely destroys it because of the writers insecurities about writing a story that takes place in space.

Anyway. Joss whedon is a badish writer and his worst tendencies should not have become Hollywood standard. All of this came from me re-watching old episodes of adventure time yesterday and wondering why the humor works there and why other media's humor doesn't work.

[twilightkitkat]

OK QUESTION with the one series with the different universe we see how you think the X-Men would react to a similar Logan being so close with Deadpool.

BUT

How do you think our main universe reacts to the relationship especially when they compare this new Logan to the fallen hero?

This is such an interesting question that I thought about it for a while before answering because I wanted to do it justice. Firstly, I want to clarify that my answer takes place in a world where all the X-men are miraculously alive somehow except for Logan (maybe by some time shenanigans or just twisting the plot).

---

The world at large would be shocked to see The Wolverine again, especially after he was confirmed dead and his bones were buried. The TVA wouldn't want the entire world to know about them, and Logan and Wade would probably be the type to never really formally address his existence (since they aren't actually official heroes or a government body).

His resurrection would likely spark a lot of conspiracy theories and people wondering if he had a secret mission where he pretended to die or if he had a reason to stage his death. It's almost like the urban legend of Bigfoot with how rarely he shows up (somehow always next to the same red vigilante).

Aside from the initial shock, the public reception would be very positive. Who wouldn't want to see your childhood superhero back in action again? People would be excited to see him rejoin the X-men only to be extremely confused when he showed no interest in returning to his superhero work (especially when they assumed he either died and came back or was on a mission and so would naturally want back his spot).

As a matter of fact, after initial sightings of him in his suit, he just sort of... fades away. He never really makes public appearances or is involved in much of anything. He looks different than he did before and he always dresses casually. This combined with the lack of media about him after the initial outrage means that he only occasionally gets recognized in public.

(Something he's secretly very grateful for. He disliked being reminded of his past, of a world where he wasn't a failure. Of the version of him that was revered instead of feared and hated. He has to stop himself from flinching sometimes when people loudly yell out, "It's The Wolverine!" He lays low for a while in Wade's apartment, only accompanying him sometimes on covert missions until people mostly stop caring about his existence.)

But more than public confusion is the confusion of the X-men. They heard the truth through Colossus that this Wolverine was from another universe than their own and that he'd helped save their timeline.

(And most of the X-men were very confused because... why does Colossus know this of all people? Why didn't Logan just come to tell them himself? They knew Colossus was in cahoots with this vigilante vaguely from the time he visited the mansion, but they didn't know he was actually close to him. And why did being Deadpool's friend give him exclusive access to The Wolverine and his situation?)

They expected Logan to show up at their doorstep, one day. He apparently had the X-men in his own world, and while Colossus never really elaborated further (despite their prodding) they could surmise something happened to them if Logan was staying here. It's a perfect fit: the X-men who lost their Wolverine and the Wolverine who lost his X-men.

But he never does. At first, they chalk it up to him going on one of his solo trips. He liked to do that—to go out into the wilderness or disappear on some unspecified mission. He never really stayed in one place too long. (It was his personality, wasn't it? He got antsy being tied down to commitment and wanted to be free from everyone. It was fine even if it was inconvenient, it was just how he was.)

But then he never makes an effort to get involved. To reach out to them. He doesn't show any interest at all in returning to his old life or taking up the helm of an X-man again.

This Logan couldn't be all that different from theirs, right? Even if he was a lone wolf type who kept up his guard and acted gruffly, he only really had them. They took him in and fed him and clothed him and he showed up when shit went sideways in return. A perfect, neat, package with a bow on top.

But then a month passes. Then two. And even if he was the type to do his own thing, this was a little ridiculous. He'd just come back to life and didn't even bother showing up?

They all cornered Colossus, one day. Asked him about his well-being and what he was doing. Why he wasn't reaching out and when they should expect him to come back.

