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emeraldspiral · 2 years

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So after Dracula I started listening to some other gothic horror audio books.

First was Dr. Jekyll & Mr. Hyde

I don’t think I’ve ever watched an adaptation of the story as much as things which reference or are inspired by the original story, like the Hulk or Two-Face. I feel like you most often see Jekyll or Jekyll-analogues as good guys with a repressed dark side they hate. But in the original story that’s not really the case at all. Like, Jekyll outright confesses that the experiment wasn’t about separating out good and evil so he could get rid of his dark side or anything noble or purely curious. He basically just had a mid-life crisis where he wanted to relive his youth as a party-boy and resented having to give up his old habits and act like a respectable adult. He took the formula so he could shed any feelings of empathy or guilt and do whatever he wanted without caring and without having to face any consequences since no one recognized him in his Hyde form. It’s basically the same concept as the idea that if you gave a man a ring that made him invisible he’d turn into a complete psychopath because fear of consequence is the only thing stopping us from being evil.

Jekyll is conscious of what Hyde does and enjoys it for the most part and continues taking the formula despite the havoc Hyde wreaks in what seems to be an allegory for addiction. He only tries to stop being Hyde after he murders someone and he can’t bribe his way out of trouble as Jekyll. And when Hyde starts to take over even when he hasn’t taken the formula he kills himself to escape the consequences of his actions, not to prevent Hyde from doing further harm.

Frankenstein similarly, I know doesn’t have a lot of faithful adaptations and the idea of the monster in popular culture isn’t accurate to the book at all, but I feel like the way people talk about the actual book Victor and the Monster doesn’t quite reflect what I took from it.

Like, I definitely agree with everyone who calls Victor out on being a shithead for bringing life to the Monster and not nurturing it at all, but I also think the Monster isn’t as sympathetic as he’s often portrayed as. I guess it’s easier to feel bad for him in a lot of adaptations because he’s usually portrayed as having low intellect and not hurting people on purpose (like Lenny from of Mice and Men) or only reacting when scared or threatened, like an animal would.

But in the book the Monster is highly intelligent and kills innocent people unprovoked and on purpose out of pure spite. He’s basically the kind of person who becomes a mass shooter.

When Victor finally comes face to face with the Monster, he starts off by essentially saying he used to be a “Nice Guy”, and at first you’re inclined to believe it when you hear his loving description of the family he stalked and how he tried to help them and befriend them. But bear in mind, he didn’t have a real relationship with them, he just fantasized about having one. And when his dream didn’t come true he torched their cottage in revenge when he heard they were so scared of him they wanted to move.

Then he tells Victor he murdered his kid brother just because he hates his life and wanted to punish Victor for giving it to him. Then he framed a girl for the murder knowing she would be executed for it when she didn’t even know he existed purely because she was pretty and he wanted her companionship and knew he couldn’t have it because she’d be terrified of him like everyone else, and therefore deserved to die. Total incel logic.

Further, he tells Victor that if he can’t have human companionship he wants him to make another like himself so they can at least have each other. He literally says he only does bad things because he’s miserable but if Victor makes him happy he’ll stop, and he thinks a girlfriend is the magical fix that’ll solve all of his problems. Big Chris-Chan asking Santa for a girlfriend for Xmas energy.

I think Victor is completely in the right to not buy it. The Monster isn’t really a nice guy if he goes around attacking innocent people who haven’t done anything to him just because nobody loves him and he resents them for being happy when he isn’t. He’s also right to worry that giving the Monster a bride won’t be the fix he’s hoping for. She might not be his perfect waifu fantasy. She might not even like him. Or just having each other while still being outcasts might not be enough. The bride might be just as pissed that she was commissioned and brought to life, condemned to be an abominable outcast, as the Monster was with Victor. Then Victor would be responsible for bringing two violent hyper-intelligent super-powered monsters with a hatred for humanity, and him specifically, into the world.

I also think Walton is right when he calls out the Monster at the end as a hypocrite. He dedicated his life to making Victor miserable by killing everyone he loved and then baiting him to chase him into the arctic purely to make him suffer from having to endure the cold, then claims to mourn him when he dies, as if he wouldn’t still be endeavoring to torture him if he were still alive. He says he knows the things he did were awful and he hates himself for it, but he still did them and kept doing them until he’d accomplished his life goal of making Victor suffer. He didn’t stop because it was wrong, he stopped because he was done.

Of course, Victor is still a dick. Like, aside from bringing the Monster to life and immediately rejecting and abandoning it he lets a lot of people he supposedly cares about die because he’s a coward. Like, he knows the Monster is out there and just ignores it for most of the story instead of warning his loved ones or proactively trying to stop it. He also allows a good family friend to be executed for a crime the Monster committed. He claims he would’ve confessed to the crime and taken the noose himself if he didn’t have an alibi which made it impossible, and didn’t speak up about the Monster because he thought he’d just be dismissed as crazy. But if he were really a good person, he would’ve tried no matter how unlikely he was to be believed.

I definitely see the homoerotic undertones in the story. Like it opens with Walton cryposting to his sister about how much he wants a BF and then he meets Victor and instantly falls in love, while Victor is so passionately in love with his BF he goes into a months long angst-coma when he dies. It also feels kinda deliberate that in the original version his relationship with Elizabeth was incestuous and even in the revised version people keep asking him if he really wants to marry the girl who was raised with him as his sister and tells him it’s really okay if they’re not into each other like that. He keeps saying “Yeah, I’m fine. I totally wanna bang my sister” and yet he dreads his wedding day because he believes his life will be over because of the Monster’s promise to “be with [him] on [his] wedding night”.

There’s a running theme in the story about isolation, depression, and the need for companionship. Walton, as I said before, begins the story lamenting that he doesn’t have any friends (and apparently doesn’t see potential in any of his crewmates) and is ecstatic to meet Victor and find he’s exactly the sort of person he was looking for. When Victor’s story begins he’s had a pretty good life with a loving family and some good friends growing up but finds himself lonely and having difficulty making friends at college. He starts becoming enraptured with study instead of socializing, then once he starts working on his Monster he becomes so obsessed with it he neglects his relationships until people start to really worry about him. Once he returns home his friends and family try to nurture him, but the trauma of creating the Monster and consequences that arise thereafter make it a struggle to enjoy life no matter what they do to try to cheer him up. Meanwhile the Monster’s heartache over being friendless transforms him into a bitter misanthrope who can’t stand the thought of Victor being happy while he’s so miserable. When Victor gets to the end of his tale, the takeaway he seems to want Walton to have isn’t “Don’t tamper in god’s domain” as much as “prioritize your companions over your ambition”. Because his whole story started with him neglecting the people who loved him to pursue his creation, and then that creation systematically robbed him of them. Victor and the Monster are both extremely miserable throughout the story, but they both live for each other. Victor feels that he can’t die and leave the world and his friends to deal with the Monster on their own so long as he’s on the loose (not that Victor does anything to protect them while alive). But the Monster also feels that he can’t die as long as Victor lives because he needs his revenge and can’t be satisfied with the possibility of him ever moving on with his life and finding happiness again. Only when Victor dies is the Monster’s spiteful purpose fulfilled so that he can finally allow himself to die and free himself of the wretched existence of being shunned and hated by all.

It does kinda make you appreciate Young Frankenstein more. Even though it’s based around the pop-culture Monster and not the book Monster its main purpose is still redeeming the original sin of Victor’s failure to nurture the life he created, which exists in all versions of the story. His grandson creates a Monster of his own, but this time he not only chooses to love his creation, but to fight for him to be accepted by society so that he can find friendship and love too.

#frankenstein #dr jekyll and mr hyde

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thevindicativevordan · 3 years

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You did one for Hulk (incredible btw). Got any thoughts on Spider-Man?

He used to be one of my favorites.

It's easy to see why Spidey took off as Marvel's premiere character, and competitor with Batman for the most popular superhero ever. If you'll indulge my DC bias, Spider-Man sits at the intersection between Superman and Batman. Like Superman, Spider-Man never knew his birth parents, and was instead adopted and raised by an elderly couple. Uncle Ben and Aunt May are the people Peter thinks of as his mom and dad, and it's their lives that help shape Peter. Both Superman and Spider-Man wear colorful red and blue costumes, both have iconic jobs working for newspapers with cantankerous bosses, and both have a lot of Jewish DNA in them because of their creators. Like Batman however, Spider-Man has a tragic parental figure's death to motivate him, he has a very poor reputation with the public, they both style themselves on animals, and both have strong roots in the cities they protect. That Peter's greatest foe, the Green Goblin, also stands at the intersection between Lex Luthor and the Joker makes for a great parallel. Add in that Spider-Man has the second best Rogues Gallery in comics, and it's clear Peter drew on the best attributes from his predecessors as a foundation.

What separates Peter from them though is that he was the first hero with real problems. Neither Superman or Batman had to worry about paying rent regularly like Peter did. Both stood apart from their peers by choice, while Peter wanted to make friends but wasn't able to do it. Krypton and the Waynes died through no fault of Supes or Bats, but Uncle Ben's death was something Peter was at fault for if indirectly. Then you had Gwen Stacy killed as a direct result of Peter's superhero career, introducing the idea of heroes who could fail. Spider-Man was pitched as the flawed hero, the human hero, the guy you could think of yourself as being if you got superpowers. You would screw up and make mistakes, but you'd try your best regardless. Of course the readers would be drawn to, and identify with him, and that's both the secret to his success and what keeps fucking him over. A lot of guys see Peter as their self-insert, so they keep trying to return to their youth through him which keeps derailing him as a character. My entry into Spider-Man fandom came during one of the brief lulls from Marvel trying to reset him to what they see as his "roots".

I remember seeing the Rami Spider-Man movies in the theater and being utterly entranced. I played the first Spider-Man movie tie-in game pretty religiously as a kid (fuck that level where you infiltrate OsCorp, those robots were insane), as well as other Spider-Man games such as Web of Shadows. Can still hear the theme song of the 90s animated Spider-Man show in my head, that show's versions of Green Goblin and Venom are still my favorite takes. All this is a rambling way of saying that "my" Spider-Man was formed during a period where Marvel seemed ok with Peter being more adult, something they've been trying to roll back ever since.

Peter was a college student in the 90s cartoon, the comics had him and MJ married (my first Spidey comic was vol. 1 of JMS' Amazing Spider-Man run, so Peter and MJ being married is the "default" for me), the video games were set in the Ramiverse so he was a college student there as well. It's such a weird era to look back on in retrospect given what's to come and what came before. Peter had problems and was flawed, but he was also so much more mature and thoughtful, intelligent in a way beyond just being a science whiz. He and MJ had a great dynamic as a couple under JMS. They were so clearly in love and also utterly unwilling to take each others shit that it was just a joy to read. That relationship really was something I dearly loved, and of course I took it poorly when Marvel broke the two of them up. Making it a plot where not!Satan comes down and takes their marriage away only rubbed salt in the wound.

Suddenly Peter was a lot more immature and stupid, and Marvel was insisting that this was "how he should be". Marvel was claiming that Spider-Man was all about youth, thus he needed to remain young and marriage free in order to work, which flew in the face of the character as I understood him. To me, Spidey was a character about the opposite, he was about growing up.

More than any other character in the MU, Peter was the guy who embodied character development. In his early years under Lee and Dikto, Peter was an asshole with a chip on his shoulder. Far from being the martyr figure everyone sees him as today, Peter initially just kept trying to make money with his powers. He was constantly moaning and bewailing his lot, because he was a fucking teenager! EVERY teenager treats ANY setback like it's the end of the world. Yet over a period of years, both in universe and out, Peter grew into the great hero everybody sees him as today. He became kinder, more charitable, and made friends with his peers. He acquired a steady stream of super hot girlfriends, ultimately marrying MJ. Peter married MJ before Clark Kent married Lois Lane, that's a huge freaking accomplishment! Totally makes sense that Peter would get married first because while Superman was more or less frozen in place like all DC heroes, Spider-Man was the one who embodied the Marvel trait of growth and change. The world kept throwing shit at him and Peter dealt with it as best he could, and that gave me hope because if he could overcome the forces arrayed against him to find some degree of happiness, so could I.

One More Day completely obliterated all of that. I didn't recognize this character anymore, I didn't care about the shallow relationships they teased him entering, relationships we all knew didn't matter. If Peter couldn't stay married to MJ, he wasn't going to last in a relationship with Carlie Cooper or any of the girls Slott set him up with. Peter being immature worked great when he was actually in high school and college, but Marvel wanted to write him as a high schooler without actually deaging him. The contrast between how he was characterized before and after OMD was just too jarring for me.

Ultimately I left for a while. I read Superior and Spider-Verse, but I was no longer religiously following Amazing Spider-Man any more. Checked out Ultimate Spider-Man which I had never read, and I enjoyed it, but I also held a grudge against it's success. Clearly this was the series that enshrined high school Spider-Man as the "ideal" status quo for a lot of people, and I couldn't help but blame the series for Quesada's successful torching of a more mature Peter Parker. I also read Spider-Girl which took place in an alternate continuity where Peter was still married and he had a daughter with MJ named Mayday. I loved that series a lot, and Mayday became my favorite Marvel superheroine. Eventually I came back to ASM with Spencer because a few of my fellows told me he reminded them of JMS, and I've enjoyed his characterization of Peter. Doubt the marriage will be coming back any time soon but it's nice to read a more adult Peter after how he was characterized under Slott.

Hard to say what the future holds for Peter. Tough to say for certain but with the end of high school Peter in the MCU approaching, it feels like we're on the edge of another shift in status quo for Spider-Man. May be that the creation of Miles is allowing Peter to finally start to mature again since Miles can be the corporate wet dream of an eternally young "diverse" Spidey. The insistence on putting Miles into more and more of Peter's stuff, with Peter mentoring him, makes me hope that Marvel is becoming more ok with Peter growing up. The Insomniac Spider-Man is a college graduate, he feels the closest in tone and character to the Spider-Man I grew up with under JMS and Rami. They even got to kill Aunt May off, something Marvel is still terrified to do in the comics, and the relationship between Peter and MJ is portrayed as crucial to both (as it should), even if MJ is a little too Lois Lane lite for my liking.

Hopefully Spider-Man can shake off Quesada's lingering influence and start being what he was created to be: the guy who moves forward rather than running in place.

#spider man #peter parker #marvel

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fpinterviews · 14 years

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Jaclyn Santos

FP: We've spoken about the subject of the male gaze, and even part of the mission statement of FP is to question what it means when women artists control the power of their own objectification. There have been other artists who have paved the way, ie. Vanessa Beecroft, why do you think it is still considered controversial and shocking for a female artist to portray her sexuality as outwardly powerful and/or vulnerable?

JS: While many women artists have displayed their own sexuality in their artwork, every girl and woman still has to confront this topic individually and form her own convictions. It's something we continuously re-examine as we age and deal with new personal struggles. There are so many conflicting messages in society regarding a woman’s stance on her own sexuality and most women are still trying to figure it out for themselves. On one hand, society definitely rewards physical beauty yet, in many other ways, it can be an impediment. Increasingly, I think people turn to media figures as a barometer for their own morality. For the "Shock Challenge" I wanted to generate discussion about the way women are often criticized because of images they present of themselves – particularly the way certain female celebrities objectify themselves by posting sexy personal photos on social networking platforms such as Twitter. Often these photos are low-resolution and snapped from cell phones. I decided to photograph myself in this manner as a sort of contemporary ��self-portraiture” and elevate the photos to fine art status by re-contextualizing them. I then displayed the images in the gallery and allowed the audience to physically alter the work in any way with sharpies, which draws attention to the way women are criticized online. I titled the piece, “Triple Self-Portrait in Bathroom,” which references Andy Warhol, an artist known for working with the idea of celebrity persona.

