The first Jurassic World, but instead of the awkward hetero storyline and a dead Zara, the film diverges when Zara finds the boys just a little bit sooner, grabs them by the ears and drags them to a secure service corridor. She tells them exactly what they need to do to survive and get back to their parents (“shut the fuck up and do as I say”) and what not to do (“if you run away from me again so help me god I will leave the both of you here and you can find your own way off an island full of escaped dinosaurs”).
It is very firmly established that her primary motivation for staying alive is that she is GETTING MARRIED, and not even a horde of prehistoric monsters can stop her from getting to that goddamned altar. She has paid for the venue and the flowers and the cake has been commissioned by the best pastry chef in the country– she has guests flying in from a dozen countries, including her asshole father who has never left his hometown in his whole life, let alone crossed an ocean, so SHE WILL BE THERE NO MATTER WHAT.
And the kids and the audience assumes that it’s just the typical bride-zilla bullshit of having a fairytale wedding come true and be perfect, but you know what? It works. She and the kids survive.
Meanwhile, the film cuts to scenes of the military trying to scramble a response team. The coast guard will help survivors, but there’s also the question of what to do with the dinosaurs, and they are just itching to nuke the place from orbit, even before they get confirmation that the island has fully evacuated. But there’s a female officer who argues strongly against it, and being the only woman in the room, they and the audience dismiss her as the bleeding heart who can’t see the Bigger Picture. But she pushes for more evacuation teams rather than a strike, and eventually gets it after she offers to lead it herself. But it comes with a time limit and she has X number of hours to get as many people as she can off the island before they take drastic measures. Her strike team ends up being instrumental in protecting the fleeing park guests as they file onto the rescue boats, even if the people still in the interior (Zara, kids, annoying boss and her rando crush on the raptor wrangler) don’t even know they’re there.
But everyone gets off the island, and by the time they’re in the refugee center, the kids are fucking glued to Zara’s side because whatever her motivations, she’s a fucking badass with good instincts who stayed calm under intense pressure and knew the park layout better than the park director herself, and now in their traumatized brains Zara=safety. And then the Bleeding Heart shows up in full uniform, calling Zara’s name.
“ZARA!”
Zara and the kids and everyone in the vicinity all perk up, and Zara’s eyes go wide. “Fiona??”
They lock eyes, and start sprinting towards each other, and collide in a jumble of arms, and smiles and tears. The others stare in shock, and it takes a moment, but when Fiona and Zara share a passionate kiss, they realize that Fiona is Zara’s fiancee, and suddenly it all makes sense.
Only a lesbian who only just won the right to marry (and no guarantee she gets to KEEP that right) would be ‘survive the dinosaur apocalypse’ levels of determined to have a wedding.
One overlooked thing that really sets the Lord of the Rings films apart from other franchises is how earnest they are-
Most movies are so afraid of being “cheesy” that whenever they say something like “friendship is the most powerful force in the world” they quickly undercut it with a joke to show We Don’t Really Believe That! 😉 Even Disney films nowadays have the characters mock their own movie’s tropes (”if you start singing, I’m gonna throw up!”) It’s like winking at the camera: “See, audience? We know this is ridiculous! We’re in on the joke!”
But Lord of the Rings is just 12.5 hours of friendship and love being the most powerful forces in the world, played straight. Characters have conversations about how much their home and family and friends mean to them, how hope is eternal, how there is so much in the world that’s worth living for…. and the film doesn’t apologize for that. There’s no winking at the audience about How Cheesy and Silly All This Is; it’s just. Completely in earnest.