His answer shocked them. Apparently, Logan wasn't out on a mission at all. Instead, he was staying with Deadpool at his apartment and just... living there. Existing. He wasn't even particularly busy, he just hadn't visited. When they inquired further, Colossus smiled slightly and said that he seemed happy there. Content. That Wade was good for Logan and Logan was good for him, too.

It was... hard to wrap their heads around. Logan—fierce, closed-off, restless—just staying in one place? Content to just live with someone and accompany them on mercenary jobs.

Since when did Logan prefer teamwork? He always tried to turn joint missions into solo ones, and went out of his way to brush people off.. More than that—Logan, a mercenary? He'd rather pick up illegal work for some extra cash than return to being a hero? To being with them? Why did he decide to stay in a shitty apartment taking shady jobs for rent instead of just staying for free at their mansion? It made no sense.

It all came to a head when Laura (who'd been staying with them but largely kept to herself around the X-men) had her birthday party. They had parties often for the children in the mansion, that wasn't anything new. Except for the fact that the Wolverine was coming. She'd been excited when she mentioned that both Logan and Wade were going to show up (they didn't even know she'd stayed in touch with them).

(Why was the first time they saw Logan at a birthday party for someone else? Were they not enough? They'd taken him in despite his... difficult personality. What more did he want?)

And Logan comes. But he's entirely different than their Logan, the one they remember.

He's more... relaxed, somehow. He looks less hostile and cagey, letting his muscles relax and his head lean back. He looks like a man content with life instead of the guy who ran away the first chance he got, who always had an itch under his skin to move and never stayed too long.

He sticks to Wade like glue. They're always touching, somehow. An arm around the shoulders, a hand placed firmly on Wade's waist, fingers intertwined, legs pressed together. Logan is touchy in a way he never was with them.

And the way he looks at Wade—like he hung the stars and the moon and the sky itself. Even when they try to catch his eye from across the room, to get him to come over, he doesn't pay attention. His eyes are firmly locked on Wade's face, a warmth there (a softness) that they'd never seen before.

Wade gawks at the mansion and its decoration, flitting between Colossus and Negasonic and Yukio, gleefully grabbing some of the food. And Logan stays by his side the whole time, only watching him, murmuring in his occasionally which makes Wade either jab him in the elbow or cackle.

(And Logan lets him. He doesn't even retaliate aside from a grunt when Wade punches him in the arm, rolling his eyes and flicking his forehead in return but entirely content to let Wade at him. The trust there was so obvious it was painful. The familiarity. The warmth.)

The first time Logan takes his eyes off Wade is when Laura comes up to them. His eyes soften as he looks at her, almost imperceptibly if not for the fact that in their memories, his eyes were always hard. Guarded. They could count on one hand the number of times they saw even a semblance of that expression, normally involving Jean or Rogue.

Laura hugs him, grinning as she prattles on about whatever she'd been doing lately. Logan hugs her back, arms coming to wrap firmly around her. Easy affection. She pulls back and Wade hugs her too, spinning her around in the air as she laughs and hits him and asks him to put her down.

When Logan looks at them, the fondness is so obvious it's painful. They were used to seeing Logan show emotion—anger, sadness, fear, arousal. But never softness. (Especially not for a tumor-ridden mercenary and an experiment built off of his DNA.)

The party continues like that, with Logan leaning against Wade and basking in his presence. Hiding in his shadow when he's tired, leaning his forehead against Wade's shoulder.

Until they finally decide to approach them. Scott and Jean hold hands as they approach him for the first time, tired of observing him all night. Storm follows closely behind.

"Logan, nice seeing you man. It's, uh, been a while," Scott smiles crookedly at him. He expects Logan to respond how he normally does. To grin back, insult him, and start up their typical banter.