Another reason it may still be considered controversial is because of female competition, which occurs in part due to socially imposed myths of female worth. The scrutiny with which women can judge each other is incredible. Growing up, I wasn’t horrendously unattractive but I did go through an “awkward phase,” and for five years of my life other girls ridiculed me nearly every day. Now that I am older and have grown into my looks, I am condemned by some women because I keep up my appearance, when if I didn’t I would be put down for it. The world sets up a standard for beauty, then criticizes those who admit they struggle with it. I’m willing to honestly examine this contradiction through my artwork.

FP: You've also mentioned isolationism in your statement...a theme that seems to be prevalent in American culture today, particularly because of the internet, and our ability to be alone yet still remain virtually connected. Can you speak about how that relates to your work?

JS: I think the piece I did for the "Art That Moves You" challenge on WOA, "11x17", touches on the issue of isolationism in contemporary urban culture. It also examines voyeurism, a somewhat natural response to isolation. While most people do not spy on their neighbors' with binoculars, voyeurism has transcended to the internet in a more diluted version, where many of us use social networking platforms and blogs to comment on the lives of those we see on Television and other forms of Media. The pseudo-anonimity of the Internet offers protection while potentially causing further isolation. I think this has affected women in a very specific way. Oftentimes women display sexy images of themselves in an attempt to garner attention or praise, yet this often backfires into “unwarranted” criticism. Too often photos or explicit videos are released without consent.

FP: In regards to the nudity on the show...it really was a missed opportunity as you said for the production to discuss the current state of feminism as it pertains to the art world. Such a HUGE topic and yet (for the sake of time constraints? titillation of tv?) Bravo chose to edit down your provocative "shock value" piece to a hot girl defaulting to her own voyeuristic sexuality more than anything else. How did you feel about that? What could they have done to further the dialogue? What do you think would have happened if say one of the male artists had asked to photograph you naked or had photographed themselves naked...do you think more or less would have been made of that episode?

JS: So far my character has appeared very one-dimensional. The fact is, I am not a "bimbo" in any capacity. Instead of portraying my true personality, they jumped on every opportunity to dumb-down my character. I was very disturbed by the way my piece, “Triple Self-Portrait in Bathroom,” was depicted on Work of Art as well as the way my character and art making process were completely distorted. I don’t think this was done because of time constraints; rather, it was done to create a very simple story arch that any casual viewer could follow. This was problematic because it made me look like I default to nudity without any thought behind the concept of the work, which undermines my art process. I am not shy about my appearance as they suggest, but I did feel incredibly vulnerable being taped in the nude. There's a huge difference between presenting a photograph that I have carefully selected and composed, verses handing over raw footage that can be manipulated in any way whatsoever. I was very hesitant about doing this but I believed in the piece and the producers said they needed the footage only to display my process. Yet in the episode, the rest of my process was barely discussed, then it was falsely made to look as though I was not responsible for conceptualizing the final product.

The treatment of sensitive issues on set was different for the boys. A male contestant was not required to film himself ejaculating on a piece of art, which caused some tension on set.

FP: In The Art of Reflection: Women Artists' Self-Portraiture in the Twentieth Century, Marsha Meskimmon states: "If the task was to find oneself, then the crisis for the postmodern subject is that nowhere is home, everything shifts and changes. What is the reflection in the mirror that 'vanity' holds? She refuses now to be the 'site' of another's desire and reflects back to you the insubstantiality of your projections."1

Do you think it's possible for the physicality of an attractive female artist to ever be a separate entity from her work, particularly if she is the subject matter of her own work? Is vanity and the mirror important to an artist?

JS: To answer the question, if the womans' chosen subject matter deals with nudity or sexuality in the form of self-portraiture - i.e. Marina Abramovic, Cindy Sherman - no, I don't feel the artist's appearance could be a seperate entity. If the subject matter involves sexy images of other women or the imagery is more illustrative - i.e. Lisa Yuskavage, Hillary Harkness - I think it will be much less of an issue. I think it can only be a non-issue if the artist completely plays down her appearance or doesn't acknowledge it in her work. Yet this doesn't necessarily mean it won't be an issue. At a college critique, a guest artist was invited to our studios and the minute he saw me, before he ever saw my work, he blurted out, “you are the artist”? “You don’t look anything like an artist... YOU are as interesting as your work." This sort of thing happened so often that I made a decision to incorporate my appearance into my work.

FP: Another great quote from this same book: "One of the key issues in feminist theory has been that of women's voice in male language. To what extent is it possible to enunciate a truly different position when you are already within the structures which mark your difference?"2 Do you think the art world is still a predominantly masculine one or is it now equal...what has your experience been thus far?

JS: While certainly more doors are now open to female artists, there’s no denying the highest paid artists are all still men. There’s also no denying that the vast majority of Art collectors are men. I worked for Jeff Koons for two years and there were very few women who came in to purchase work. Granted, this may simply be because men still make more money than women and if women had more spending power, more of us would invest in contemporary art. I think it is a challenge to make work about women that can appeal to both a male and female audience on the same level. We respond to images of the female form rather differently, and it's hard to subvert the provocative aspect of a sexualized image.

FP: The high-low art status is interesting in your pieces --do you think anything can be elevated to art status by redepicting it?

JS: Yes, it can, if done in a particular way. Intent is important -- low art must be appropriated in an intelligent way. For instance, a high school student copying his incredible hulk comic book is entirely different than Jeff Koons appropriating the hulk into his personal iconography.

FP: You worked as a studio assistant to pop art icon Jeff Koons. Has he influenced your work? And who are your biggest influences?

JS: Before I ever worked for Jeff Koons, I loved his Made in Heaven series as well as his Luxury/Degradation series. Speaking of Made in Heaven, that’s a prime example of low-art being successfully elevated to high -art. Jeff Koons is brilliant and there are very few people who love art as much as he does. Working at his studio was an incredible learning experience. It was so interesting to see how he spoke with visitors about his work and I learned an incredible amount of technical skill while at his studio. Jeff talked "acceptance" quite often. We must accept who we are -- our individual and collective pasts -- our shortcomings, failures, weaknesses, and strengths. As artists, we must be honest with ourselves in order to make work that is personal yet transcends to a wider audience. So many artists have influenced my work, but to name a few: Damien Hirst, Marilyn Minter, Laurel Nakadate, Liz Cohen, Vanessa Beecroft

FP: Where do you see your work evolving now that you've participated in Bravo's Work of Art? Has the show inspired you in a new direction? What's on the horizon? Where can we see your work next?

JS: Participating in the reality show was an experience like no other. It really made me more aware of the internet as a portal for criticism and dialogue in fine art. It also opened my eyes to how incredibly critical and voyeuristic our culture is, and I think I would like to comment even further on these qualities in my new projects. The show also allowed me to branch out into other mediums when appropriate, something I think I may have been afraid to do before. Since the show wrapped up, I’ve been continuing my series of figurative paintings as well as a new series of explosions that respond to the war and oil spill.

Check my website, www.jaclynsantos.com for frequent updates of my new work.

#Jaclyn Santos

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bravadoseries · 4 years

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Probably weird and hard, so take you time to answer, but if Audrey was canon in the comics, what changes would be made when adapting her character into a MCU? I mean stuff like the fact that Tony built his in Afghanistan in the movie when in the comic he did it in Vietnam.

this was such a fun question thank you so much! i’m gonna separate this into two parts: audrey’s comics storyline and how her mcu adaptation is different. so sorry this is so long!

audrey rogers (later audrey lange and audrey banner) was introduced in the 1950s after captain america’s popularity declined and the war ended. her original aging thing was that she aged pretty fast and then like maxed out when she was physically 18 or 20 (like the baby from twilight). she was originally supposed to speak to teenage girls and other women to encourage them to embrace patriotism and reject communism, and she’s mentored by her father (since peggy’s originally written in the comics as a pretty minor character). audrey is given her batons by howard stark but in the comics they’re much more torchlike (really emphasizing the whole lady liberty moniker).

throughout the 50s and 60s, she’s got a dual-identity thing going on. she’s audrey lange (nee rogers), a teacher married to Joshua Lange, her high school sweetheart and a young, good-hearted, all-american politician. nobody knows about her identity except for her father, howard stark, and howard’s son tony.

during the 60s, lady liberty and black widow are often portrayed as character foils and enemies. lady liberty is sweet as apple pie, she likes to kiss babies and shake hands with senators and say things like God Bless America while the black widow is seductive, brutal, and most importantly—communist. the two are each other’s biggest rivals for the beginning of their respective comics’ histories (ok i just watched killing eve and i am obsessed with it but i think they are usually trying to track each other down similarly to eve and villanelle). idk if you watch glow but it’s like the zoya/liberty belle characters. that’s what’s going on.

in the comics, lady liberty is responsible for helping black widow defect from the red room and join the American cause. their first enemy together is julian bardot, who is selling nuclear tech to the highest bidder, and both of them want to discourage their respective organizations from purchasing nuclear bombs as the comics began to go into more anti-war propaganda. audrey teams up with tony at this point and their comics characters become friends.

during the vietnam war, the whole american propaganda thing was declining in popularity so they sent audrey to vietnam as a spy, where she was known as the angel of mercy. after realizing that the war was a corrupt cause, she abandoned the angel of mercy title and began working as a vigilante with civil rights activist and empire state engineering student lindsey dubois, caroline, a secretary heavily implied to be gay (living with her close female friend and unmarried) who would become the vigilante ace of spades, chinese refugee and nurse claudia liau, and delphine lamontagne, a french exchange student who came to the US looking to find a scientist to help her understand her powers. They specifically target human traffickers.

At this point, Josh Lange becomes mayor of New York City, and the strain of audrey’s vigilantism and her unwillingness to have children leads their marriage to crumble. they divorce and it’s a big comics thing (later, backlash causes marvel to try to retcon their marriage at all and say they were just engaged)

lady liberty is written into the avengers in the 1970s again because she realizes that the vigilantism was too dangerous or something (i feel like realistically it’s just that sales were low for a diverse group of female heroes but whatever). her storylines are based around that for a few years, however, after the marvel comics watergate, captain america abandons his title and becomes nomad and audrey abandons superhero work in favor of working as a lawyer (? i think).

in the 1980s, audrey is written as working as a law professor at culver, where she meets bruce banner. i don’t know a ton about hulk comics but i think he was permanently hulked out for the 70s and started gaining control in the 80s? pretty sure. anyway audrey’s never met bruce before but he’s got a dual identity thing going on and she’s like You Really Seem Familiar. when she figures out his dual identity a) they become romantically involved and b) she tries to get into hero work again.

there was a lack of interest in her character as more than a love interest, though, so from the late 80s to ’91, audrey is kidnapped and brainwashed by hydra. she’s given powers through hydra experimentation but refuses to use them unless forced to because they cause her immense pain. she is activated through trigger words and known by the name Red Scare. During this period, she serves as one of Captain America’s primary antagonists, but he doesn’t realize that Audrey is his daughter, he just thinks she’s dead.

When the Soviet Union falls in 1991, Audrey is returned to the united states and begins working as a shield agent because of the intelligence she’d collected while abroad. Josh Lange, now running for president of the United States, proposes to her in the late 90s and they marry, but Audrey begins to secretly undermine his political agenda once he’s elected due to his staunch anti-gifted stance and preference for order, no matter the cost. Audrey is portrayed as an unsatisfied First Lady until 2005, when Tony Stark starts the New Avengers to help defeat the mass breakout of the Raft, a prison holding many supervillains. Knowing she cannot just stand by, she leaves Joshua and commits to becoming a hero full time.

During the Civil War comics arc, Audrey opposes the mandatory federal registration of super-powered beings due to her experience with politicians. However, many oppose her presence in the movement for that very reason. She and Bruce Banner attempt another romantic relationship, but he favors the registration act and they soon break up. When her father attempts to surrender in order to stop the violence, she does so instead, knowing that she will be less of a loss to the movement.

At the same time, the United States launches Hulk into space (idk this was a real thing with the whole planet hulk arc) and Thor, wanting to help turn Hulk back into banner, breaks Audrey free from prison and brings her to Sakaar. She helps him turn back into Bruce and the two actually begin a romantic relationship, with him seeing where the registration act got him (Launched Into Space). When they return to Earth, Audrey and Bruce both decide to retire from hero work and open a school not for mutants but for other powered people which becomes a rival to charles xavier’s school.

From there, it’s a bunch of sporadic storylines. I think at some point she may become director of SHIELD when Steve is president? Because I know that was like a thing in the 70s. audrey’s powers are connected to thanos in a way that’s spoilery so I won’t go too into detail but when he pops up with the infinity stones arc, she plays a part in that.

anyway!

So there’s a lot of differences between the hypothetical movies and the hypothetical comics but i think obviously the biggest is Audrey’s backstory and aging. Since she ages slowly and was without Steve’s guidance, she grew up isolated and protected from the rest of the world. Audrey’s personality at the beginning is supposed to be reminiscent of her personality as the initial Lady Liberty—very sweet and positive and very much a character foil to Natasha, but instead of Audrey recruiting Natasha to SHIELD and helping her become a hero, it’s the other way around. Obviously Peggy’s role is very different, too, as is Josh’s (he’s a much more minor character in the films than in the comics).

The first Lady Liberty film adapts her transition from more of a hollow, symbolic hero to someone who is directly involved in the fight. There’s also references to her Red Scare arc except it’s the 60s and not the 90s. Here, we also have reference to Natasha and Audrey fighting Julian Bardot and his weapons, but removed from the Cold War context and instead shifted to the post-Chitauri circumstances. Delphine is also introduced, though not as a vigilante at this point or as a student but as a capable DGSE agent. The setup here is for her to have her own adventures eventually I think.

A lot of the changes have to do with the order of things. Because the MCU takes place over a decade and not like 50 years, things get switched around. TWS and AOU are both more modern plotlines that got reinvented and brought into the MCU. I think I’m probably gonna be changing the Civil War conflict to add more of the comics element to it as well.

Audrey’s vigilante team storyline, though unpopular at the time of its original publication, works better now, so it’s brought back for the second Lady Liberty film, which is set after Civil War. Audrey at this point is much more brutal and has lost faith in the system similarly to how she lost faith in the system because of Vietnam. Audrey never becomes a lawyer, but she does have a reunion with Bruce post CW during the MCU equivalent of Planet Hulk because (though unlike the comics he went by choice) he got launched into space. Audrey’s involvement in this storyline is much more accidental in the movies than in the comics.

I think also unlike the comics, Audrey doesn’t use her powers more because she feels unnatural when she does and not because it physically hurts. She also loses control. The movies also more specifically detail how where her powers came from.

The third Lady Liberty film, resurrection, is a movie that covers Audrey, Thanos, and more of her outer space adventures lol. And the next gen TV series, which primarily just features guest appearances from the Avengers, adapts the idea of the Avengers Academy.

thank you so much again for this ask sorry it got so long i had so much fun answering it !!!

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that-shamrock-vibe · 5 years

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Movie Review: Dark Phoenix (Spoilers)

Spoiler Warning: I am posting this review the weekend after the movie is released worldwide, so if you haven’t yet seen the movie do not read on until you have or check out my non-spoiler review for a general overview.

