___excerpt____
Doc: Look, you've gotta nurture friendships. I am the only person you have called all week. That is so sad
- (THUDS)
You're alone
You're a hundred years old.
You have no history, no family...
Bucky: Are you lasshing out at me, Doc? Because that's really unprofessional, you know.
____End excerpt___
This scene!!!
Don't know if someone else already wrote about this...but...
Really? And people are still okay with Steve leaving, with the end of Endgame. This makes what Steve did, so much worse…. I know it’s not Steve’s responsibility to heal Bucky or to be part of his therapy but that piece right there, says everything.
“You’re alone”
Thanks for reminding him. He is alone…. His family is dead, his friend left him, and he has no one. Everyone still sees him as the Soviet Assassin, as the unstable man who killed people in cold blood. The killer. No one sees the Brooklyn boy who followed the scrawny blonde. No one sees the man that was drafted, which was called into a war he didn’t want to do in the first place. No one sees the broken man, the man desperate for some kind of peace. The only person, the only link he had was Steve and he decided to leave him, in a time, the world was still in turmoil, the world was stilly trying to pick up the broken pieces.
“You're a hundred years old.”
He is not only the man out of time, but the man who is trying to figure out who he is. To come to terms with what he has done, what he was made to do.
"You have no history."
He has, he had. He was a man who took care of his family, who took care of Steve, a man who was drafted. He was a good soldier who took care of his men before Steve showed up. He was a man, tied to a table in Azzano, experimented on and turned into something, and someone he had no control over. He had a history that wasn’t fighting and murder.
He also has the history of the Winter Soldier. It’s not a history he wanted or would have chosen. It was one that was forced upon him.
He has a history, but he didn’t choose it.
Then from what we know, this happened a few weeks after Endgame. He made no attempt to contact anyone, and no one attempted to contact him, except Sam. He has 10 numbers… one is Same, one is the doctor. That leaves 8. Who is that 8? Is one of them Steve? Did no one tried to contact him? Not even Steve? He didn’t even try to contact Steve! He ignores Sam….
Eugh… I hate this scene.
123 notes
·
View notes
Chapters: 1/1
Fandom: Glee
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Relationships: Blaine Anderson/Sebastian Smythe
Characters: Sebastian Smythe, Blaine Anderson
Additional Tags: Seblaine Week 2022, day 1: reunion, ...loosely, Alternate Universe - Star Trek Fusion, Voyager AU
Series: Part 1 of Seblaine Week 2022
Summary:
Star Trek Voyager AU.
After a seven year journey, they have finally returned to Earth. Sebastian isn't quite ready to say goodbye to it yet. One last night at Sandrine's leads to a lot of thinking about home, about regret, and of course, about Blaine.
Here he was, in an empty holographic bar at the end of what might have been the best part of his life, feeling empty and tired and bitter, with no idea how his future would turn out, or even begin.
If that didn’t warrant another swig of 300 year old simulated cognac, he didn’t know what did.
“I had a feeling I would find you here.”
For Seblaine Week 2022 @seblaineaffairs
13 notes
·
View notes
Okay, so my experience with Stranger Things is a weird one.
I didn't care when it first came out, started to watch it out of "might as well" in 2020, wasn't interested in it enough to make it past S2, forgot about it outside of going "oh, hey, cool, there's a lesbian in it now, I guess," in S3, got really annoyed when "Running Up That Hill" got popular from it because it was a song I listened to on fucking loop after one of my best friends died in high school and I fully expected its appearance in the show to ignore the whole survivor's guilt theme of the song (and was very happy to learn later that it did the exact opposite of ignoring the lyrics), saw people drawing Eddie, suddenly got a lot more interested, watched just the fourth season like a fucking psychopath because I was seriously only there for Eddie, then got interested enough to start the show over properly, having mostly forgotten what I did watch of the show before.
And let me tell you something from the perspective of someone who started with the complete fourth season, who wasn't there from the start, who wasn't tainted by ship goggles or this internal battle of hope and despair, who wasn't theorizing about what the painting could be or expecting Mike and Will to kiss when Volume 2 happened or rooting for Mike and Eleven's relationship to go down in flames or whatever the fuck. Just someone who went blind into Season 4.
It's really fucking obvious that Will and Mike are gonna be endgame.
Like holy fuck. It's so fucking blatant I don't even know why people are nervous.
No sane fucking person would shoot this scene this way if they wanted the audience to care about El and Mike as a couple. Despite being all blurry in the background, Will's reaction to what's happening here is smackdab in the fucking middle, clearly showing that the important part is what's going through his head here. What he's feeling. It's like the opposite of that scene from Kingdom Hearts II where Sora and Riku reunite and Kairi just fucking vanishes into the aether while it's happening because, despite the fact that she was standing between them when the scene began, she doesn't matter to the scene, so she's just kind of gone when the camera angle changes. Will could have been behind one of their heads, or so far in the distance he blends in with the background, but he's not. He's so obvious that despite being massively blurred out, he's still the first goddamn thing you look at. What, you think that's an accident? You think he's in the middle of this dramatic fucking scene because of a mistake? He basically has a big flashing neon arrow pointing at him with "THIS IS THE POINT" being screamed through a megaphone.