Like a well-oiled machine, they kept their rivalry going. Logan and Scott would act like they hated each other in public and fight like children over Jean until she inevitably chose Scott (and then it'd repeat). Sometimes, in the quiet of the night or an emotional moment, they'd become more. But that was rare, and Scott preferred the comfortable rhythm they normally kept to.

But Logan barely looked at him, nodded, and then turned back to Wade as he talked about some kid's show.

"Logan, that was a little rude, don't you think? We haven't heard from you in a while, it's good to see you're doing well." Jean lightly scolded him before letting her face melt into a smile. It was meant to be welcoming. Kind.

Scott tightened his arm around Jean. He knew Jean would always choose him, in the end, but it was annoying to see Logan flirt with her. She'd entertain him enough, and occasionally the three would wind in bed together in a moment of passion. But Jean was his, in the end.

Except, Logan didn't react. He just grunted in response. When his eyes met Jean's they were completely devoid of any attraction. He didn't flirt with her or pay her any attention. His eyes were solely on Wade.

It was only when Wade's eyes flicked toward them and he waved that Logan bothered to acknowledge their existence.

"Oh, hey! You guys are the real deal! The original X-men! The ones that took the 2000s by storm and made Marvel a shit ton of money," he rambled. His face was... interesting, to say the least.

Logan snorted. "Did you not expect to see the X-men in the X-mansion, bub?" The first time he verbally admitted they were even there.

"Considering the budget on my previous movies? Fuck no. It was too expensive to even have a good cameo, let alone actually have them on screen for more than a minute to have a conversation."

...What the hell was he talking about? He sounded clinically insane. And Logan was living with this guy?

But Logan laughed, genuinely, and it was like the world stopped spinning. He smiled and his eyes wrinkled, forming crescents. He teased Wade back in response, but they were stuck in that moment.

Logan was never like that. Never open, never soft. He cared, in a distant way, but he never really stayed. (Was it really that? Was it that he never tried to stay, or that they never gave him reason to? That they never gave him the chance before shutting the door in his face.)

But here it was. Physical proof that he was capable of looking at someone so softly. Of melting his hard exterior and becoming someone softer. Someone capable of cherishing the person they loved, of being domesticated.

Because there was really no other way than "domesticated" to describe him. He used to be like a wild animal—all sharp edges, jagged teeth, and razor-sharp claws. He snarled and growled at anyone who got too close and cornered him. He'd drop by for food, but snatch it and run off.

(But that's the thing about wild animals, isn't it? To get them to calm down, to stop seeing you as a threat, you need to be patient. To reach out. To prove you're safe. Did they ever really try?)

And now he even looked different. His hard muscles had filled out with a layer of fat. He looked healthy, like he wasn't just a tool built to fight and gnaw on the scraps he was given. He looked like a person who went home and ate a warm, balanced dinner at night. Who got adequate sleep and had all of his needs taken care of.

They thought that Logan's personality was rough, sharp, and jagged. That he was just Like That, and that it was useless to try to change it.

(After all, the bad boy is just someone you flirt with. Not someone you take him. Jean had said that, hadn't she?

And Logan had told her he could be the "good guy." Tried to show that he was capable of being more than just how he acted when he was hurt and alone. But she brushed it off. They all did.

And yet here Logan was. Soft and entranced by Wade in a way he never had been, even with her. Looking at him with something so much deeper than lust or attraction or infatuation. Looking at him with devotion. Reverence. Complete and utter love.)

But Logan wasn't Like That. He had always wanted to be soft. To be able to curl up next to somebody and trace the curve of their spine with his fingertips. He'd always yearned for a home he could feel genuinely warm in, where he'd be accepted and allowed to be vulnerable even if it wasn't pretty.

He'd only been hard because he had to. Because if he wasn't, the biting words and indifference of everyone around him would cut so deep he'd never recover. Because if he let himself love and be vulnerable with the X-men and they still viewed him as a passerby, as a tool, as an outsider, as just someone to sleep with—he'd break.