Retelling Mistakes:

Alright so this is a Simon Kinberg movie first and an X-Men movie second, by which I mean I don’t think it should be judged as an X-Men movie before being judged as the brainchild of Simon Kinberg who is writer, producer and director of the movie.

Kinberg famously also wrote the script for X-Men: The Last Stand in 2006 which was the first cinematic attempt for him to tell the Dark Phoenix story. I want oit also to be noteworthy that The Last Stand is definitely a poorer movie in terms of story flow by trying to combine the Phoenix story with the Mutant Cure story and also for practically zero character development and an ending that felt as if the original trilogy fizzled.

However, despite Dark Phoenix being a slightly better movie overall than The Last Stand, it is almost as if Kinberg simply rehashed the same script but modified it to fit with the current group of characters who are somewhat different to those from the original trilogy.

Much like Mary Poppins Returns, Dark Phoenix has almost exactly the same scenes just told in a different way.

Starting with Jean in the mansion’s medical lab, just as she was after being found by Wolverine and Storm in X3. The only differences are Jean is there of her own accord after returning from seemingly absorbing a solar flare, Xavier and Logan aren’t examining her instead Hank is and the scene doesn’t end with a steamy romp on the table and instead Jean says she feels great and is dismissed.

Then there’s Jean’s home battle death in the first act. During X3 this is the scene almost immediately after the medical lab scene where Jean returns to her old home in a very fragile state. Xavier, Storm and Wolverine arrive to help Jean while Magneto and his new Brotherhood arrive to acquire her. It results in a couple of separate fights ending in Phoenix destroying Xavier.

In this movie though, Jean returns home and is hit with a bombshell about her past, leading the Phoenix to take over and be the sole combatant against the X-Men who arrive to help her. However, Mystique is the one who dies at the telekinetic hands of Phoenix via impalement rather than disintegration.

The ending scenes of the movie begin with shots of the X-Mansion before going on to Magneto playing chess. Here the shots are of the newly named Jean Grey School which go on to Xavier and Magneto playing chess in France while in X3 the shots of the mansion are of Storm welcoming new students and Magneto is later shown playing chess in the park.

It’s annoying when movies rehash the same scenes from popular movies but X3 is critically hated and mostly mocked by fans as potentially the worst X-Men movie aside from X-Men Origins: Wolverine. Also these scenes did not contribute to the original Dark Phoenix story and even to die-hard X-Men fans who remember these scenes from the animated series, you can’t help but compare to X3.

Characters:

Alright so now my big grumble with the movie is over, I am going to be talking about these characters in order of importance for the movie and in part my favourites the franchise as a whole.

Jean Grey:

Sophie Turner does a brilliant job here and is definitely the star of the movie, it could be argued Jean Grey has become the first X-Men character aside from Wolverine to get her own solo movie as “Dark Phoenix” is centric to her character.

But it is a fact that Sophie Turner did a fantastic job at brilliantly portraying the inner struggle that Jean had in this movie both physically and mentally. My favourite scene from her is probably when she is sat in the rain trying to scrub Mystique’s blood off while questioning her inner demon otherwise known as Phoenix as to why it made her do it. It was a short scene and if yo have seen it in the trailers you’ve pretty much seen it, but something about it in context works really well in the movie.

Also Jean as a child was also rather well portrayed, again we have a scene with Jean as a child opening X3 but while that scene is rather played down and strictly about Jean demonstrating the extent of her powers at that age, this one shows that her powers were in fact instrumental in her childhood trauma as she supposedly was responsible for killing her parents while her powers protected her from the debris.

This was of course proven later to only be partly true as her father somehow survived the accident while her mother didn’t, but then her father effectively disowned her and gave her to Xavier.

Either way Summer Fontana does an okay job at portraying young Jean as an almost three-dimensional child dealing with what she has dealt with and feeling she is broken despite Xavier claiming she isn’t.

I really enjoyed seeing a better, more diverse, use of the Phoenix powers. Not only in the explanation that Jessica Chastain’s Vuk gave to the extent of the Phoenix power which felt very Guardians of the Galaxy Vol. 2 with Ego’s demonstration of his powers, but also in the way that Jean took control of Xavier’s body and made him walk up the stairs.

It wasn’t just simply a case of Phoenix being able to make things disintegrate and float as opposed to how it was in X3. I also really loved the pink energy that Jean had when using the Phoenix powers. I know in the comics this is Jean’s standard colour for using her powers like Scarlet Witch is red and Polaris is green but they never established Jean’s powers using pink energy before and the almost pink fire that accompanied the Phoenix powers made for a rather nice effect.

Jean’s relationship with Scott never felt as forced as I thought it would. It was pretty much the same set up as the Bruce/Natasha relationship in the MCU. I didn’t hate it there and I didn’t hate it here, I simply didn’t focus too much on it.

Although I will agree that in those early scenes at the mansion and that party that the way Jean was acting when with Scott was very Bella Swan from the hair to the almost socially awkward posture and movement.

However, I did love that the first official intimate moment between the two was after Jean was enhanced by the Phoenix which heightened all of her emotions, so you could say it was a three-way relationship at that point.

I did think the added development of her father being alive and Jean discovering that he had effectively disowned her added to her further decline to succumb to the Phoenix power.

Also seeing a fully-powered Jean explored here was fun to watch. From seeing her fly to using her telekinesis to operate a helicopter and even when she was Phoenix and dismantled Magneto’s Helmet, all of it was an impressive display of power.

We all know the timeline is slightly screwed in this universe but we are supposed to believe that in 1975 Jean Grey is 8 years old and with the present day events here being set in 1992 that would make the character 25 years old...there is little to no age difference between Jean here and in Apocalypse maybe aside from hair and fashion and that was set in the 80s.

I thought Jean’s sacrifice at the end was both obvious and poignant. Obvious because Jean is meant to die at the end of the Dark Phoenix story but poignant because it was quite an emotional sacrifice more so than in The Last Stand.

I loved the inferno of pink fire that surrounded Phoenix and later Vuk as Jean kills them both essentially, it made for a more interesting climax than just Jean standing there disintegrating everything.

Overall Sophie Turner was definitely the best thing about the movie, I do think she maybe could have been a little bit more diverse in her acting as mostly she delivered lines on the same monotonic level but other than that I have no complaints...except maybe wanting to see her in the Dark Phoenix costume.

Beast:

I will continue to say this, people do not give Nicholas Hoult enough credit as Hank McCoy/Beast.

Considering how he, McAvoy, Fassbender and J-Law are the only ones left from First Class, I think Hoult has played an under the radar performance but still one of notoriety.

I will say my only negative for this version of the character is I feel the way the fan-favourite character is portrayed is affected in the same way as Mystique has been portrayed in that the actors (Hoult and Lawrence) do not want to be in the blue make-up all the time and want to be able to be themselves for parts of the movie.

Now whereas Mystique can easily shapeshift and that is how they get away with that, to my knowledge once Beast’s mutation accelerated and turned McCoy into Beast, it was not irreversible in the comics but because of Hank’s serum he was able to shift between the two during Days of Future Past and Apocalypse.

Here though there didn’t really seem to be any explanation as to why he was able to shift so easily and rather than it being a case of a serum injection, it seemed to be more Hulk-like. I’m not complaining at seeing Nicholas Hoult in all his glory, but Beast being my favourite X-Man I want him to be treated with the respect he deserves.

In the positives, I really liked seeing a darker side of Beast. But it wasn’t a straightforward Dark Beast as everyone believed it would be and simply Hank deciding that Xavier was not the answer in this situation and that Magneto was. I was fully on Beast’s side in this movie because not only did Jean accidentally murder his lover, but Xavier had such an incompetent attitude to the whole thing for fear of ruining their recent claim to fame that he had set aside the original morals he intended for the X-Men.

It is a testament to Hank’s morals though that after Xavier made his half-arsed apology that Beast decided to protect Jean because that is what Mystique would have done.

I am unsure how I feel about Beast now being the headmaster of the school, now called the Jean Grey School. I am all for the fact that Xavier decided to retire after the complete hash he made of “protecting his students” and I get that Hank is now the longest-serving member of the X-Men...but I do wish we had another movie to see him as a teacher/headteacher for me to decide fully.

I would like to see Beast in the MCU at some point either as Nicholas Hoult or Kelsey Grammar, but overall I just want Beast to return at some point as he is my favourite and I feel he needs more of a chance to shine.

Professor X:

I am thrilled with this movie for showing the darker side of Xavier, the only problem is rather than hinting at his darker side as they did in The Last Stand, they went down a hubris egotistical route before even starting to hint at his darker side which made what he did to Jean seem more like it was feeding into his hubris than actually doing the wrong thing for what he believed to be the right reason.

Also, as I said with Beast, Xavier simply came across as incompetent a lot in this movie and most of it seemed to be because he thought he was above reproach. When he agreed to send the X-Men into space to save those astronauts he was called out on his reason why by Mystique and yet played it off as him keeping the peace between humans and mutants so that they don’t go back to being hated.

When the team try and detain Jean, he is fine letting everyone put their lives at risk to try and stop her but when Beast has a taser ready to shoot, Xavier stops him and the cops in order for Mystique to talk her down which leads to her death...why not just let Beast taser her and then let Mystique talk to her back at the mansion?

Then when Hank and Xavier are having that talk, Xavier simply talks about how Mystique was in First Class rather than taking responsibility or apologising for not letting Beast take the shot, and even tries to turn it around on him for making him feel bad after burying his foster sister...bullshit!

I don’t know why or how the X-Men are suddenly public superheroes because Xavier was the one during First Class who stated that anonymity was their first line of defence and now the President has an X-Phone, it just seems like something the Avengers or Justice League would be but not the X-Men.

Also I loved it when he got talked down by Storm and Nightcrawler, it was simply the last straw that he had lost the respect of his students and team.

Don’t get me wrong, James McAvoy did a great job in the role as always, he like Hoult is one of those actors I will watch a film for regardless, but there was just something that didn’t feel as organic as the Xavier he had built up for the past 8 years.

I know McAvoy was filming Glass around the same time as this and you can tell because of the weight that he put on for the Beast role in that, but while McAvoy got the look of Xavier down with his fashion it was just something about the character’s motives that seemed really off.

Mystique:

This was a straightforward character assassination for a great X-Men villain, particularly with what Rebecca Romijn did with the character in the original trilogy to have it being so desecrated in the 30-45 minutes that she is in here is such a shame.

For one thing, she is never called Mystique once in this movie. Secondly, the make-up has gone from lizard-like to fancy dress. Third, as much as I liked Jennifer Lawrence’s delivery in this movie I detest the fact she died a hero, and that she was eulogised as “doing what she did best, dying trying to protect her friends”...

Mystique is a villain, she has moments of anti-heroism and her soft spots are often shown for her kids, but other than that she is manipulating, cold and calculated. She would definitely not die and be eulogised as “being the spirit of the X-Men”.

Also I say in the comics she has a soft-spot for her children, that’s great but in seven movies they have not established any familial connections between her, Rogue or Nightcrawler...despite many opportunities.

I do have positives though, as I said I did like Jennifer Lawrence’s delivery. I thought her line about how it usually being the women saving the men and changing the team name to X-Women was a good line, even though Mystique, Storm and Jean are really the only female members of the team they’ve shown in the First Class trilogy but they are still the more interesting ones, aside from Quicksilver and Beast.

I also liked it when she suggested to Hank that they leave the X-Men and run away together. I understand why Hank said no but I do agree that if they had done so it would have saved both of them.

Her duration in this movie simply felt like J-Law waiting to be released from her contract, you could tell that from her opening delivery to Nightcrawler as she exasperatingly says “Yes Kurt, we’re going into space” and the scene when the other rocket explodes and Mystique looks like she’s waiting for the inferno to take her.

Overall I am saddened that this is how Mystique ends in the movie universe, but at least there is still some good takeaway from her in the movie.

Magneto:

Could Magneto just pick a side and stick with it?! For one thing Genosha just seemed like a wilderness estate rather than a Mutant safe-haven. But while he was trying to be the peacekeeper here as soon as he hears of Mystique’s death he is right back into being a bad guy, but then a pep talk from Xavier and he is back being a good guy again.

I wouldn’t mind but he berates Xavier by saying “you’re always sorry and there’s always a speech but it never matters”, yet after Xavier gives a speech in the train he is somehow won over.

I really enjoyed the display of his powers in the movie, as always. The fact he and Jean battled to control a helicopter and both actors didn’t oversell it or make it look memeable is a testament to them both.

But I loved it in that street battle when he pulled up that underground train from the subway and managed to use it as a barricade between the building and the outside. Then later he equipped the SWAT agents’ guns in a full-on firing brigade against Vuk...yes it didn’t work but it was awesome.

I’m not too happy with where his story ended in this movie, the fact that he is now being Xavier’s saving grace seems a little bit against type for the character and also the fact he would either abandon Genosha or welcome his ethical enemy to Genosha just doesn’t sit right.

Cyclops:

I still enjoyed this version of Scott Summers than James Marsden’s performance, but I do agree that Cyclops’ visor really prohibits the actor wearing it from getting across much emotion in the scenes.

To be fair, Tye Sheridan does try and succeeds a lot here, but I still didn’t feel bad or empathetic for him most of the way through this movie.

I think his optic blast power is one of the best the X-Men has both visually and from a power stand point, and I loved how the Blackbird has apparently become equipped with a blaster pod for Cyclops’ optic blast. I did want to see more of that but really Cyclops is the only member with that kind of power. Storm can easily carry out her powers regardless and the rest need to be within a certain distance.

Nightcrawler:

I felt myself very confused by Nightcrawler towards the end of this movie. When he tried saving that one SWAT agent whose son was a fan of his but was too late and so got angry, it just seemed very out of character to me.

Yes Nightcrawler has been involved in conflict in the comics but in the original trilogy he was very much the religious pacifist type of character. Going full demon could have been an interesting pathway for the character considering his father is Azazel, but literally slotting it in for five minutes of the final film does seem a bit like a throwaway plot point.

Also, despite it still being Kodi Smit-McPhee, I felt a lot of the freshness he brought to the character in Apocalypse was gone here, maybe because they didn’t show him as much but a lot of the humour from the last movie he had was gone here.

Vuk:

Everyone is simply calling her Jessica Chastain and to be fair it makes no difference what you call her because she’s barely developed as is.

Firstly this massive mystery role of hers is revealed to be the leader of a D’Bari army who seek the Phoenix power that destroyed their homeworld to help them remake Earth into their new homeworld. That’s great, and the D’Bari were in the original Dark Phoenix saga story, but nothing else is done to make Vuk menacing or threatening or even interesting.

I don’t understand the stomach twisting power they seemed to have, because it seemed like the biggest threat these aliens offer is to give their victims the worst stomach cramps imaginable, but the most laughable trait of theirs was literally charging at Jean as the Phoenix during the end of the film...even Vuk did.

I’m not saying they were bad as villains, they certainly filled that role, but they didn’t offer anything new or threatening and they certainly didn’t exceed what Apocalypse did.

Quicksilver:

Quicksilver was shelved in this movie. Not only was he in the movie all together for probably 3 minutes less than Mystique, but also they cut everything about him that made him such a likeable character in the previous two movies.

The humour was barely there, there was no brilliant slow motion speed scene, they still didn’t establish the relationship between him and Magneto despite Apocalypse seemingly teasing it would be explored. I know he got injured during the confrontation between the X-Men and Jean but to not even be mentioned for the rest of the movie except for a 5 second appearance right at the end?