And when Lord of the Rings does “lean on the fourth wall” to talk about storytelling within the film, it’s never to make jokes about How Ridiculous These Storytelling Tropes are (the way most films do)…. but instead to talk about how valuable these stories can be. Like Sam’s Speech at the end of the Two Towers: the greatest stories are ones that give you something to believe in, give you hope, that help you see there are things in a bleak violent world that are worth living for
Evidence that the creators of KP shipped KiGo (amongst other ships)
Constant intimacy when fighting
Kim has a picture of Shego in her locker
Shego could easily kill Kim with her powers that melts through fucking everything but never does
Constantly pinning each other on the ground (a classic unresolved sexual tension ploy used in TV)
Pinning her down in the rain (that expression tho)
The pet names
Shego saving Kim
Amongst other reasons….
So if we are all being rational and totally not gay here, Shego is Kim’s parallel in the show, and it is canon that Shego likes Kim as a friend and appreciates her, which manifested as an older sister figure when her brain waves got switched (another example: what Shego could never say as evil), SO the pairing is incredibly appealing because they canonically have chemistry and can be taken seriously as characters and not complete idiots all the time; plus they often get themselves on moments that we all have seen as classic romance tropes especially spy/action stories, and if we all can have a dose of honesty here, if Shego were male the two would be shipped exponentially more, and their scenes would be romantic (example the one time Shego landed on Ron and the scene was used as a funny innuendo for comedic purposes). I digress.
Also Kim Possible is such a nice show that everyone is just shipped with everyone because why not (its like the Gintama of cartoons).
Also to drown out the chorus of theirs an age difference
1. It’s not that big of a difference
2. FICTIONAL CHARACTERS
3. Shego’s age is unknown
4. FICTIONAL CHARACTERS
5. If that Ezra dude can have sex on TV with a portrayed minor than bite me. Not to mention all the hundred of year old vampire dudes after teens, come on the age is clearly not the issue here.
6. Dr. Drakken is 10 to 20 years older than Shego’s guessed age (vs her and Kim being 5 to 10 years apart) …he’s almost old enough to be her father for God’s sake. There’s an age gap there too.
7. Through out KP the characteristics of each character fluctuates and does not stay at one age and is not really relevant to the plot, most likely due to a lack of importance in the story.
KP is a cool show that is totally fluid with sexuality and so much fun it’s straight and it’s GAY
Let’s not credit just Chris Sanders for this. This happened because they cast actual Hawaiian Actors like Tia Carrere and Jason Scott Lee to play Hawaiian characters, and allowed the actors to have input into writing the characters’ lines.
This sort of authenticity comes from accuracy and authenticity in casting choices. The fact that Chris Sanders as direct/writer facilitated that does not mean he gets credit for the actors’ experience.
This is why diversity and representation in media matters.
Dude as a hawaiian, this is like straight up what my life as a kid was. My mom worked at those fakey luaus full time to pay rent. My mom is someone who is absolutely passionate and proud about being a hawaiian, living and teaching the ways our ancestors lived and taught.
See, we Hawaiians, we live by the way of aloha. And not by the way of “hello” “goodbye”, let me educate you. As Pono Shim, CEO and President of Enterprise Honolulu, the Oahu Economic Development Board, states absolutely perfectly “aloha is to be in the presence of life, to share the essence of one’s being with openness, honesty, and humility. It is a way of being, a way of behaving, a way of life. It is a commitment to accepting others and giving dignity to who they are and what they have to offer.” Aloha is more than hello and goodbye. Think of aloha as an abbreviation.
Akahai: meaning kindness
Lokahi: meaning unity
Olu’Olu’: meaning agreeableness
Ha’aha’a: meaning humility
Ahonui: meaning patience
This is something we all need to live by, seriously, we all should
the dropped sub-plot was that lilo hated tourists, which is why she goes around taking pictures of them like they were attractions instead of people; like how they took photos of locals
similarly there was a deleted scene where she scares tourists off of a beach by sounding a false tsunami siren to watch them run screaming
deeper in the lore that kid thats a prick to her, mertyle, is the daughter of the person who runs the megamart and crushed a lot of other local businesses- when they have to do a hula to tell a story mertyle actually uses it to describe the low prices, where lilo does a hula about a traditional creation myth that was important to her mother. you may notice both lilo and nani are on first name basis with both the coffee shop owner and the fruitseller, there is big disparity between the locals and foreign interest businesses relegating them to just be tourist industry
friendly reminder that lilo & stitch is indisputably the best disney film
I think I have to join in the sentiment that knowing this deep aspect of the movie in culture, I love this movie even more. I love culture, I love history and I love people of different backgrounds that offer such rich experiences.