But Wade gave him a home. Gave him the chance to finally love and be loved and not feel afraid. To finally relax and open up. To show his emotions without fear of being scorned and to know he'd always be taken seriously. To not just be seen as the bad boy, but as a broken man desperate for anyone to cling to and feel cared for.

He was finally seen as more than just a stereotype. He was seen and loved for he was.

He was used to being hidden. Like a shameful secret. Jean was embarrassed to like him. Scott hid him away during the night and fought him during the day. He was a temptation, but that was it. They'd always choose each other first. Every member of the X-men had their person, but he was nobody's.

But with Wade, for the first time in his life, he was the first choice. He was the priority. He got to eat at the table instead of being fed scraps thrown onto the floor.

Logan thought it was natural to be treated as lesser. To be an afterthought. But with Wade, who cradled his face like he was something precious and was willing to die for him, he realized that he could be loved just as fiercely as he loved Wade. As an equal. As partners.

And so when he saw the X-men, he reacted the same way they had all those years ago: with indifference. With the same detached care he'd grown so used to. He spared them the effort of a few words, of reluctant acknowledgment, but that was it. If they never wanted to look closer at him or care about his needs, it was fine. But he'd do the same.

After all, there was so need to scramble to collect crumbs when he was well-fed. There was no need to look for a shitty room in an empty-feeling mansion when he already had a home.

[indominusavenger]

I'm gonna come out and say it; No Way Home sucked. Sure, it had some good moments but in my opinion, it does not live up to the first two instalments of the trilogy. I liked the first part of the movie but as soon as I knew where the second part was going, I fell off that train pretty quickly.

Not only did it make MCU Spidey end up with the same tale as his two predecessors but it also undoes Peter's entire establishment in Marvel's overall franchise. What was the point of the last four movies putting him on the roster with Earth's MIGHTIEST Heroes if you were just going to take all that away and make it like he exists in a completely separate world from them? What was the point of the three cameos we had from RDJ, Samuel L. Jackson, and Benedict Cumberbatch in their iconic roles to show that interconnected universe as with every other MCU movie, only for that to be stripped away at the very last second? Might as well have been another one of Sony's solo ventures at making a series after TASM but it's not and that's why I HATE the uncertainty of Peter Parker's future in the MCU. However, given the current failing reality of the MCU with every new movie that comes out, I can already confirm it's nothing good. In fact, it probably would be best if progress stops altogether before Marvel really is stuck in the dust and just a part of a magnificent past with no legacy to carry on. (This is a side note but that is still a big issue for me anyways that I may expand upon later in another post. In the meantime, go watch all the video essays on YouTube, I'm sure you'll find many good ones.)

He had a unique story that fit into the overarching plot of the MCU and the premise he had was different from the previous Spideys which is what was so interesting about his character development. This Peter Parker had friends that weren't introduced before, or at least, they were more developed than in other series; he had a superhero as a mentor, not a scientist turned villain due to unfortunate circumstances; he had a guy in the chair who wasn't after him or turned villain because his father was one, he had two crushes that were friends, he was part of clubs and acted more teenage-like than the last two. He interacts with other heroes, joins the Avengers, fights THE villain, perishes, comes back, loses his mentor, and is still expected to keep on going.

For crying out loud, he was asked if he was going to be the next Iron Man but he knew he wasn't which is what Far From Home set out to show us. And to all those who called him Iron Man Jr. in Homecoming, I hope you know that you make no sense and I think Marvel did a wonderful job making him stand apart. He was a kid admiring one of his role models and now that he actually had a connection to him, of course he was going to want to be like his mentor but even Tony recognized that he wanted him to be more, not like him. This shows Iron Man himself had great respect for the young hero.