Storm:

I will give Storm credit for being the only character in this movie to be called by their moniker, but Storm is only called by her moniker. Mystique calls Cyclops, Nightcrawler and Quicksilver Scott, Kurt and Peter on mission but also calls Storm Storm. Why not Ororo?

Also her powerset, particularly with Alexandra Shipp, seem very limited. The younger version of Storm only really seems to produce lightning and electrical attacks with the occasional heavy breeze. Here though she seems to also produce ice cubes for parties...because that’s a good use for one of the strongest X-Men?

Future:

I am unsure about the future of the X-Men now, while I cannot wait to see what the MCU does with them, Feige has stated that it won’t happen for a while at least.

I am hoping they start drip-feeding them in soon, say with Storm in Black Panther II and maybe Professor X in Doctor Strange II if they introduce the Illuminati.

I have loved these past 19 years of X-Men movies, yes there have been bumps in the road but it is a great comfort to watch and I don’t ever feel like they’re a guilty pleasure.

Overall I rate this movie a 7/10, it’s not an offensive movie like X-Men Origins or The Last Stand but it isn’t as strong as X2, First Class or Days of Future Past. I would still love to see a faithful Dark Phoenix saga movie maybe over the course of a couple of movies rather than just rammed into the one but I cannot really mark it down too much because it gave me the nostalgia I have whenever I watch an X-Men movie.

So that’s my review of Dark Phoenix, what did you guys think? Post your comments and check out more Marvel Movie Reviews as well as other movie reviews and posts.

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sorrythatwasmean · 5 years

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Endgame Spoilers//Is Professor Hulk Out of Character (OOC) or is it his Dissociative Identity Disorder(DID) that makes it seem that way?

Professor Hulk has Bruce’s heart and compassion and brains and Hulk’s strength,power, and invulnerability. Bruce has achieved balance if we take that at face value. It’s jarring to go from normal,skeptical, questioning Bruce in the first 20 minutes ready in his Hulkbuster suit to mess Thanos up on an alien farm to time-skipped calmer, happier Professor Hulk. We only see the end result.We don’t get to see what happened.It’s surprising and it doesn’t feel right.

But I think it’s more complex than they wrote Bruce out of character. I believe Professor Hulk is either the merging of Bruce and Hulk identities or a completely new one. Both are potential ways Bruce’s mind reacted to trauma or healing. Or both. And both are potential ways to resolve Bruce’s character arc.

Hulk can’t deal with the complexities a dusted universe would involve. Bruce would be devastated.The movies focused on Thor, Tony, and Steve’s guilt. But Hulk and Bruce experienced the slaughter of the Asgardians and swung the first punches. And in Infinity War, Bruce was gunning for Thanos as soon as he showed up in Wakanda only to be melded into a mountain. The last we see of Bruce he’s free of the mountain, but Steve is letting people dust filter through his hands.

All of that is traumatic. With Dissociative Identity Disorder (DID), new alters or, if we use the term Bruce uses, “other guys” can form or existing other guys can merge in reaction to trauma. Bruce constantly being Professor Hulk is how Bruce was trying to deal with ALL the problems in a Post-Decimation world. He couldn’t help people if they saw him as a threat. He couldn’t help the most in battles if Hulk didn’t let him transform. Professor Hulk can do both. He even says he feels like he was made to right the Decimation. Professor Hulk was born out of Bruce’s mind specifically to be an avenger.

Professor Hulk means we have a positive media representation of a hero with DID. And in this case, he is not dangerous to people or anti-social like Caitlyn Snow’s Killer Frost or Eddie Brock and Venom. I even think Professor Hulk can be a next step on Bruce’s path. Why? Professor Hulk existence marries multiple themes from Bruce’s journey.

In Age of Ultron, there are multiple uses of the word ‘monster’ which is how Bruce saw himself at the beginning of his journey. I could write another separate piece on that, but I’m thinking of two in particular.Natasha uses the word monster in reference to herself to show Bruce she accepted all of him. She trusts him.

And when trying to convince Bruce to create Vision, Tony said, “We’re mad scientists. We’re monsters, buddy. We’ve gotta own it. Make a stand.” Tony meant they needed to embrace who they were in order to fix their mistakes and save the world. In Thor: Ragnarok, Bruce rejected the notion of ever being the Hulk again. Thor was a friend to both Bruce and Hulk and helped him rise above his fears and be a hero again. Bruce needed to trust himself, embrace all of who he is, and work through his fear in order to create Professor Hulk.

I think the screenwriters intended to portray integrating/merging Bruce and Hulk identities to resolve Bruce’s arc.Hulk and Bruce co-existing means he accepts himself. They agree to share their complementary strengths to be a better balanced whole.Bruce is happier and takes selfies with children. He’s “cured.”

I embrace Bruce finding self-acceptance. What I reject is the notion that constantly being Professor Hulk is the solution.I don’t need him “cured” of having DID. I need him cured of self-loathing and depression and this idea that he is a monster. But execution is flawed and if it seems rushed it’s because we had six different character arcs and the overall MCU arc to resolve. We skipped seeing how Bruce reached this point.And Professor Hulk seems out of character because his character is happy and we didn’t see what lead up to that. Does this means the writers dropped the ball,then? Maybe not.

Here’s the thing, I don’t think Bruce is happy in the five year gap. @from-andrea suggested that five of the original six Avengers represent the five stages of grief. Steve’s line, “Other people move on, but not us.” means he represents denial. Vigilante Clint murdering cartel and Yakuza represents anger. Natasha continuing the fight and coordinating Avengers and doing her best is bargaining with the universe to help them.Tony moving on from avenging and creating a family represents acceptance. And Thor as a physical and emotional mess is meant to represent depression. I suggested the sixth original Avenger, Bruce, was suppose to represent a combination of all of the stages.

He is accepting people are gone and trying to move forward with his own life by dealing with his own issues. And working on saving the universe they have currently. He’s bargaining because hey, what if I do my best and act happy and use my strength and my brains and am grateful,will the universe give us a way to undo this? He’s in denial about the finality of the snap.He is on board for trying to fix the mess even if Quantum Physics isn’t his area. He’s also in denial about his own condition. He’s putting on a happy face and trying to deny he is still depressed. Hulk was always a physical representation of his distress and anger. If Bruce is okay, why is he still a Hulk? If he is always Professor Hulk, is he still always angry? Hulk saved Bruce when he “got low” all those years ago.

It’s a small moment in Endgame, but he does mention what happened with him: “First Hulk lost,then Banner lost, then we all lost.” Natasha replies, “No one blames you, Bruce.”

And Bruce says, “I did.”

And Natasha frowns and looks down.Steve and Natasha don’t seemed thrilled about the situation.If Bruce was right as rain, then Natasha and Steve would’ve been happy. He’s taking selfies and joking with kids. He’s happy, right? They’re not. Are they concerned about him? Is Bruce protecting himself from himself?Even if it isn’t that,Professor Hulk’s form visually distances himself from other people. Valkyrie even comments on her discomfort with it. Constantly hulking out means Bruce is never physically vulnerable.He’s always in battle-mode. He’s just hiding it better because he can be there for them emotionally. But he’s denying that he’s still affected by saying Professor Hulk is a “cure.”

So if the writer’s intention of integration isn’t the answer to resolving Bruce’s arc. What is? I prefer this option: Professor Hulk is a new alter or other guy. Why? Because it leaves it open for Bruce to accept himself and all his selves.

And if Professor Hulk is a completely new other guy, it explains why he seems so different. I’m not saying he isn’t Bruce.They’re all part of the same person. I’m saying he’s a separate other guy created to cope with trauma. If it seems like he isn’t as burdened as Bruce, it’s because he’s not that Bruce. If he’s smarter than Hulk, it’s because he isn’t old Hulk. He’s new. He’s not nervous. He’s confident. He’s joking. And Bruce’s humor was usually darker.

In Age of Ultron:

Tony: You just roll over,show your belly every time somebody snarls? Bruce: Only when I’ve created a murder bot.

But Bruce can have a lighter sense of humor.He tried to fake a hulk out at the Avengers party in Age of Ultron and he failed because…it wasn’t funny and that was a terrible attempt.His awkward fake-smashing was a very Bruce moment in Endgame.Professor Hulk as a separate other guy means we’re not neglecting all the layers we saw to Bruce in the previous movies.

The writers were trying to solve a problem the comics have waffled and spent decades on. So yes, execution was imperfect. I don’t know for sure which they were going for but this is how it would work in my head.

So, Bruce will eventually have himself, original Hulk, and Professor Hulk. If it’s about accepting himself then for me that includes his DID and having a functioning DID system.It’s not about control or never having the other guys come out. It’s about living the best life and accepting they all have to work together. Many people with DID won’t merge/integrate their alters/headmates. Saying merging and integrating is the only way to be happy would not be fair. And it would mean original Hulk and Bruce wouldn’t be around.I think it’s more hopeful for Bruce to achieve co-existence.

So, for my Endgame headcanon: Professor Hulk is merely part of his journey to self-acceptance. Eventually, he doesn’t have to hide as Professor Hulk. He can be Bruce. He can be Hulk. Professor Hulk helps deals with situations that require both of their abilities or situations that are very public where they would be at risk if they were attacked during one. They all work together. That is what I would consider a satisfactory arc for Bruce Banner.

#bruce banner #avengers endgame spoilers #dissociative identity disorder #hulk #avengers endgame #dee's brain #sorrythatwasmean meta #sorrythatwasmean headcanons #sorrythatwasmean DID #sorrythatwasmean the other guys

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pwnyta · 5 years

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Full Endgame spoilers/review:

(TL;DR: It was really fucking good. Theres some bad obviously but overall worth it. Even after reading the spoilers and feeling like I may not like it as much as I thought I would... I actually liked it more.)

- - So as I said I loved the movie I had some gripes but overall I thought it was one hell of a fun, entertaining movie. I'll go by each characters story in my review saving Cap and Tony for last.

Natasha- Honestly? Though I think the MCU dropped the ball on the 0G6 being a believable family... I think Nats role in this movie was sweet. I really like the scene where Tony Nat and Bruce were laying down talking about Strange and the stones. It was really cute but it really made me wish we got to see this earlier. Joss dropped the ball hard in AoU. Ive said it one and I'll say it again. AoU should have been the movie where the Avengers were a solid unit throughout the movie.Nats death was... heroic but honestly her and Clint beating the shit out of each other because neither could stand the thought of the other being sacrificed was kinda funny and cute which is jarring to the story. It kinda sucks that she was fridged before the final battle though.

Clint- What are the fucking odds that every one of his family was dusted? But w/e. Clint having a wild sword battle in Japan... it was ridiculous and weird and IDK what they were thinking with that scene but it was played really dramatically but I laughed? Cuz it was so over the top and silly... even though he just slit that guys throat and Nats like :c Clint~ honey no its fine... and they hold hands over the guys warm corpse. LMFAO WHAT!? Im at least happy his kids got him back if nothing else.

Bruce- ... Bruce with Hulks big green body? NICE. Thats gonna have some interesting fanart I can already tell and I lift my glass to you. I once tried to draw a little comic where Bruce and Hulk separated but also had swapped bodies.... so Bruce had Hulks body but I never did finish it I wonder if I still have it saved somewhere. Anyways. Honestly? I found Bruce in this movie to be equal parts funny and annoying? Like it was a bit jarring sometimes that he was so lighthearted despite everything.

Thor- When I read the spoilers I thought I was gonna really dislike Thor but watching it I understood where Thor was coming from and I couldnt really blame him for spiraling and its not like anyone close to him seemed to even check up on him despite clearly knowing where he was. Im really sad that it took all those years and only until he was needed for someone to try and talk Thor through what he was going through. Im not annoyed with Thor. Im annoyed with the rest of them (minus Tony and I guess Clint? Considering.). Bruce was his friend in Ragnarok, Nat keeps talking about them being family, and Steve is their leader where the hell were they? Unless im missing something... I guess Valkyrie too but shes been picking up his slack as a leader and was holding the Asgardians together so I can cut her some slack. ANYWAYS. Thor was kinda funny in the movie but it was kind of hard to enjoy his goofiness. It kind felt like Tony in IM2. Speaking of Im glad Tony seemed really tolerant of Thors drunk behavior... I was sure he would throw a lot of shots like Rocket did. I wish they had a moment to talk about Thor self medicating with booze... Tonys been there. I get why they couldnt really but.. His scene with Frigga was really nice. Frigga is a bad bitch raised by witches and shit.... she knows all~ A wise woman that Frigga.

Scott- HOLY SHIT Did I love Scott in this movie. He was soo funny and cute... and bullied a lot. You know I have a thing for easily bulliable character. And Scott just got spanked left and right. His helpless goofiness reminded me of Harry from KKBB a little. He bounced off everyone well and it makes me kinda wish he was one of the OG6 instead of Clint. He was more of the heart that kept the Avengers together than anyone. Also him and Tony talking about Caps ass? HILARIOUS. Bisexual icons honestly. 'That suit did nothing for your ass.' 'No one asked you to look!' 'I think you look great Cap as far as Im concerned thats Americas ass!' and then later Caps all 'That IS Americas ass.' Unbelievable. But his best scene is still him reuniting with Cassie. She was so big! Im so happy she got her dad back... but Bruces failed time travel machine scene.... that was a close second. 'Somebody peed my pants... idk if it was baby me or old me........ or me me.' Also the 'whats up regular sized man' scene is longer and more hilarious than the preview showed. FUCK YOUR TACO SCOTT. At least Bruce is nice to him. I ship GreenAnt a little. Rocket petting Scott and mockingly calling him a puppy. SAME.

Rhodey- JESUS RHODEY. Speaking of hilarious idiots. Im glad he got a bigger roll in this movie but he didnt hug Tony when he got back so whats the point? BUT W/E... He was hilarious and amazing. It was nice to see him step up as one of the sorta leaders after the snappening. But he was also A HUGE FUCKING DORK THE ENTIRE WAY THROUGH. Thinking that a secret cavern with a spooky name would be boobytrapped like in Indiana Jones and trying to convince Nebula to be careful. Naming a bunch of shitty time travel movies to prove a point about time travel (with Scotts help) and going back in time to kill baby Thanos...and Bruce was like 'yeah... no...' and him fucking TRASHING the magic of the iconic opening scene of the first GotG where Quill is dancing.... 'so hes an idiot?' RHODEY PLEEEEAAASSSEEEE have mercy. Him and Nebula are a trip. Also I made a note to mention Don Cheadles BEAUTIFUL soft voice. So here it is. I love Don Cheadles beautiful soft voice. He had too few scenes with Tony but their first scene when Tony starts freaking out and hes trying to get Tony to calm down was pretty good... and god that ending.... ;-; How come Rhodey got NO lines while Tony was dying? But also in the same position I dont think Id have any words either. I too would just cry. And did... for Tony. But yeah besides his lack of scenes with Tony I really loved Rhodeys scenes. I usually do. Hes adorable.

Nebula: Sweetie... You are just amazing. Shes legit one of the best most solid characters in the movie. The opening scenes between her and Tony? FUCKING adorable. Im sad we dont see more of them after the time skip. I also wish we got a longer scene of Neb and Rocket talking when she gets to earth... I guess just seeing them sit together sadly was enough to portray the emotions but.... I MEAN. More Nebula wouldnt hurt anyone. Having to see two tortured versions of Nebula was upsetting. Future Nebula who lost so much and past Nebula still under Thanos' thumb. 'You can change!' 'He wont let me' OOF. Im sad that past Nebula was killed... but appreciate that even in that moment past Gamora was upset to see her be killed. Im glad with Present Neb, Gamora was so easily heel-face turned. She loves her sister. Also their moment after past Gamora beats up present Quill was hilarious 'Really? This is the guy?' 'The choices were him or a tree.' WHAT ABOUT DRAX, NEBULA?! I know I said I may not watch any MCU movies after this but I might tune in for GotG3 for Nebula (and Thor).