And you’re right on that; she was perfectly dark. Unfiltered enough to actually address all that anger and hurt squirreled away, mean enough not to care who her feelings hurt.
Although I am gonna argue the godhood and delusions of grandeur, because, like. Comparatively speaking, she is a god, and her grandeur and ability isn’t delusional; she IS ACTUALLY capable of everything she claims. That’s part of what’s so scary about it. She could literally raze the city to the ground. The only difference is she’s flouting that ability now.
But on that same vein of thought, that’s why I say she’s mild. She’s mild for a Kryptonian.
Imagine Astra or Non altered by RedK. Imagine them crackling with power, with a dozen other just-as-powerful Kryptonians, their heads full of thoughts like, “All it would take is one, well-coordinated attack to upset the human’s power structure long enough to seize control.”
They could punch through the ceiling of a global conference and full-on Ghost Ship a room full of world leaders and diplomats with just their heat-vision. They could destroy the companies ruining the environment by just breaking them apart.
And because they’re human-size and can fly faster than the speed of sound, even last-ditch options like nuclear weapons wouldn’t be effective in stopping them. They could just as easily lure war-ready nations like the US into doing half the work for them, just by tricking smart-bombs into following them to their chosen targets.
The only reason Astra and Non didn’t consider those options before is because there are so many humans on Earth that their best option was to force global compliance, but on RedK, and having just lost his wife, Non wouldn’t have freaking cared anymore. “Just kill em all,” would’ve been his go-to.
Now you compare ability to what Kara did. She acted out. Threw a tantrum. Gave in to, and let free, all those selfish, self-serving thoughts that hit all of us in our worst moments, but that’s all they are; selfish moments.
She was forced to be something she’s not for most of her life on earth, so RedKara made sure everyone who looked at her knew she wasn’t like them.
Her softness has lead people to take advantage of her, so RedKara made people afraid to cross her.
Her actions are all backed up by insecurity, more comparable to what you’d seen in kids and people acting out in mourning, in stress, in fear. Not malice. If they were, she would’ve killed Cat. She would’ve killed Alex.
When she wakes up, she has to ask Alex if she killed anyone. Not because she doesn’t remember, but because, if someone had been killed, it would’ve happened as a result of her not paying attention while having her fun; not because she’d willed their death to be so.
And yeah, as a tv show that doesn’t want to put long-lasting consequences on their character in the middle of a story-arc they hadn’t yet concluded, there were restrictions to what they could and could not have her do, but I also argue that a majority of that restriction exists only because of who her character actually is.
For all her darkness, RedKara didn’t cross lines she had the ability (and possibly drive) to do so. Like that unconscious part of your brain that won’t let you bite through someone’s finger, even though you could. She was dialed back. Too good at her core to be truly evil, even then. Angry, yes. Frustrated and loud, vindictive, even, yes. But for all her power, she doesn’t actually use it. Shows it off, but doesn’t wield it.
Even when she was advancing on Alex with her heat vision, there’s not a single part of me that believes she would’ve done it. There was probably a voice telling her to just do it, but she couldn’t. Didn’t want to. Was angry at Alex, but didn’t do anything with it.
When I say she’s mild, I say that because she didn’t have to be. She could’ve done anything she wanted, and she did do whatever she wanted. She just didn’t want evil things.
No one died. No one was hurt except Alex’s broken arm (which RedKara didn’t even know had happened, and thus wasn’t her strict intention [and also probably was only included because Chyler had an injury at the time]).