Now, moving onto No Way Home, two main things that annoy the heck out of me; Peter being forgotten (obviously) and Aunt May dying. I'll start with Aunt May's death. To be honest, it was a completely unnecessary death and it actually doesn't make sense for the purpose it had in the movie. The punchline "With great power comes great responsibility." loses its premise as soon as you recall Civil War's intro to Peter in the first place. Uncle Ben had already died, Peter was Spider-Man at this point, and remember what Peter told Tony when they met, why the older hero related to him so much? "When you can do the things that I can, but you don't... and then the bad things happen... they happen because of you." So he already learned that lesson on responsibility and by the time we get to No Way Home, this kid had learned lessons also involving the universe at large. Why are we rehashing Uncle Ben's offscreen death with Aunt May if Marvel literally stated that was overdone? Make that make sense. But oh, it was to make something big and dramatic happen in the movie because we needed to mOve aLoNg. Peter lost his parents, his uncle, and mentor; can you come up with something new other than parental figure losses? Why do TASM Peter and OG Peter still have their Aunt Mays and even if it was just a deleted scene, technically TASM Peter's dad? Huh, then what do you say there? Why did MCU Peter Parker have to lose ALL his parental figures?

Finally, the thing that probably broke most of us; Peter being wiped from everyone's memory. As I stated earlier, his entire existence within the MCU just vanishes, like that, in seconds. So......... what was the point of his existence up till now in the MCU? What was the point of his specific development and growth if he was just going to get forgotten? Why was he meticulously introduced at the height of the Avengers' conflict and then constantly involved with some other MCU hero/important character if he was going to be removed from that? If the Avengers were never a big deal, why make him a part of that at all and why were we still bringing them up at the climax of the film? For those who bring up the argument that he's supposed to be a solitary hero, well that was the worst way to have introduced him then, right? But Marvel chose that route, not any other. Which is why that decision still makes no sense to me. You put him in a world where he wasn't the only superhero and he was going to interact with other heroes which none of the other Spider-Men had and that already put him in a unique position. Why give him a background that was going to get swiped?

Imagine that, making five blockbuster films that gave him a firm standing in the MCU at the peak of Phase 3 and then in his sixth film, his last standalone which is supposed to be his most shining moment, he gets the rug pulled out from underneath him to give him a blank slate? You might as well have thrown every script out from 2015 to 2019 including him before they were ever written or considered. It's the equivalent of undoing everything you just worked on in a school project that's worth 40% of your final grade. Think about that for a second. Marvel just undid 6 years of work and investment in a single character for them to go back to the beginning. Why didn't you just do that then from the start? You could have had more classic Spidey a long time ago by that train of thought (which I really didn't want because we already saw that twice and this Spidey was something fresh).

Anyways, thanks for reading. This is 2 years worth of disappointment and frustration put on the page.

[the-psychopathist]

Is Agatha Harkness a sociopath?

I wanted to make this post ever since I finished Agatha All Along, specifically after Agatha was referred to as a “sociopath” in the series. Now, “sociopath” is not an actual diagnosis and most of the time, what people refer to when it comes to sociopathy and psychopathy is actually anti-social personality disorder (ASPD). In this post, I’ll attempt to “diagnose” Agatha with ASPD and see if she fits the criteria for a diagnosis.

Disclaimer: I am not a professional, I’m only “diagnosing” Agatha because she’s a fictional character. Do not attempt to do the same for any real person. This post isn’t meant to stigmatize any real person with that condition, this is simply a character study. None of what I’m writing should be used in a real-life context. 

1) Failure to obey laws and norms by engaging in behavior which results in criminal arrest, or would warrant criminal arrest

Agatha is quite literally a serial killer. She has been luring witches to their early graves for centuries. We don't know exactly how many people she has killed, but her body count is definitely quite large. I don't think she was ever arrested for her crimes but it definitely warrants a criminal arrest. If it wasn't for Wanda trapping her in the Agnes persona at the end of WandaVision, she would have most likely been arrested, especially since she attempted to kill multiple S.W.O.R.D. soldiers. 