Steve: I actually ENJOYED Steve in this movie for the most part. For the first time in any movie... even by himself I kind of enjoyed Steve. Especially the scene when hes fighting himself and his past self says 'I can do this all day' and hes like 'Tst... yeah I know... okay' Like he was sick of his own damn bullshit. And frankly? Same. Also him whispering 'Hail hydra' to get the scepter? Hilarious. I cant help but see it as a knock at that shitty Hydra Cap comic that everyone hated. But despite me enjoying Steve for most of the film... the MCUs inability to write a good romance and pretending like Steve and Peggys relationship was a peak or something completely undoes it all. It would still NOT BE GREAT regardless but the fact the RUSSOS are the ones who brought Sharon into TWS in the first place makes it SO MUCH WORSE that Steve dipped out. Steve should have moved on... even if it wasnt with Sharon. They could have at least MENTIONED HER but they knew they couldnt because then it would be too highlighted that Steve is a fucking FUCK BOY who used the niece of the woman he loved as a surrogate and that him going back to the past means hes gonna be meeting little Sharon at some point. Also? Really? Steve you have this whole new family you supposedly love and can live your life with but you rather go back in the past because the first woman who was nice to you was there? Move on. Its so fucking weird that hes so obsessed with her. You have your childhood friend and the rest of your new friends... and supposedly a girlfriend. IDK how anyone could be happy with that ending for him. But I guess its in character... remember the note he sent Tony 'I've been on my own since I was 18.' What about Bucky? He was there with you and you had family in the Avengers supposedly. Natasha seemed to think so. YOURE SUCH A FUCKIN SCUMBAG STEVE. Jesus.

Tony: First of all Id just LOVED his scenes with Nebula as I said. He sat there patiently teaching how to play paper football and held her win. It was REALLY cute. When he passed out she picked him up off the floor and sat him down on the chair and pat him. REAL CUTE. He nicknamed her 'The Blue Meanie' its cute and he tried to give her the last of their food but she insisted he eat it. Bobbos eyes never looked more gorgeous than in that scene where Carol finds them honestly. Tonys I told you so was really really sad. It had a lot of feeling like that scene in AoU when he laughs hysterically and starts ranting? Rhodey tried to calm him down but he just ripped into Cap. Also he yanked off his arc reactor and I FULLY JUMPED IN PANIC because I forgot it wasnt in him. I fully flinched. But he pulled his heart out and gave it to Steve and then passed out. Tony and Peppers daughter is ADORABLE. And her interactions with Tony are so sweet. Domestic Tony is lovely. I love that when Steve and the gang roll up on him Morgan runs out during their discussion and is like 'Mom told me to come and save you....' and hes like 'Well Ive been saved!' REAL CUTE. Also he swore and his daughter copied him and hes like NOOOOO!!!!!!! LMAO. LANGUAGE Tony. Tony is motivated to fix things seeing that pic of him and Peter. Hes such a softie. IM REALLY REALLY SAD that we finally see Pepper kinda GET Tonys need to be Iron Man and is like 'But could you rest?'. The one time she encourages him to go back to be Iron Man and he fucking DIES. Im so sad for Pepper. But that scene between them where shes like 'We'll be ok.... you can rest now.' FUCK. Im crying again. That scene between him and Steve- 'Someone shoula warned you~' 'You did...' 'Oh did I? Thank god Im here' has the same energy as 'Who taught you how to dance?' 'You did.' 'Well Ive done a marvelous job!' It was pretty great. Tonys nicknames for Scott are 'Pissant' and 'Thumbelina.' Im not OVERLY fond of his scenes with Howard. But honestly? My brother is the same way with our dad... he just chooses to forget the bad stuff and focus on the few good times. I cant do that but if it made Tony happier then VERY WELL. I wish Tony coulda talked to Jarvis too tho... just a word... anything? Best Tony scene is Peter babbling about how he musta passed out because Tony was gone and and and and Tony just hugs him so tightly and Peters hugs back and is like :D 'this is nice'! Though that STARK contrast of them after Tony uses the gauntlet... and Peter is like 'Mr Stark... we won... we did it... no Mr Stark...' Big Simba and Mufasa feels (and kind of Hughes and Elicia tbh). Not cool Disney. I was already crying. Rhodey was the first to reach Tony and Tony couldnt say ANYTHING to anyone and Rhodey just pets his cheek... Tony was just looking around as his family just has to watch helplessly as hes dying and Pepper tells him its ok. His funeral was really nice. He recorded a message for everyone kind of like his message for Pepper on the ship. Everyone was there... I think even Harley (Im really sad we didnt see them get reunited even once). The scene with Happy and Morgan was really sweet. 'I'll buy all the cheeseburgers you want....' It was cool to because... ya know.... Jon Favreau. He got a really beautiful end. I wish he could just retire and live with Pep and Morgan... but if he had to die... that was a really lovely sendoff. SO ALL IN ALL. Awesome movie. I didnt get to see past elderly Steve passing the shield off to Sam... I'll have to rewatch it again when theres a better version. Especially for that fucking STUNNING end battle. Even with the shitty cam I watched it looked AMAZING and I cant wait for it in HD.

#Endgame Spoilers

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plush-anon · 5 years

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you have seen 4 and half minutes of random low quality clips from a three hour movie. The Russo's are 3 for 3, and all test audiences have been raving about what they've seen from Endgame. You need to calm down until you actually see the film lol.

guess you missed that part huh friend

(also one of my tags literally read ‘plush rants’, that doesn’t necessarily mean calm and collected response. this is a post i made to vent about possible outcomes for Endgame based off of my own concerns and opinions about what came out in the Clips. literally a ‘Dead Dove Do Not Eat’ kind of post)

On the Russo’s being 3 for 3, I’m gonna have to disagree there friend just bc... lord knows there are a LOT of issues with poor writing, plot contrivances, and plot holes with both Civil War and Infinity War that came directly out of their creative choices and views on the characters they are responsible for portraying.

For example, in Civil War:

When Ross was grilling the Avengers over what happened with New York, how is it that no one mentioned that the government outright TRIED TO NUKE NEW YORK CITY? There was a portion of the movie with Tony Stark flying the nuclear missile sent to destroy everything and everyone in one fell swoop - literal millions of innocent civilians - into the alien wormhole. How is it that no one tries to argue this on Team Cap’s team?

Who the heck hired Crossbones in Civil War to fcuk up the shit in Lagos? Was he still working for some fragment of HYDRA? What was his purpose there, what was his plan? He wanted revenge on Cap, but what was his plan to achieve that? Did Zemo hire him?

How is it that the Winter Soldier found the one place on an abandoned road where there was a convenient security camera showing him killing Tony’s parents in a way that there was no doubt those were the two people he was killing in the 80s/90s? did HYDRA put it there to watch it like a sports game, and if so, how did they tell Bucky that so he knew where to pull over, and how did they know the Starks’ travel plans to the point they could predict exactly where to run them off the road to that specific camera?

What was the point about the Five Winter Soldiers subplot, except to get Steve, Tony, and Bucky in one room together to watch the video tape of the Starks’ brutal murder? If the whole point was to turn the Avengers on each other, why not first split them apart, frame Steve as protecting a man who blew up the UN (even if it wasn’t him, the gen public still thinks this), then publicly release/show the video verifying that yes, this is a dangerous criminal and Cap is protecting him?

Does Zemo have a Crystal Ball to tell him everything that’s happening, in order to predict how everything fell perfectly into place? He orchestrated the UN bombing to frame Bucky, but how on earth did he account for the Lagos incident with Scarlet Witch, or the Sokovia Accords’ creation, or Black Panther’s involvement? How did he perfectly predict the fall of the Avengers and the stressors needed to force a split, to where Tony, Steve, and Bucky would be in place for him to bring them to the Tape of Dismay?

What was the point of including Ant-Man apart from the fight scene? Scott Lang’s entry into the MCU focused entirely on him trying to prove that he’s not a criminal and wants to do the best possible by his family and the world around him... only to throw it all away to break the law, fight with Captain America, and immediately get thrown in jail for it.

Maybe he didn’t fully understand what he was getting into, but what about Hawkeye, who has a wife and three kids? At the end of AOU, he was hoping to retire and live a peaceful life with his family, which was the whole reason Quicksilver died. Now his kids have no dad bc... why, exactly? He got bored? He wasn’t involved in anything leading up to the Accords like the Lagos explosion, why would he come back now? He knew full well what he was getting into when he joined Steve, and got arrested for it.What was the point except to flatten out the roster?

Why did Howard Stark decide to transport the Super Soldier Serum without any form of bodyguards nearby, ESPECIALLY with his wife in the car? Was the plan to transport it as quietly as possible while a heavily armored decoy distracted whoever was after it? If so, 1.) what danger/risk was there that required this method? 2.) did no one think to put a tracker on the Starks’ personal car while they were doing this, to ensure no bumps or hiccups? 3.) if there was a suspected leak at SHIELD, why would Howard endanger his wife needlessly under the guise of a normal drive out? (short answer: he’s a dick, but I digress) 4.) Who the heck were they trying to fool by driving around on back roads in the middle of nowhere? Where was their destination? (This branch of questioning I do recognize as not having enough time to flesh out, but the whole scenario raises a shitton of questions in general).

During all of this, where was Maria Hill? She was a higher up with SHIELD, and she was still free and alive. Fury was still presumed dead at large, I’m assuming, but wouldn’t she have tried to speak up, or was she keeping her head down?

And now, for Infinity War:

Why is it that when Thanos showed up, Loki didn’t use the Tesseract to open up a Portal to help all of the Asgardian refugees escape directly to Midgard, or even a nearby planet? Thor and Loki used it to transport back to Asgard at the end of Avengers: Assemble, and Thanos used it to teleport between planets effortlessly; while it cannot open massive wormholes on its own, it could still be used to transport people in between space, which Loki is known to excel at.

Why is it that, as Thanos was leaving the ship with Thor still alive, that Loki decided to call out to him, calling attention back to himself when they could have reconvened and sought out the Avengers to make a plan, all to try to stab him with a tiny knife?

Why didn’t Hulk show up before when Thanos was destroying/slaughtering the entire ship of Asgardian Refugees until Thor was captured and Heimdall was killed - why did he wait?

How did Bruce know to warn about Thanos, when he’s never shown any sign of being able to recall knowledge he learned as Hulk or memories during his time as the Hulk before now?

What the heck happened to Nova when Thanos went to retrieve the Power Stone? Wouldn’t the Guardians have been alerted when Nova attacked, given both their experience with the Stone and Gamora’s past with Thanos? How about the fact that StarLord can actually wield the stone somewhat? Wouldn’t they be a strong contender to stop Thanos, based on power and knowledge of him?

How about Rhodey suddenly deciding to turn his back on everything he fought for in Civil War without any sort of precursor than ‘he looks annoyed at Ross’ when Cap walks in?

What the heck are the logistics of Red Skull being the Ghost of Infinity Stone Past protecting an Infinity Stone he never encountered? Did the Tesseract transport him there as a protector, and if so, why doesn’t Thanos use the Tesseract to travel instantly to where the other stones are located? Why did the Tesseract transport the spirit of Red Skull to protect/conveniently explain the terms & conditions of the Soul Stone to anyone who came looking for it?

What was the point of killing half of all life to “preserve resources” or bc there weren’t “enough resources” for the populations when you kill half of all plants and animals in the universe as well? Did none of this occur to him as he was making the plan?

Doctor Strange said in Thor 3 that he keeps a watchlist on potential threats to Earth, which is how he knows about Loki - so why doesn’t he know about the Mad Titan with massive armies seeking the Infinity Stones at the beginning of IW?

For that matter, why didn’t Doctor Strange trap Thanos in a time loop like he did with Dormammu? Without the Time Stone, Thanos couldn’t escape, so why didn’t that come into play?

Also, what about Doctor Strange’s portal creating sling rings? If he had an issue with Tony Stark or Peter Parker being on the space ship, why not sling them back to Earth (or do they only work on Earth)?

For that matter, why not cut off Thanos’ hand with the Gauntlet USING these portals once they have him pinned? Could Thanos control his hand even as it was severed from his body?

Where the fcuk did the whole Wanda/Vision relationship bloom from, when they were on very opposite sides in Civil War, and Vision contributed to keeping her under house arrest? Where did romance even pop up there?

The Infinity Stones are supposed to be indestructible, as outlined in both GOTG and Thor TDW - how is it then that Wanda can destroy one now? Was it weakened by Shuri’s removal process (which was never aimed at destroying the Stone, only separating it from Vision without killing him)?

Vision was willing to sacrifice himself to destroy the Stone in his head and keep Thanos from winning, yet Steve goes ‘We don’t trade lives’, even when that wouldn’t be his decision to make - it’s Vision’s and he’s willing. Then they go to Wakanda to have the stone removed, and potentially hundreds of soldiers die bc that’s where Thanos’ armies landed down. They all knew that Thanos could track Vision (given that Steve and Natasha come to rescue him from the Black Hand at that subway station), so why risk the lives of thousands in Wakanda on the chance that he survives having it removed, only to have to destroy him anyways AFTER gods know how many have already died?

How was the Black Hand powerful enough to kill/maim/capture a host of Asgardians (who have been proven to have much higher durablity in regards to injuries in general) along with Thor, Loki, Heimdall, Hulk, and presumably Valkyrie, all of whom (save Hulk), have literal CENTURIES of fighting experience under their belts - and yet struggle and lose to mildly superpowered humans with far less durability to injuries than Asgardians (who live on average for 5000 years at a time, and have accelerated healing, as seen in both Avengers Assemble and the Agents of SHIELD tv series, which does share a level of canon to the main MCU)?

How could Thor withstand the full blast of a DYING STAR and be up again by holding his axe summoning the Bifrost’s power to heal him (????), yet not be capable of breaking out of Ebony Maw’s iron bars holding him in place in the first ten minutes of the movie?

How did Thor know exactly where to beam in via his Bifrost-wielding axe to Wakanda? Did the axe come with a GPS on finding ‘big ass battles’ to join in, or can it track Infinity Stones? If he stopped somewhere else to find out where to go, where did he go to and who told him? The Avengers didn’t exactly publicize the Infinity Stones or Thanos’ arrival, or leave too many people behind that Thor could easily touch base with.

For that matter, Thor arrived on Midgard before Thanos - with his Bifrost-powered axe, why not go to Titan where the rest of the Guardians are? He’s already with Rocket and Groot, so being able to track them down should be relatively simple to do on their end - why not meet up with them again? Why go to Midgard when he could have gone to face off against Thanos BEFORE HE GOT ALL 6 STONES?!? In fact, wouldn’t it make MORE sense to meet up with the rest of the Guardians than Midgard? They know about Thanos, they planned AFTER MEETING THOR to retrieve the Reality Stone - why wouldn’t Thor go back to them on this one?

And that’s just off the top of my head. Go looking in any Infinity War Critical tag, and you will find a thousand more.

If you mean 3 for 3 in terms of profit, definitely. Their upcoming movie outright crashed ticket ordering webpages for hours on end, to the point that to order tickets online, you had to wait your turn. As far as strong writing though? I would argue against that, based off of everything listed above and then some.