Before she learns about his secret identity, Lois Lane
thinks Clark Kent is a goddamn mess
She goes to his place to work on a joint article and it
takes her like half an hour to find out that Clark lives in an absolutely
nonfunctional house
She has to change a lightbulb but there are no stools, no
sufficiently high chairs, no way of reaching the ceiling unless you find a way
to climb the walls. “How the hell do you change your bulbs?” she asks. Clark
mutters something about misplacing the footstool and helps her drag the table
from the kitchen to the living room.
Lois watches Clark make lasagna and has to physically
restrain him from pulling the tray out of the oven with his bare hands. “Are
you out of your goddamn MIND?” she yells, scrambling to pull him away on time. “What
are you DOING? WHERE ARE THE OVEN MITTS?” and Clark is just like “Right…..oven
mitts…….. I think I lost them with the uh. footstool” both he and Lois pause
for a moment to engage in a riveting game of Mentally Punch Clark
Lois runs into the bathroom to put on a disguise and yells
out, “Where do you keep your razor?” There’s a gust of wind and Clark comes
back with slightly windswept hair. “I got it!” he says with unwarranted
triumph. “It’s right here. The razor I use.” Lois looks at it and it is CLEARLY
recently purchased and never used and she’s just like. I don’t even care
anymore
For weeks she just assumes Clark is missing some crucial
element in his home and starts stacking her own things all over the place. Lois thinking Clark has no clue how to take care of himself while Clark is Eternally Tormented and has to find ways to keep his identity a secret while living in close quarters, and the slow burn mutual pining roommates AU of my dreams begins
I was rewatching old episodes because I miss Cat Grant and I remembered how much it bothered me that Kara got a job working directly under the CEO and founder of a multi-billion dollar media conglomerate when THIS was her resume.
Anyway here are my thoughts:
First things first Kara has no contact information
No address
No phone number
NOT EVEN AN EMAILLLLLL
How did they set up an interview????
She doesn’t put job descriptions under her past work experiences
Like ffs Kara if you’ve only had 3 jobs at least expand upon your responsibilities!!!
The amount of blank space is honestly giving me anxiety
is the local paper in Midvale really called the Midvale Newspaper
if so, why couldn’t they have come up with something a little snazzier
like the Midvale Gazette
or The Midvale Times
It doesn’t even matter because Kara didn’t even italicize it
Part of her job at Catco was editing copy and she couldn’t even properly edit her own resume smh
who are the Quintons and why does Kara think a future employer will care which random Midvale family she used to babysit for?????
Also while we’re there, I need to point out that there is no need for an apostrophe before the “s” in Quintons
For those counting at home that is now two glaring typos
With that in mind, I’m now questioning Kara’s claim that she has an “Eye for Detail”
Love the lack of a graduation year Kara, keep them guessing
wouldn’t want to overload them with too much info -__-
Also, I’m really skeptical that Cat wouldn’t have a minimum GPA requirement but at this point apparently nothing matters anyway
Honestly, if Kara getting hired after submitting this nonsense doesn’t prove Supercat is real…
What she means: I understand the Chronicles of Narnia was at its heart a fairytale with theological analogies for children. But why did Lewis never address how they had to adapted to life on Earth again. Why does no one talk about how the Pevensies had to grow up with a kingdom of responsibilities on their shoulders, only to return to Earth and be children. Take Lucy, she was youngest and perhaps she adapted more quickly-but she had the memories and mind of a grown woman in an adolescent body. Edmund literally found himself in Narnia, he went from a selfish boy to mature and experienced man. He found a purpose and identity through his experiences to come back as just Edmund, Peter’s younger brother. Did people wonder why the sullen, sour boy came back, carrying himself like a wisened king? Did his mother wonder why he and Peter suddenly got along so well, why they spent so much time together now? And Susan, the girl of logistics and reason came back with a difference in her. She learned how to be a diplomat and ambassador, Susan the Gentle had to live to endure not-so-gentle circumstances. She had the respect she wanted, only to be just another teen girl. And Peter, he entered the manhood and maturity he so wanted. He earned the responsibility and stripes he yearned for. He learned to command armies and conduct the menial tasks demanded of a king to rule a nation. But he came back, appearing to be just anther glory-hungry boy. Not to mention the PTSD they must have struggled with. Especially Edmund. How often did he wake up in a sweat, screaming a sibling or comrade’s name? His parents believe it’s the war, but it’s an entirely different one he has nightmares about. How often did he have trouble with flashbacks and mood swings? And how many times did he and Peter sit over a newspaper or near the radio listening to reports on the troops. How often did they pour over lost battles and debate better strategies. Did their parents ever wonder why they seemed to understand flight war so well? How long was it before they stopped discussing these things in front of people? Why does no one talk about this???