And then this?
They're paired up like they're taking fucking prom pictures. Each one of these pairs is so fucking close to one another and so fucking far from everyone else. It's not, "Oh, they're standing vaguely near each other in a group shot," it's fucking Noah's Ark out here. Again, there's no way to take this as an accident. It's not just a framing issue. If they wanted to make the shot look balanced while still not hiding anyone else behind El, they would have scattered people around much more naturally. Even if they wanted to keep Nancy with Jonathan and Hopper with Joyce, there's so much room on that hill for three people to stand on El's left and three on her right. But they didn't do that. They put Mike and Will together on purpose in the most obvious way possible.
Like I get that coming up with crackpot theories is fun in and of itself and I'm not blaming anyone for having fun. I totally get the appeal of arguing a point and reaching for every stupid little thing to pull into it because it's like a game, okay? I've done that. But if you're trying to actually convince someone (whether it's someone who wants to believe or someone who's pissed at the very idea that Mike and Will could be in love), stay away from blue and yellow lights, stay away from costume design, stay away from the existence of closets in backgrounds. And don't worry about whether Mike's gay or bi when he's in love with Will either way. I'll give you a little tip about persuasion: You're only as strong as your weakest argument. Even if you've got strong stuff in there, too, the person you're trying to convince is going to dismiss anything you say as complete insanity the second you start going on an entire tangent about the shape of a character's fucking pocket.
Sometimes, clothes are just clothes. Sometimes, there's a closet in the background because it helps establish that a character is in a bedroom. Sometimes, blue and yellow are just a couple of colors that look nice together. And sure, it might be set designers and costume designers and cinematographers smirking and winking at the audience from behind the camera. But if the show was just those things, instead of those things in the context of everything else, they wouldn't be saying anything of note.
But this?
This tells a story all on its own. Someone with no context can look at this and automatically assume that each paired person is standing with someone they care about deeply, seeking comfort as they watch some sort of disaster unfold. And yeah, romantic couples usually come in twos, and we live in an amatonormative society, so that's going to be the first association anyone makes seeing a bunch of people paired off.
It's the same reason you look at this
And go, "Oh..."
"Those two are probably a couple."
And I genuinely don't understand how people could have watched S4 Vol. 2 and gotten scared. Because as someone who went in with no investment whatsoever, I just looked at these two--
--and went, "Oh, those two are a couple. Good for them." And I moved on. Shut up about the trees for five seconds and just see the forest for what it is.
Oh, and if you're still nervous? Little thing from a storyteller here: You don't leave a hanging thread like "Will confessed his romantic feelings for Mike by projecting them onto El, but Mike either didn't understand or at least didn't say he understood," without coming back to that later. That's Chekov's gun hanging on the wall, babes. It's gonna fire at some point. If Mike was going to reject Will's feelings, if they weren't relevant, they would have had that discussion in Argyle's van. There'd be no reason to leave you in suspense.
342 notes
·
View notes
Here to remind you how Tony was unfocusing his gaze 'cause of the pain he felt while probably struggling to recognize what was happening around him and who was the person in front of him, but as soon as he heard "it's me, it's Peter" he immediately focused on him.
And while he couldn't find the force to speak, my theory is that he didn't do it also because he didn't know what to say to make the kid stop crying, to make the pain go away.
He knew what to do with Pepper and with Rhodey, their reactions were so part of their characters: Rhodey and Tony didn't need to share a word, they have been friends since ever and they understand each other without the need to talk; Pepper and Tony both smiled at each other, to reassure the other that everything and everyone will be fine.
With Peter? I think Tony not speaking was also in character. He didn't almost speak when Peter was dying, he didn't know what to do. He tried to comfort him when he said "you're alright", but as soon as things got worse he just stood there in shock, without never taking his eyes off him while Peter was crying and begging him to do something.
The same happens here:
In the photos you can't catch it very clearly, but if you watch the complete scene you can see how Tony is not taking his eyes off him and -even when Pepper is there and is trying to take him away- he's trying to calm him down with his eyes, because that's Peter, the kid he lost and that he found five years later just to lose him again. I don't know if I'm the only one, but I almost saw panic in his eyes, it's like he was scared about Peter not being okay and about him not saying a word again. That's why he whispered kid once he wasn't in his gaze anymore, he wanted to see him one last time, to make sure to reassure him like he did with Rhodey and, soon, with Pepper. To make Peter sure that he will be fine even without him.
2K notes
·
View notes