Fans on all sides have issues with pretty much every character’s portrayals, actions, and reactions, along with how the plot ultimately progressed. Steve Stans, Tony Stans, Thor Stans, Loki Stans, T’Challa Stans, Scarlet Witch Stans, Guardian Stans, Spider-Stans, Strange Stans, Hulk Stans - a lot of people looked at this film and found it lacking for all of these characters and their arcs, portrayals, their inconsistent capabilities after literally 20 films showing us everything they can do.

So while the Russos have done well financially for the MCU (and admittedly, made Civil War much less of a mess than it ever was in the comics - which is saying something about how absolutely fucked up the comics were), in terms of delivering satisfying conclusions for these characters, they’ve been found lacking again and again. Their idea of groundbreaking character work is to destroy or take away everything they love in absolutes, or to kill off characters to fuel Emotional Pain.

Thor didn’t have to lose everything to have an arc - neither did the Guardians. And while death will inevitably be a part of any Infinity War story, it’s extremely telling that the only deaths that left an impact are two of three that were NOT a result of being dusted - the ones we Know can’t be reversed so easily: Gamora and Loki. Characters that have suffered endlessly and received no happy ending with the people they cherish, after having lost so much already. The only characters dusted that people feel viscerally upset about that I’ve seen was Groot and Shuri, and the latter was only revealed recently in the Twitter campaign posters (and is also complete bullshit to pull on the audience - "randomly” kill off half the world, my ass, you killed off how many people in Wakanda and then some?!? No).

No one else’s death has left as much an impact in a story where half the world dies - and when the primary ending of your tragedy, having been built up to over a goddamn decade of films, leaves mostly a ‘meh’ feeling? You have failed to make people care, and failed as storytellers.

#infinity war #captain america civil war #russos #infinity war critical #plush rants #some more i guess #but not as angrily #long ass post #mcu #mcu critical #plush vents #venting #i have Many Feelings about these films #and while i somewhat enjoy civil war #it had no actual understanding of a lot of issues with both sides of it #and failed to make the best use of their characters as a whole #are there good elements? yes #they do very well with their action scenes a la framing and choreography #and some of their humor is done pretty well too #but as a whole? i'm more often disappointed #i do recognize they have a very difficult task juggling these characters #but with the resources and teams they have access to #they could do so much better here #remember they were the ones to push for a 'sympathetic thanos villain' move #anakinskydaddy

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6505-blog1 · 6 years

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The Greatest Rock/Metal Albums of the 21st Century.

21st century marks the most diverse decade for rock and metal continuation. Absorbing, if not radiated by the long progenitors from Led Zeppelin who cranked up their amps and Black Sabbath that turn it out murky and sinister grim, to the dazzling theatrical persona of KISS and Motley Crue, to the new level heavy metal confronter of Judas Priest and Iron Maiden, to the head crusher of Motorhead and Metallica, to the destructo maniac of Slayer and Kreator, to the prog menu offerer of King Crimson and Tool, and finally aligned to have some peculiar layers and brooding tendency of Korn. We have come a long way. Yet our engine keeps raging.

I have cumulated the finest, the most influential, and the most prominent albums released in the new millenium by the descendents that took their predecessors to a whole different level, sustain the genre, and move myriads of people to mosh.

In a particular order:

10. Avenged Sevenfold - City of Evil (Warner Bros, 2005).

Rolling Stones magazine has named the sonically-punk with the flames of Iron Maiden, City of Evil on the last number of their 100 Greatest Album of All Time list. That should be a fair consideration since the extravagants like Beast and the Harlot, Bat Country, and Seize the Day altogether with the rest of the setlist ultimately transced the whole level and the destiny of the band as a leading force of eliticians in not so distant future. The 11 tracks have also successfully resurrected the triumph of classic guitar virtuosso portrait demonstrated on 80's as the talisman, Synyster Gates embarked over tons of appealing riffages and dueling solos which was buried after Nirvana and grunge breaktrough on the early 90's. Veteran and Ozzy Osbourne/Black Label Society guitarist, Zakk Wylde acknowledged him as a "Torchbearer" for arguably giving a birth and cultivating the guitar culture to the next generation.

9. Behemoth - The Satanist (Nuclear Blast, 2014).

The tenth album of Polish most profound extreme metal giant after Adam "Nergal"s battle with leukemia. Unlike the speed and precision exhibited over prior releases, the coagulated dense and horified cultish doom are found intensely throughout the setlist as to explicit the heretic messages. The result is astonishing and stronger than ever. More to add, The Satanist is pure, cathartic, flawlessly emotional, carefully-savage, and conquering by its complexity of repertoire within vivid and cinematical gradation as multi-dimensional tracks Messe Noire, In the Absence ov Light, Ora Pro Nobis Lucifer, and the leadoff Blow Your Trumpets Gabriel ravage in none but diabolical fervor. This album expansive flair has comprehensively unfolded the darkest caverns and creates the new standard of underground craftmanship.

8. Bring Me the Horizon - Sempiternal (RCA/Epitaph, 2013).

I wouldn't believe that i need to make Sempiternal in the cut. Who would have guessed? But i will beat every negation towards it. It is the album that eventually transforms Bring Me the Horizon from bunch of hipsters to one of the most important unit in the 21st century modern rock landscape. A year and a half after the release, Oliver Sykes and co. took over the world attention of rocking Wembley Arena, the same monumental venue where Queen — one of the biggest rock band in the history — was there doing the same story. It was approximately 12.000 attendees which made Sykes stated: "So this is our biggest show ever". The soaring Can You Feel My Heart, the furious The House of Wolves, the euphoric Shadow Moses, and the melodic of Sleepwalking are undeniably the new testament of rock music.

7. Lamb of God - Ashes of the Wake (Epic, 2004).

Count how many metal bands on the planet started after invented Laid to Rest or Now You've Got Something to Die For! It was countless. Lamb of God has became the crowned icon of "New Wave American Heavy Metal" and one of the most distinctive band in the scene. Their ferocious riffs, blistering drum works, lyrical contents, sound, even how to sing like Randy Blythe are largely imitated and seem to be the ideal menifesto of modern metal anatomy with obviously Ashes of the Wake as the highest pedestal. It contains tremendous chaos of 11 front-to-back blazing tracks immensely portrayed after Mark Morton - Willie Adler's virtuosity and of course, Chris Adler's voraciousity. Implying both abundance and how well they grasp the roots that will less likely be outnumbered.

6. Mastodon - Leviathan (Relapse, 2004).

We are now talking (and unravelling) the true genius minds of Atlanta-based extraordinary quartet. The newborn Metallica, Mastodon — the group that always exceed anyone's expectation — has seamlessly ranged their pinaccle from sludge to prog to avant-garde to even folk with staggering exponents of highly sophisticated masterpiece. With any fruition that comes in, the sheer Leviathan is believed as the opener tap. Written after Herman Merville's 1851 novel entitled "Moby Dick", the 46-minutes concept album is nothing but endless breathtaking experience of capturing bizarre Ode to the sea soundtrack. Blood and Thunder, I Am Ahab, and Aqua Dementia are torrent of forceful yet fascinating guttural power chords with Brann Dailor's tracherous drum tempo reflecting the theme while Iron Tusk sets sail upon muscular stoner riff and Naked Burn for menacing-tactical intro and flaunted visceral jarring chorus are hulking the imagery of the beast. Until the epic Hearts Alive with a glimpse of Metallica's The Call of Ktulu patiently reigns and all the greatness rendered.

5. Evanescence - Fallen (Wind-up, 2003).

The album that made Evanescence — a small town band from Arkansas — a megastar in the blink of an eye. It was the second semester of 2003 where the breakthrough hit single, Bring Me to Life played million times on the radio around the globe (and MTV as well) picturing the female face lead singer and her gleaming voice, Amy Lee who started the band with the co-founder guitarist, Ben Moody (though the relationship didn't survive and separation happened in the midst of suporting Fallen tour). The fame that nowhere expected begun when the terrific duo met on a camp and cliche of having the same musical taste brought them to finally sign the major label Wind-up and dominated the world stages in a brief. Fallen with the added values of enchanting piano, symphonical strings livery, and haunting soundscape that most nu-metal groups didn't have at that time effortlessly stood-out and arised in comparison to even Linkin Park. Other songs served like the down-tuned goth Going Under and the everlasting ballad My Immortal are only legitimating their popularity.

4. Ghost - Prequelle (Loma Vista, 2018).

In our nearly five decades of heavy music, such names as Black Sabbath, Pink Floyd, Van Halen with their fantastic works and spirits have became a catalyst that will be remembered greatly in the faraway future for causing an enourmous impact to our community. Those that have bloomed and paved the way many artists to follow. And if there is a chance for this millenium bands to extend the list, Ghost will be the first to step up the grace.

This year, their most recent release Prequelle has been nominated for The Best Rock Album and its single Rats for Best Rock Song of 61st Grammy. An award that should be familiar since they have been winning it two times with Infestissumam (2013) — their second major label album — as The Best Hard Rock/Metal Album and Cirice — the single taken from previous album Meliora (2015) — as Best Metal Performance. A peak of a decade existence for one superior man behind the wheel, Tobias Forge. Appear himself as a satanic pope, Papa Emeritus I, II, III, Zero, and now with the newest fully renowned ascencion clergy Cardinal Copia has completely shaped the band's identity. But the latest Prequelle has more than to be attained to an award. Forge's admiration to film makes no surprise if any substance on the record is prone to get visualized and draw medieval realms so alive and real. He could blend joyous disco with scattered shock rock backbone for Dance Macabre, provide brilliant exotic pop-esque instrumental opus for Miasma, and close all the novelty and intellegiousness by a soothing grand finale of Life Eternal. That is the last strike.

3. Greenday - American Idiot (Reprise, 2004).

With the overwhelmed mainstream-breaking punk rock hit single American Idiot, it was an album (a concept album, for specific) everyone knew which handfully restored a big disappointment both sales and critical of their previous release. Taking the power back after four years gap with anti-Bush vitriol narration over long and merged tracks was everything we could expect from an ambition. Performing sarkastic American-post 9/11 political singable outcry and dragging down to emotionally-related suburban decline on Holiday/Boulevard of Broken Dreams, followed by californian sunset accoustic staccato and straighforward revv Give Me Novacaine/She's A Rebel, a love story of Whatsername where a street punk main actor St. Jimmy fell and how it all ended on Homecoming.

The grandiose worths 16 millions selling CD is the anthem of this generation where a generation ago pridefully have The Clash with the classic London Calling.

2. Slipknot - Iowa (Roadrunner, 2001).

The most brutal and confrontational album of 21st century nothing to this day can bear. That is the deal. A remorseless turmoil just from the first second of welcoming to the house of pain intro, (515) to the last 15 minutes epilogue of magnificent unrelenting drama title track, Iowa. Please recognize the insolent hate mantra "Here we go again motherfuckers" as Corey Taylor opens up and rips off anything with hammer to the face misanthropic followed track, People = Shit that seems a vulgar warning to extend the torture of their 1999 debut phenomenal self titled album. But things got tenfold. They were all damaged animals, making it excuriatingly worst instead, and wanted any living to hear them. That they fuck what trend you live up on bludgeoning bestial Heretic Anthem, that they are adamant bastards you can't bleach their darkness out on atmospherical assault New Abortion, that killing is their primal instinct on grinding jaw-breaker scorn Disasterpieces, that they are fucking obsolete machines on the scorching psychosis Everything Ends. There lies Neurosis-ian dressed Gently and never eschew Grammy nominated singles, Left Behind and My Plague.

All the violent rampage should be addressed to Ross Robinson (producer) for being able to wrap up the devastating times the band encountered in the studio and that was how its ruthless resonated the world where many people are pissed-off to everything. An absolute impossible album to be re-recorded due to its hell of organic material. Yet apart of any malevolence, Iowa is sadly, a gift to liberate your heart and soul.

Honourable mentions:

System of a Down - Toxicity (American/Columbia, 2001).

Converge - Jane Doe (Equal Vision, 2001).

My Chemical Romance - The Black Parade (Reprise, 2006).

1. Linkin Park - Hybrid Theory (Warner Bros, 2000).

The world seriously gives us no chance to break. After Lemmy, Bowie, now we have lost the most beautiful voice that represents our generation.

May rest in peace and honour, Chester Bennington.

We miss you everyday, and we do care if someone whose time runs out is you.

The album that took nu-metal to a whole different level forever and highly contributed to shape the sound that outbursted the 21st century. For two decades, Linkin Park has became the most iconic group on the planet. Breeding the bands like Bring Me the Horizon, Asking Alexandria, and Bullet For My Valentine (with their recent 2018 album, Gravity).

Hybrid Theory (which was the actual name of the band before settling to Linkin Park) is the sublime fusion of heavy metal, alternative rock, hip-hop, pop, and electronica desired only to make a lifetime change. It is truly no derivative. Yet recalling back, it was multiple rejections of label after label before it took off with Don Gillmore (previously worked with Eve 6, Lit, Pearl Jam) to produce the album and pushed the band excessively. It was the part that would not have regretted where all they saw afterwards and going on was all miracle. 28 millions copy sold should be a very serious sensastion everyone must have a seat to talk about. A rock n roll revival after Guns N' Roses's Appetite For Destruction (1987) so to speak. With angst to fuel, Hybrid Theory yielded the catchy single opener One Step Closer, the drug abuse easer Crawling, the unhinged paranoia Papercut, and the most well-known last single sung by anyone In the End. Not to mention its cohesive supplementaries A Place For My Head, Runaway, and My December that blur the foursome due to their equivalent prowess. Admit it, Linkin Park and Hybrid Theory are the gateway to rock and heavy metal empire.

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traincat · 6 years

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While talking about mcu spider-man I said that I didn’t like how they infantilized him and named a few other changes I disliked (I wasn’t bashing him just saying I was dissatisfied), she said, “but that’s how he was in the comics.” I didn’t want to come off like a jerk by correcting her and it wasn’t that important so I just moved on lol. Do you talk about comics irl and, if so, how do you generally respond to people who have firm opinions about comics they haven’t read without being shitty.

I’ve had the Homecoming discussion a little irl. It’s a very different dynamic talking about it one on one, in a lot of ways more uncomfortable than talking about it online, even if the conversation is civil on both sides. Usually when I’m talking about comics with people irl they’re people who also know me online, too, so we’re generally aware of each other’s opinions in that regard.

Here’s the thing: it’s very hard to convince someone who has firm opinions about something they haven’t read if they’re not receptive to the idea that they might be wrong, which can, you know, be generally hard for us as humans. Short of tying your friend to a chair and showing her a slideshow of all your favorite Peter Parker moments (not recommended, legally), it can be very difficult. It sounds like you want to get your point across as politely and non-confrontationally as possible; is it possible for you to recommend or loan her some comics you particularly like, or that you think are a good example of 616 Peter’s personality? I personally recommend Kraven’s Last Hunt: it’s atmospheric and intense, the Peter voice is great, and it’s a very self-contained story. The Death of Jean DeWolff is also good – it’s a murder mystery, and if your friend likes Daredevil, he plays an important part in it, so that could be an extra hook. If your friend is open to reading some comics, then afterwards you can sit down and be like “I like x and y about Peter in the comics, and I felt it was lacking from the MCU,” etc, and then your friend might have a better idea of what you’re talking about. Alternatively, if your friend doesn’t want to read comics, if you can politely but firmly say, “But I have read the comics, and I disagree with that statement,” that’s an option too.