Why am i fucking crying
Why does no one talk about how the Pevensies had to grow up with a
kingdom of responsibilities on their shoulders, only to return to Earth
and be children
It’s not addressed because it’s understood. It was the shared experience of the generation. You are describing coming home from World War One, battle wearied and aged beyond belief, but walking around in the body of a youth. C S Lewis went to the front line of the Somme on his nineteenth birthday and went back to complete uni in 1918 after demob.
Not seen it with this very very pertinent addition before
superhero media is too “apolitical” nowadays. where’s the superhero taking out drones in the Middle East to save lives and protect privacy. where’s the superhero who spends more time fighting cops than supervillains. where’s the superhero showing up to protests to protect protestors. where’s the superhero who fights all the evil capitalists causing water crises and environmental disasters. where’s the superhero who fights the KKK. where’s the superhero who helps real people with real problems instead of fighting aliens and robots all the time.
This. This a billion times. God, I’m so glad someone wrote this. Bless you.
Where’s the superhero that shows up to stop a cop from shooting an unarmed black child? Where’s the hard-nosed Green Arrow-style vigilante who rains terror and vengeance down on the heads of serial rapists who go unpunished due to slut-shaming, and then goes after the university disciplinary board who let it keep happening because their rules were geared more toward protecting the perpetrators than the victims?
Part of what has always made superheroes resonate is that they filled a need in fiction that was not being filled in reality by standing up to the corrupt powers of their day. Captain America fought Hitler. Batman stood up to the mob and a corrupt police force. Oliver Queen fought against the drug trade and underhanded corporate practices and was an outspoken social progressive besides. Superheroes have always been involved with the politics of their time.
Now we have this weird generation of fake geek boys who are often vocally arguing the opposite of what OP said, whinging about how “political agendas” are ruining all the things they love, while completely forgetting that they largely owe the things they love to the brilliant writers and artists who had something important to say and chose to say it through superhero stories (and science fiction as a broader genre, for that matter).
The real kicker is how deeply hypocritical these complaints are, because a large number of these guys are the same ones who support their presumed ownership of this material (as “real fans”) by pointing to how important it was to them when they were getting bullied in school, how much they loved these things before it was “cool” to love them (and before they were cool, by extension).
And it somehow never occurs to them that the very reason these stories were so important to them, so relevant, was because they were powerless kids reading about/watching heroes who were attacking corrupt power structures. It somehow escapes them that there might be people out there who need that kind of boost just as badly as they did, or even more so.
This generation has problems, dudes. It needs heroes just as badly as you did when you were a kid. They may have different backgrounds than you’re used to and fight different monsters, but that doesn’t make them less true to the spirit of storytelling in comics. You wanna know why the MCU is starting to feel flat and rote? Because they’ve tossed out the soul of what made superhero stories so damn good and replaced it with a lot of shiny action sequences.
The truth is, politics aren’t ruining superheroes. Political apathy, poor representation, and whining fanboys are ruining superheroes.
This is why Black Lightnining’s pilot feels so refreshing. Because damn if they don’t tackle police brutality and racial profiling right from the beginning.
Question of Smoke 