2) Deceitfulness, indicated by continuously lying, using aliases, or conning others for personal gain and pleasure.

This one is a given. Her primary means to steal magic was through a con. She deceived and manipulated unsuspecting witches who trusted her with the intent of stealing their magic and killing them. And even before that, she used her own son to lure witches and do the same. She does it primarily for profit, to get more magic, but she does seem to genuinely enjoy deceiving others and gaining pleasure out of it.

In both WV and AAA she was lying, deceiving and manipulating the rest of the cast from the very beginning for her own benefit. She infiltrated Wanda’s hex and posed as her nosy neighbour “Agnes”, graining Wanda's trust with the intent of stealing her magic from the start. She did it primarily for profit but there was also some enjoyment for her when she revealed the truth to Wanda, so much so that she created her own intro song. She was enjoying putting up a show almost as much as getting Wanda's magic.

This pattern of behaviors is seen throughout AAA too, especially upon rewatch. On your first watch, you might not notice but after rewatching a second time fully knowing the end, you can notice how much Agatha has been lying the entire time. Not only did she lie about the road and always intended to murder the cover in her basement, but when the hex road appeared she kept the lie that she went to the road before going. One could say that she had to keep the lie going because she never intended for the road to appear, so those weren’t lies she intended to tell, but at the same time, we can see how easily she can lie and deceive others. She knew all along that Billy created the road and that said road was deadly, yet made no attempt at stopping him. She knew people would die but she kept the lie going because she hoped that she could get back her powers at the end. So she lied, deceived and manipulated the group the entire time for her own gain.

3) Exhibiting impulsivity or failing to plan ahead.

Agatha is someone who likes to be in control, and does give off the illusion of being in control. But the truth is, she isn’t as much in control as she thinks she is, and is quite impulsive. Lots of her shortcomings are a direct consequence of an impulsive decision (fuck around and find out). Being impulsive doesn’t mean she can’t make elaborate schemes, because she sure does. But a lot of those are made impulsively. She sensed Wanda’s magic and decided to join her hex without knowing exactly how Wanda’s magic worked. She even started messing with her without knowing how Wanda’s magic would respond. Then in AAA we see more of her impulsive nature. She doesn’t think through whenever she makes a decision and ends up needing to improvise in order to compensate for her reckless decisions. She told Lilia about how her ability to steal magic worked, she picked a bound witch to be part of her coven, as well as a non-magical woman. The only one in the group that seemed to have the ability to blast was Alice. Not the greatest group if she needed to steal as much magic as possible. On the road, she made a lot of impulsive decisions that were quite reckless, like attempting to break the window and throwing her wine glass during the first trial, suggesting to summon another green witch, pretending to be possessed by Sharon, or messing with the tarot cards. There’s also the way she provoked Billy right after he nearly killed her. Those were all decisions she took without thinking about the consequences, out of impulsivity. But she’s not only impulsive when it comes to being reckless with others’ safety. She was also shown to be impulsive when it comes to helping some of her coven members. When Rio first emerged from Sharon’s grave, Agatha’s first instinct was to get in front of the coven as if she wanted to protect them. When Billy got thrown into the window, Agatha rushed to go check on him, or when Lilia was about to get impaled she jumped to push her out of the sword’s trajectory. 

4) Irritability and aggressiveness, indicated by repeatedly getting into fights or physically assaulting others.

Once again, this one is a given. Agatha is easily irritated and very aggressive, she’s quick to anger, losing her patience and snapping at people. She had no issue hurting Wanda when she had her captive in her basement, slamming her against the wall when she got irritated with her. I’d argue that the mass murdering she did over centuries also count as frequent assaults. She’s also quick to engage in physical fights with Rio (although those are mutual on both sides), and there was a moment at the end of episode 3 where Agatha randomly kicked Jen when she was already down after they all went through the water slide. 

5) Reckless behaviors that disregard the safety of others.