I’ve said this before, but is very, very easy to feel like you know all about Spider-Man comics before you read them. This is true of a lot of comics, but especially Spider-Man. I mean, we’re inundated with his image. A lot of people generally feel like they know him without reading the comics, because he’s Spider-Man! He’s a cultural icon! Yadda yadda Uncle Ben, yadda yadda he’s young, yadda yadda jokes. Your friend has repeatedly been told this is what Peter’s like, and, besides the fact that you’re her friend and she should value your input and opinion, she has little reason to believe otherwise, because like I mentioned in a different post, there are a lot of people out there – popular people, whose opinions are widely circulated – who speak about Spider-Man with a lot of authority while simultaneously making it clear to anybody who has read Spider-Man that they either don’t know what they’re talking about or are being willfully ignorant of the facts for whatever reason. It’s why it’s very important to me personally that I cite comics by issue number and that I provide as much context as I can, usually in the form of panels. I don’t know your friend, but I know the trend of infantilizing Spider-Man in fandom, and in her defense it is very widespread, very concrete, and very easy to fall into. Ten years ago it wasn’t nearly as bad and I still fell into it before I started reading Spider-Man. (I’m not saying you have to read everything, or even anything, to talk about a character in a fannish space, but if you’re going to label yourself an expert on the comics specifically and present yourself as an authority, you should like, probably know that he was married for decades, or that there is a cloth version of the black suit, or when Venom debuted, just to name some examples I’ve seen.)

I’m going to give two examples of how people ignore context and how that leads to the infantilization of Peter due to a genuine lack of familiarity, using two different sets of panels I’ve seen used in actual posts promoting the idea that this is what Peter is really like in the comics. They might be useful if you try and talk to your friend about it again; I’ve tried to break down the way information gets twisted around, and how we can avoid it. More under the cut, because it got long.

1) Ignoring context:

Amazing Spider-Man v3 (2014) #2. So in this scene, which takes place shortly after Peter has gotten his body back from Doc Ock’s bodysnatching extravaganza in Superior Spider-Man, he shows up at the Avengers tower with cookies, saying he brought some for everyone. The implication then, if you look at these panels on their lonesome, which is how I recently saw them presented in a tweet I may or may not have quotetweeted with the truth, is that he baked cookies for the Avengers. The tweet attached to these panels was about how the MCU’s version of Peter is clearly just like the comics, because he does stuff like this. What a nice boy. (I don’t remember anyone baking anything in Homecoming, sidenote.)

Let’s tackle the first half of that problem, if you actually read the issue, which is that he did not bake the cookies.

Anna Maria Marconi, who was deceived by Doc Ock into thinking she was in a relationship with the real Peter Parker, baked the cookies. She thinks better when she’s cooking. (As for the fact that Peter ended up bringing the cookies – aside from the fact that I don’t think Slott in the best Spider-Man writer in the world, to say the least, this is a man who was a high school teacher, and a well-liked one. He knows enough about bringing some for the whole class.)

Now, let’s tackle the second part, which is that almost immediately after Peter shows up with the cookies Anna Maria made, he finds out that Captain America kept (government secret) information pertaining to one of his closest friends from him. So he hits him in the face.

Which is pretty standard operating procedure for Mr. Machismo Issues. The tweet I saw, which had a not insignificant amount of retweets and likes, did not give context. It did not say that Anna Maria baked the cookies, and not Peter. It did not mention that in the same scene, Peter punches Captain America in the face over information that, honestly, Steve was not at liberty to discuss with him, being that it involved classified government information, and that Peter felt entitled to because it involved someone Peter loves dearly. It didn’t even give an issue number so that people who were intrigued by the content, however irresponsibly I would suggest it was presented, could go and look up the issue for their own enjoyment. It posted a series of panels out of context and said, “and that’s why the MCU’s version of Peter is just like the one in the comics.” And that’s a problem.

“You know you’re not wearing the armor right now, right?” vs “I’m nothing without this suit.” (Amazing Spider-Man #522) If you prefer one character over the other, that’s your prerogative, and I mean that sincerely. But MCU Spider-Man and 616 Spider-Man are very different characters. It’s understandable that people who want content for one might not enjoy content built around the other, and that goes in both directions.

By denying context, it is very easy to build the narrative that you want. It’s something I’m very aware of when I post panels and meta. And maybe the person who posted that tweet only had those panels – maybe someone gave that to them, without context, or they simply saw it posted elsewhere on its own, and they were drawing conclusions based on the evidence they were given. But that in itself is a problem, too: when people are denied context, they form it however they can.

2) Jumping to conclusions:

Amazing Spider-Man v2 #52. Oh boy, this scene. This scene is easy to misinterpret, because unlike the example I gave above, it needs a lot more context than just two other pages. I saw a general Spider-Man blog post this once, which would not have been my call, but hey, everyone gets to post what they want, and that’s why this website looks like it does. (badumpsh) Understandably, because Peter is portrayed as uncomfortable by this sexy stewardess’ advances, and because the common perception of Spider-Man is as a young teenager, someone replied, “Smart boy! He’s only 16.” That person was commenting with the best of intentions, based around the knowledge they possessed at the time, and complicated by the fact that this period of Amazing Spider-Man uses lower case letters, a lettering trait commonly used in the Ultimate universe, where Peter in fact is 15. So if you’re not familiar with the comic, the scene becomes that this woman is acting predatory towards an underaged boy. This is why I personally would not have posted it by itself, because it is very easy to misread the situation.

What’s actually going on here is that Peter, who is in his mid-to-late 20s, who has been married to Mary Jane for years, who had a child with her (that child died), is uncomfortable with this woman’s advances for two reasons: one, she is being paid to make those advances. Peter is at this time in canon working for a mob boss and being paid quite handsomely to defend him from a radioactive zombie hulk monster, and doing so under the logic that he would defend the man anyway so he might as well get paid for it. (He would later use the money for charitable causes.) The mob boss is flying Peter out on his private plane, and he is essentially pimping this woman out to him as a bonus perk. It’s understandable why Peter would turn her down firmly. The second reason is that, after a long separation, he has only just gotten back together with Mary Jane, and he’s trying to behave as best as he can because he wants to stay together with Mary Jane. The joke is predicated on the reader’s knowledge of that, along with their understanding that in comics Peter Parker is, how shall we say, an avid appreciator of the female form.

(Spectacular Spider-Man #162)

(Amazing Spider-Man #606)

(Amazing Spider-Man #357)

(Spider-Man Unlimited #21)

(Spectacular Spider-Man Annual #5)

(Amazing Spider-Man #519)

(Peter Parker v2 #19)

Yes, that’s a tasteful full length nude poster of his wife he’s got there in his room. But the point is, if you don’t read comics, you have no way of knowing this. You only know what people who are widely recirculated say about Spider-Man, and many of the widely circulated opinions are from people who don’t read comics. And that’s frustrating to me, and I don’t know what to do about it other than talk about it, and talk about the comics, and make the issue numbers and information as accessible to people as I can, because I love this character, and I love how weird and complicated and individual and angry and loving he is, and I want to see him represented more. Because the infantilization of Spider-Man didn’t start with the MCU. Fandom is more visible than it’s ever been, and fandom created this characterization first. I saw it years before Marvel Studios acquired the rights back. The MCU only capitalized on what they saw people claiming Spider-Man should be all along. But it’s not who Peter is in the comics when he is written his best, which is responsible, mature, incredibly complicated, frequently serious, and extremely individual.

I hope you can have a good conversation with your friend about it, anon.

#peter parker #*replies #long post/#traincat talks comics #traincat talks homecoming #(barely but if anyone blacklists it etc)

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whispered-into-the-void · 2 years

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spoilers wrt the current Donny Cates Hulk series

I'm sick and tired of the "What if the Hulk had a Hulk?" takes.

for context; Cates has introduced a new "Hulk's Hulk" called Titan, who is apparently 30 feet tall (roughly King Kong height, but OG Kong rather than Monsterverse/Skull Island; also Megatron height), and he has some weird lightning/energy powers and a rocky exterior. in theory, it's an interesting character; it's also Fucking Stupid.

if you're thinking, "Haven't we already had a Hulk's Hulk?" we have; the 2014 AXIS event saw a lot of "weird" moments, one of which being that the Hulk, upon being ignored by his fellow Avengers (who were arguing heavily), got sad and transformed into Kluh, "The Hulk's Hulk." like Titan, this was portrayed as a more "evil" hulk, as well as stronger. specifically, Kluh was supposed to be stronger, and basically psychopathic, whereas Titan seems to just be animalistic (for now; we'll see how that develops).

I'll admit, I had my concerns about Cates' run from the beginning. the Immortal Hulk was a look into Banner and his Hulks, and ended with something of a new "status quo," with the establishment of different "norms" around Banner, Hulk transformations, and the different personas. meanwhile, Cates' Venom run saw the introduction of new lore that retconned established information from across the Marvel universe, all to set up a new Big Bad; there were a lot of complaints to be had about the King In Black, and this isn't the point to bring them all up, but it changed so much of what had been established previously.

when Cates' Hulk run opened on Banner trying to suppress the Hulk persona to control the Hulk's body, it basically confirmed that everything that happened during The Immortal Hulk - all the progress that had been made - was lost. Banner is arrogant again, the Hulk is a brute again, and they're back to only having the two of them. it's frustrating, because there are so many options and dynamics set up previously that will now just be put aside, potentially forever. the last run saw Joe Fixit, in a human (Banner's) body, acting as a "protector" to the child-like or "Savage" Hulk; that's a relationship I'd love to see explored in a full book. it saw the Green Scar and (now-dead) Devil Hulk recast as their own protector-like entities, and I'd love to see how the remaining personas had to cope with the loss of the oldest and most defensive alter. beyond that, we have antagonists who could be explored in this format; Kluh could, presumably, resurface, alongside the Doc Green persona (heavily hinted to be the proto-Maestro), and even Titan, assuming that it isn't going to become some kind of new King In Green.

but no, we're getting another book seeing Banner trying to use and exploit Hulk, seeing him as just a tool or weapon, instead of exploring the interplay of his different personas as they just try to survive. the Immortal Hulk showed us what can happen when you allow Banner's disparate minds to interact and work together. Let us see these "evil" characters interact with the others, fight for control, and have to switch out. make them play by the rules. and, for the love of god, stop making "Hulk's Hulk." I mean, there's another "Hulk Squared" that I didn't even cover here; I'm gonna make a separate post literally just listing them, to see if I can get a number for how many are just "Hulk Squared" or "Hulk body with Banner Brain."

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jeongincore · 7 years

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Shit i really liked and kinda didn’t like about Ragnarok

I recently saw ragnarok and became so rejuvenated that i brought my marvel blog back but i wanted to seriously talk about like things that i liked and really didn’t just to get shit out there.

Things i really liked (like so much that i am obsessed)

-Thor’s new hair cut/outfit, i think its actually super suitable. Gives that sort of cool ass warrior refugee look. Plus, Chris Hemsworth is beautiful.

-The humor, oh god it was hilarious, i’ve never laughed so genuinely and so much in my life and it made the movie so charming and relatable. It was also such a departure from The Dark World and the first Thor, which dealt with so much emotional baggage for not only just Thor, but for Loki, who basically suffered throughout both movies.

-Hulk being an actual toddler/Bruce Banner being so fucked up and anxious because WHEN DID HE GET ON AN ALIEN PLANET.

-”You’ve been on other planets before i assume” “Yeah, one!” “well now it’s two”

-Valkyrie. Her entire everything gave me so much to love and adore. Tessa Thompson has stole my heart yet again.

-TAIKA WAITITI AS KORG WAS ACTUALLY SO FUNNY

-The little tiny glimpses of Loki and Thor’s childhood, aka the snake story, get help. It really showed how much time Loki and Thor had spent together, which i assume is a lot because age in Asgardian years work differently probably? Like imagine that, Loki and Thor spending time together and being inseparable for 100 years. It showed that they were always close despite loki feeling different or alienated, which explains why its so hard for Loki to just leave thor for dead.

-”You’ll always be the god of mischief, but you can be so much more” See that shit destroyed me. Thor acknowledges that Loki is not like him. He’s a trickster, manipulative, and selfish. But he also acknowledges that Loki is so much more than his tricks and lies, which shows so much character growth in Thor, who sees loki as more than just an asgardian prince that was raised the exact same way opposite of Thor, but as his own fucking person.

-Thor actually not being stupid and falling for Loki’s tricks, aka his magic projections of himself/his petty, stupid betrayals. Tom mentioned that Thor was evolving and that Loki was finally starting to realize that he’s the only one not growing. Scenes like the betrayal scene and the snake scene, although meant to be hilarious, point out that Thor isn’t that idiot that just was too trusting of his brother, he sees through Loki’s tricks, he’s seen them for years, and it really shows that Loki’s getting predictable with his fake deaths and betrayals, which might hint at him changing?

-IT FIXED THE INCONSISTENCIES. The main reason i didn’t like Dark world, though i did see it as amazing for its ability to mix the emotional darkness between Loki and Thor along with the humor throughout the movie, was because it pointed Loki out to be the type of cold blooded monster that would murder his own father. I mean I’m no Loki apologist, i love the kid but he’s killed, he’s manipulated, he’s hurt everyone around him, but i doubt he could ever kill Odin, no matter how much of a shitty father he is. Also low-key hated the whole “Loki if you betray me, ill kill you” Thor bullshit. We all know thor wouldn’t be able to do that, he still hopes Loki is his brother.

-AGAIN, THE SNAKE SCENE WAS SO FUNNY.

-”I thought the world of you Loki.” Ouch.

-Hulk and Val’s bromance.

-The entire Valkyrie v. Hela scene. It was so beautiful and ethereal i actually nutted.

-LOKI DIDN’T NEED TO COME BACK. HE DIDN’T NEED TO GO BACK TO THE SHIP WITH THOR. HE DIDN’T NEED TO GO BACK TO ASGARD. HE COULD HAVE NOT. BUT HE DID. BECAUSE SOMEWHERE IN THERE UNDER THE SELFISHNESS MAYBE HE CARES.

-Loki’s face when odin called him his son.

-Loki’s face when Hela told him to kneel.

-Loki refusing to let Thor go back to Asgard. “Are you serious? you can’t be thinking of going back there, that’s madness!” is that? Loki cARING?

-Loki’s character development.

-thor in a jean jacket and hoodie in new york.

-Thor spilling beer everywhere.

-Loki letting Thor take the orgy ship.

-Jeff Goldblum. Thats it.

-LOKIS FACE WITH THOR AND ODIN ON THE ROOF OF THE CASTLE I SCREmed AFTER ALL LOKI DID HE WAS STILL PUT THERE AS A PRINCE OF ASGARD BYE.

-”Hello father” “OH SHIT”

-The entire play. Loki’s rule as a benevolent god/king in which, before everyone feared him for a dictatorship militaristic form of ruling he could have, but in reality he just like ate grapes and watched plays.

-Thor wanting to be a Valkyrie. The crowned prince of asgard, wanting to be an elite team of woman warriors.

-VAL IS GAY AND IN TESSA THOMPSONS WORDS, HAD A GIRLFRIEND THAT SACRIFICED HERSELF TO SAVE HER.

-Val kicking Loki’s ass.

-THE RETURN OF THE DOUBLE BLADES OUT OF NOWHERE.

-Loki in a suit.

-HEIMDALL I LOVEJWIFHTGE.

-”I thought you didn’t want to talk about it” “heres the thing”

-”Hello!” “Hi” *blasts everyone in room with giant laser guns*

-”What are you? Thor, god of hammers?”

-IMMIGRANT SONG.