Agatha did not care how her actions affected the resident of Westview when she was purposefully messing around with the hex. She did not care either on the road. She knew from the beginning that it was a hex and even after seeing they could actually die in the trials, she made no attempt to try telling the others the road was fake. She could have tried to let Billy know he made the road but she didn’t. Because she didn’t care if some of them might die. She had no concern for their safety. She endangered the coven in the first trial by trying to break the window and by refusing to drink the wine. She did so too in the third trial by pretending to be possessed, making the group lose precious time. Same with the fourth trial by messing with the tarot cards and not stopping even when the swords were dangerous dropping on both her and Billy. 

6) A pattern of irresponsibility

This is probably the only criteria I’m not sure would apply. There are instances of Agatha being irresponsible, but I don’t think we have seen enough of her personal life to establish a pattern. So until further notice, I’ll consider this criteria doesn’t particularly fit. 

7) Lack of remorse after hurting or mistreating another person.

Agatha does not seem to have any remorse for all the people she murdered. She may have some remorse regarding her original coven, including her mother, but that was a much younger Agatha. The Agatha we know now does not seem to feel bad for the people she had killed for centuries. It’s even something she will be really flippant about whenever she talks about how many people she has killed.

She didn’t feel remorse when Sharon died either. Agatha might not have directly killed her, she is still responsible for her death by recruiting her into the coven. And it’s not like Agatha didn’t intend from the start to put Sharon in harm’s way. If her initial intention was to kill the coven, it’s very likely she would have killed Sharon too, or Sharon would have been killed by the Salem Seven. Billy may be indirectly responsible for Sharon’s death because he created the road, he was not aware of that nor did he intend for this to happen. Agatha on the other hand always intended for Sharon to die and did not feel bad when she actually did die. She acted extremely callous after Sharon’s death and never bothered to learn her name, even forgetting who she was later on.

And it’s not just about murder. She didn’t feel bad when she got Alice fired, nor did she feel bad when she learned she was the person who got Jen bound for a hundred years. She didn’t feel bad either about attempting to kill the coven from the beginning and had no qualms about using them to get to the end of the road even if it meant sacrificing them.

The coven’s members aren’t the only people who suffer because of Agatha’s actions. If we go back to WandaVision, Agatha orchestrated Sparky’s death. And she seemed pretty proud about causing a dog to die. It may have been revealed in AAA that Ralph poisoned the dog, but it was under Agatha’s order. He was under her magical control, so the blame is entirely on her. She did not feel bad at all for killing a dog. Speaking of Ralph, as much as his character is played for laughs, what she did to him was also pretty atrocious. She took control of his life, stole his house, and forced him to commit awful acts, causing psychological damage to him to the point he is completely paranoid now. It’s unlikely Agatha knows how Ralph ended up after what she did to him, I highly doubt she’d feel an ounce of remorse for that. 

Now, lack of remorse does not mean lack of regrets. Agatha does not feel bad for hurting others and how her actions affected them, but she does have regrets. She does feel bad if her actions negatively affect her, like personal loss or missed opportunity. She did seem to feel regret about killing Alice, but I don’t think she felt remorse. She did not feel bad for Alice, she felt bad because of the consequences she had to face after. She did not intend to kill Alice at that time, and now she has lost any potential trust she could gain from the coven. Not only that, we know Agatha became a ghost because she couldn’t face Nicky in the afterlife, so the regret might also be that she thought her son had seen her kill Alice. I don’t think she felt remorse for what she did to Jen either. When Jen did the unbinding ritual, getting told over and over that she “holds nothing” worked on Agatha possibly because deep down, Agatha knew it was true. She no longer has her son, she has no magic, and she has driven away Rio. She did hold nothing anymore. 