-”i swear i left him right here” “where? on the street? Or in that nursing home thats being torn down?”

“I’m not a witch” “Why do you dress like one then?”

-Loki rolling his eyes when thor is approached by fans.

-Loki calling stephen strange a shitty sorcerer and going at him with stabby hands.

-Confirmation of loki’s love of stabbing.

-Confirmation that Loki is a snake, and also Thor’s favorite snake.

-Loki reciting Thor’s prayer to odin with him mY SON.

-The avengers parallel. “He’s my brother!” “adopted.”

-”mbLERG ITS ME”

-”AGH LOKI!”

-’DIRECT ME TO WHO’S ASS I HAVE TO KICK”

-”Where? the devil’s anus?”

-Bruce fighting evil with fireworks. Good job sweetie.

-Bruce flopping like a fish on the bifrost.

-Thor and his sparkles.

-Lightning eyes.

-Odin finALLY DYING. THANK GOD.

-*Loki on a death trip* ‘this is a terrible idea”

-Loki somehow reciting a spell to bring surtur back. what a weirdo. how did he know that.

-LOKI COMING BACK.

-im here.

-Loki

-Brodinson.

-Thor and Bruce’s bromance.

-Jane not being there. I mean it makes sense she dumped him, he left her for two years chasing down infinity stones and constantly almost dying while she had no way of contacting him because Thor’s ass didn’t know how to use fucking email. Also i just really honestly never liked her character to begin with, i mean sure i love that Jane is a strong, smart woman but tbh i just wanted to Fast forward every time she was on screen.

-The cute death wolf.

-”THATS HOW IT FEELS!” “sorry i just really like the sport”

-THOR ACTUALLY BEING PORTRAYED AS LESS OF A JERK WITH CACTUSES SHOVED UP HIS RECTUM AND MORE LIKE THE SWEET, CHARMING, CHARISMATIC AND SLIGHTLY ARROGANT BUT MEANS WELL MAN HE IS.

-Val being there as a cool as member of the team rather than just the love interest of Thor. Protect her at all cost even though she probs doesn’t even need it.

-”I’VE BEEN FALLING FOR THIRTY MINUTES”

-Stan Lee’s cameo as the dude who cut Thor’s hair. Thank you for doing all of us a giant favor. Please do the same to Loki.

-loki beating someone up with his horn hat.

-Loki twirling his horn hat.

-Loki being such a self serving, extra asshole that he came from the fucking fog screaming “YOUR SAVIOR HAS ARRIVED”

-Bruce asking where tony was and then complaining about his tight crotch pants.

-LOKI’S COSTUME CHANGE GOD I HATED THE OLD ONES BLESS UP.

-Loki’s costume being mainly blue, black, and gold :-)))))))

-Loki being 100% done with everything that happens.

-Val knocking Loki out when he makes her relive her trauma why do people ship this you go honey that was a dick move

-Thor throwing various things at Loki to make sure he’s not a mirage.

-he’s a friend from work, something a kid from make a wish that met chris suggested, being in the film and all of the trailers. I hope that made that kid smile.

-”In return, i wish to be granted safe passage through the anus”

-LOKI FINALLY ACCEPTING THAT HE DIDN’T WANT THE THRONE WITHOUT A FAMILY. THAT HE’D RATHER WATCH HIS BROTHER TAKE IT AND STILL HAVE A BROTHER THAN HAVE A THRONE WITH NO ONE TO SHARE IT WITH.

-LOKI SHOWING UP ON SCREEN DURING THOR’S CORONATION.

-Loki being genuinely worried about and double checking if Thor really wants to bring him back to earth after what he did kill me honestly that would probably hurt less.

-Loki’s face when thor said that going their separate ways was what Loki always wanted bc in reality that is the opposite go back.

-Hela not being Loki’s daughter because 1) it proves that ya’ll should stop hoping that a comic soap opera about rich petty alien boys with daddy issues would be anything like classic norse mythology, and 2) when the fuck and how the fuck and why the fuck

-Loki suggesting that he and Thor both rule over Sakaar together lmao ouch.

-Loki just being really cute and quirky.

-Thor being so fucking amazed by Val all the time.

-”You’re late.”

-”I saw you coming” “course you did.”

-THE GUNS NAMED DES AND TROY I WANTED TO FUCKING DIE.

What i didn’t like much;

-Hela. I loved her character, but honestly here is where i think there might’ve been some failure despite how much i loved that movie. She seemed so out of place as a villain, and i feel like the whole related shit tried to mimic Guardians vol. 2, but honestly the fact that Thor didn’t care much about her made her feel so out of place. But i did like some parts, like how she was so disappointed about not being remembered or what her existence and disappointment did to how loki was raised.

-Dr. Strange? Ok that was weird. It makes sense and it was funny to see him but to be honest i wasn’t into it.

-tHE SCENE WITH VAL AND A GIRL BEING CUT. WHYWHYWHY

-tbh was not fond of frost master, don’t hate me.

-Loki possibly taking the tesseract????? And hinting that he might turn evil again??? don’t do this to me marvel.

-loki possibly being turned into the quirky sidekick of his brother. Loki is Thor’s equal, not his annoying little brother/wacky sidekick. I didn’t get that vibe often, but sometimes i did honestly.

-RIP thor’s hammer.

-ODIN BEING A PIECE OF SHIT YET AGAIN.

-Hela’s entrance. it was so quick and like out of place i was like what wait, Loki and thor didn’t even have time to prepare or even mourn.

-the comedy. It was its best and worst part of the movie. Sometimes it was tasteful. Other times it was too much. Thor and Loki didn’t even get to mourn for their dad who tbh was an asshole but still their dad before there was a annoying joke about kneeling. It took away from the story sometimes.

-the lack of hugging between thor and loki.

-The way they glossed over the warriors three’s death like they weren’t Thor’s closest friends and the only ones there for him when Odin tried to banish Thor to earth :-))))) I mean after all that shit he went through I’m pretty fucking sure it probably hasn’t caught up to him but ya bitch still pissed.

-The way, Thor, who basically admitted that Loki actually meant the world to him and was the only family he had left, didn’t ask where he was after asgard exploded? Like tbh i get it, he trusts Loki, his brothers capable and strong and most of all really fucking smart, but i’d still be like :-) the fuck is Loki. I think this is a directing error though rather than like the characters fucking up but i was freaking out, i mean asgard was literally pebbles and everyone was out BUT my son.

-No sif, i mean i get it Jaime Alexander was busy but like y'all could’ve explained smh.

-Loki not getting a hair cut. When will his emo phase end.

-Not getting that one flashback to 80′s asgard with mullets and emo loki.

Overall it was pretty fucking cool, one of the best movies of the trilogy. I fell in love with the marvel cinematic universe all over again. But it wasn’t perfect.

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imaginemedreamingstuff · 7 years

Text

Special Agent - Special Love || Daniel Howell

A/N: this is a little bit unusual but I think it’s really intresting so intresting even that I’m considering to write more parts but only if you want that! this was again requested, big thank you for that!

Word Count: 1.9K

POV: Reader

MASTERLIST // PART TWO // PART THREE // PART FOUR

“Agent Wolf, we need you to work together with Special Agent XY” The grand boss and organiser of our team explained to my dark haired colleague, speaking with a deep and powerful voice.

“Why can’t I do it on my own?” Dan protested, visibly repelled by the idea of working with me.

“This task requires two people, if you can’t do that we will find an agent who will.” Our boss said sternly as he looked at him.

Howell and I had worked together before briefly in the past, but that was years ago when I had just started to work for the MI6.

Lets us just say that we didn’t get on very brilliantly and therefore also didn’t form the greatest team. We had one big mission during that time. We had to storm a building along with 10 other agents. Since I was a newbie Dan’s main job was to look after me, but I ended up saving his life by shooting a guy that stormed towards him from behind. Agent Wolf, the greatest man the MI6 could offer, was saved by a young woman, who was just a trainee. We barely spoke ever since, exchanged a few cold glances whenever we saw each other and had a few disputes during some briefings.

This was the first time that we had been teamed up after that incident. I had quickly gained a lot of approval and skill and without planning to I was suddenly the first person ever to become Special Agent in only three years.

“Your mission requires special outfits.” Our boss explained, making the two of us wonder what kind of extraordinary job we possibly could have been assigned to do.

When our equipment specialist walked into the room both of our mouth did indeed hang open in surprise. They were carrying elegant evening attire, a fancy but classic black suit and bow tie for Howell and a tight but long red dress for me.

“We smuggled you into the biggest event of the year, it’s a gala in the Royal Hall of London. Every influential person is going to be there, including our target Steven Hawkman. He is suspected to be a great threat to not only our whole country but also to other countries all over Europe.”

Dan and I sucked in every piece of information we were told, forgetting about the fancy clothing thing.

“You are going to go there as Mr and Mrs Goldsworthy, a young, married couple who has just made their first billion with their IT firm and who is also in direct line to the British throne.” Our boss kept explaining all the details we had to know in order to be authentic.

I shot Dan an awkward glance as soon as we were told that we are supposed to portray a couple. Howell faked an expression of disgust at the mention of it. I just shook my head in annoyance.

“During the Gala, there will be countless of times when Hawkman is not going to be in his special lounge. I want you to sneak in there and get us his phone.”

We both nodded to signal that we had understood, our faces full of determination.

“Now agents, you need to get dressed, our special team will also do your hair and makeup.”

“You’re gonna need a lot of makeup for her.” Dan joked mockingly, making me roll my eyes and hold back a remark on how childish he sounded.

“Can you do something about his terrible hair, it looks like a bird’s nest rather than a haircut?” I asked our styling team to tease him and judging by his facial expression it worked.

The tips of his ears had gotten red in anger but he didn’t have enough time for a mean comeback since we were both pulled in separate rooms in order to get ready for our mission.

When I walked out of my “dressing room” Dan was already waiting for me. I could see his eyes widen as soon he saw me.

“Like what you see?” I asked him, with a light smirk on my face. The red dress fit almost like a second skin and hugged all of my curves perfectly.

“N-no” he answered and swallowed hard. Howell tried to look at me derogatorily, but his red cheeks were prominent and everybody could see it.

He stared at the ground to avoid making eye contact or getting too distracted by my looks.

I had to admit he was pretty handsome as well. I would be lying if I tried to tell you that Dan isn’t attractive, I could never tell him that of course.

‘His hair is just so hot. Oh god, I want to run my fingers through it’ ‘Wait Y/N- what the hell are you thinking about!’ I wanted to slap myself for having thoughts like this.

“Agent Wolf, Special Agent XY, are you ready?”

We both had to gather ourselves again before we shared a quick glance and nodded.

“And remember, you are supposed the be a couple so act like one!” Our boss reminded us harshly, making my heart skip a beat and my palms sweaty.

We were driven to the gala in a fancy black limousine, throughout the whole ride we didn’t even speak once. Instead we avoided each other’s eyes but stole secret glances at the other from time to time.

‘You need to concentrate on the mission’ I scolded myself as I caught myself staring at how broad Dan’s shoulders looked in his black suit.

Once the vehicle came to a halt I reached for the door, but Dan’s stern look made me stop in the middle of my tracks. He got out of the limousine himself and walked over to my side of the car to open the door for me. As he held out his hand for me to take I could hear him curse under his breath.

“Married to you. What a sick nightmare.” He mumbled but slung an arm around my back at the same time.

I could feel the warmth of his body incredibly close to mine as we walked into the building together.

“Mr and Mrs Goldsworthy” I told the security guard while Dan showed him our invitations to the event.

The man, who could have been hulks little brother, smiled at us before he let us in. Once we were inside I was overwhelmed by everything that was happening.

There was a huge dance floor, an orchestra and a band, a buffet that was approximately a kilometre long and waiters carrying champagne and prosecco.

A gigantic chandelier gave the whole hall a silvery sheen. There were hundreds of people sitting on round tables, standing or dancing. Each and every one of the guests showed off breath taking evening attire. It was a colourful whirl of ballgowns and black tuxedos.

I took Dan’s arm as we took a look around.

“Champagne for you?” A waiter asked us politely.

I smiled and nodded so Dan handed me a glass.

“Thank you, Darling.” I said earning a smile that almost looked painful from my co-worker.

We chatted a little bit while drinking the alcoholic beverage to not seem suspicious.

“All of this old geezers are staring at you.” Dan hissed almost angrily.

I turned my head to see that at least three very old but also very rich men kept gawking at my ass, making me almost groan in annoyance.

Dan seemed to be visibly disturbed by it as well and wrapped his arm tighter around me to protect me from their eager eyes.

“When did Agent Wolf become a gentleman?” I asked him and sounded almost like I was flirting, which I hadn’t intended. It just happened.

“Uh-“ He stuttered at first as his face grew a light shade of pink, but then he seemed to realise that we were supposed to hate each other. “I didn’t. It’s just part of the mission.” He grunted, making me roll my eyes.

As the first dance of the evening was announced we realized that this could be the perfect time to start our plan.

“Ready?” Dan whispered.

“Ready” I answered and we quickly but not suspiciously fast made our way up the stairs the box of Hawkman. Only very special guests were given theatre boxes at galas like this, luckily for us he barely used his.

We sneaked into the small room that was more like a balcony and immediately spotted his phone on the tiny table.

It was almost too easy.

Suddenly we heard footsteps coming closer. My heart started to beat immensely fast but my thoughts were still clear.

Once we realized that the person was indeed heading towards us we knew there was no escaping.

In the blink of an eye I went over all of the options we had left in my head and came to the conclusion that there was only one.

“Kiss me!” I whisper-yelled at Dan.

He stared at me as if I had completely lost my mind, while his eyes were almost falling out of their sockets.

“Wh-hat?” he stuttered in utter disbelief and his expression spoke of pure confusion.

“I said k- oh screw this.” I cussed as I threw my body onto his and connected our lips.

I couldn’t help but feel my heart jump in excitement and satisfaction as if it was shouting ‘Finally!’.

His lips were soft and pressed up against mine awkwardly at first, but as soon as he had recovered from his initial shock he started moving them against mine skilfully.

Somehow my hands found their way to his hair.

“Hands on my bum” I whispered in between kisses and although he still looked surprised he did what I told him.

One of his big hands traced down my back slowly until he reached my butt and squeezed it lightly. The other hands kept wandering over my cleavage, making me the surprised one.

We kept making out and at one point, I tell you, we had completely forgotten about the fact that we were agents of the MI6 and in the middle of an important mission.

When the door opened and revealed an armed security guard we almost didn’t hear him at first.

“What are doing- oh”

We immediately jumped apart from each other and acted shocked and embarrassed.

“Oh my god, we are so sorry.” I apologized and acted like I was hiding behind my ‘husband’ in shame.

Dan told the security guy our names and showed him our invites. Mr and Mrs Goldsworthy seemed to be two were influential and people because the man didn’t ask us any more questions.

“I’m sorry that I interrupted you, Mr and Mrs Goldsworthy. This is just the lounge of Mr Hawkman and it’s my job to keep an eye on it.

“That makes sense. We didn’t know that. Since it was empty we assumed it didn’t belong to anyone. It won’t happen again, Sir.” Dan explained before we said our goodbyes and he walked me out of the building.

“That was – “ I started.

“Hot” Dan breathed, his cheeks still red.

“Close” I finished the sentence at the same time as Dan.

He cleared his throat awkwardly “Close, yeah exactly what I said”.

“So do you got it?” Agent Wolf then asked me, returning to his old cold self.

“I became special agent for a reason.” I just said and showed him the phone in my purse...

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