Having ASPD does not mean Agatha is incapable of love, or caring about others. She undoubtedly loved and cared about her son. So much so that she developed a soft spot for Billy because he reminded her of Nicky. She loved Rio too. Same for her pet rabbit. Unlike popular belief, lack of empathy is not a criteria for ASPD. It does usually result in low empathy, and that can vary from person to person. Agatha probably has little to no empathy for most people except the rare people she does manage to bond with. You can see it as a selective empathy for those she did love and care about, which included Nicky, Rio, Señor Scratchy and later possibly Billy.

If Agatha does have ASPD, how did it start? Even if sometimes genetics can play a role in developing that personality disorder, you aren’t born with it. Most of the time, it’s caused by the environment, mostly trauma experienced as a child. We know Agatha’s mother hated her. She thought she was born evil. She, with her coven, attempted to have her executed when Agatha was only 18. I do believe the accusations made at her were mostly true. She probably did steal knowledge and practiced dark magic. But Agatha did beg her coven to teach her, so I think it’s very likely that since her mother thought she was born evil, she didn’t allow Agatha to properly learn magic. If Agatha wasn’t taught magic and had this power she couldn’t control (siphoning), it’s not surprising that she would have to steal knowledge in order to learn. Agatha learned from a young age to break the rules in order to get what she wants or needs. And without proper guidance, it’s reasonable to think she might have practiced dark magic.

So yes, even if the accusations were true, her coven and mother are not blameless. Agatha is the way she is because of how she was raised, how she was treated as a child and growing up, and what she had to do in order to learn magic. She never had a healthy support system growing up, there was no possibility for therapy at that time, she was a witch living in the worst era for her kind, and she couldn’t even rely on her fellow witches to protect herself. After accidentally killing her original coven (including her own mother), which was definitely a traumatic event for her regardless if it was self-defence, she kept doing what she did so far to survive; steal, lie, deceive, kill. All the antisocial traits she exhibits as an adult are learned behaviours. Of course, it does not justify her crimes and horrific actions she later committed, but it does explain why she is that way. She wasn’t born evil, she became evil. She’s the product of her environment, experiences, circumstances and era.

[elsaqueenofstress]

thinking about how quill used music as his only reminder of his mother, to the point that he would risk his own life to save it and keep part of her alive, and how we're introduced to him as the one who dances while everyone around him rolls their eyes, and how he raises baby groot to be the first of the team to dance as openly and joyfully as him, and how this groot is the first one to dance during the last scene, and how rocket – who hums tunelessly while he works until he's building stereos to play tunes while fighting until his favorite song is "come and get your love" – joins him without any self-consciousness, and how quill left rocket his zune and team leadership but the first gift he ever gave him was a name for what he was: raccoon, and how drax overcomes his stubborn adherence to never dancing because what matters more to him than being a stoic destroyer is being a father, who makes the hundreds of children that look up to him laugh with delight, and who gets to watch mantis (whose innocence reminded him of his daughter) set off into the world with her own purpose the way his own child never got to, and how nebula dances along with them, no longer holding herself to the second-best status that thanos forced on her, instead at home as a leader who can fight with her family without having to compete with them, and how she stills talks to gamora, who is able to accept that she once meant the world to the guardians, once spoke their language and joined in their hugs and was part of their fun, but that she doesn't owe it to them to join in the dance and be that same person, and returns to the adoptive family that she feels at home with, and the lyric "leave all your love and your longing behind / you can't carry it with you if you want to survive," and how in order to go forward the guardians can't all stay together, but how that doesn't mean they aren't still a team and a family because how do you truly leave the people who have dragged you, doubting and kicking and screaming, toward comfort and security and happiness? for the hottest, slowest, laziest days to end, the ones where you lost best friends and spouses and children and siblings and years of your life and memories with someone, the ones where you run from your past and pretend you were never in pain, never loved anyone, you have to let that hope catch up with you (“happiness hit her / like a bullet in the back”). anyway i think this was a pretty good series like this post if you also had a laugh or two over cosmo the space dog's telekinetic hijinks!!