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frostypoppy · 4 months

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opinions on blossutch,,, thoughts, headcanons, or maybe you hate it now idk.

This is going to be a long post because there are so, so, so, so many thoughts I have on Blossutch. I think about them, at least, once a day, to keep me sane.

Blossom has always been my favorite puff. There's something about A-Type characters and me, we just jam together. Butch, on the other hand, grew on me so freaking much when writing and expanding on what his character can be. He's a crackle of energy and lives in the moment and is kind of all over the place, but he just wants to make whatever he's doing fun for himself and those around him. The dude is observant and better at understanding people than you may think.

This is kind of where I like to find their balance. Butch brings a needed spontaneous nature into Blossom's by-the-books life. She helps him want to get organized, or at least, motivates him to figure shit out and have a direction to whatever he pleases. She thinks analytically, he thinks with emotions; they see both sides of things and learn together. Blossom, let's face it, is a perfectionist, it's her fatal flaw, but Butch is a person who's okay with failing and trying again. Seeing that from the person she admires dearly, eases her fears and it's what allows her to feel the most comfortable with Butch. Blossom is the one person who takes Butch seriously when no one has, and he's pretty sure she's the first person to ever turn to him for advice or acknowledge his intellect. He's loud and obnoxious and outgoing, he's absolutely ridiculous to be with, but he's also the person Blossom has laughed the hardest with and why she's more willing to put herself out there and open up to people. And with Blossom, Butch finds the beauty of what can be said in the silence.

As far as head canons:

Growing up, Blossom didn't think much of Butch other than twitchy ruff, and for Butch, she was girl Brick. They don't really interact beyond puff/ruff feuding and school bump-ins, until later in high school when they're assigned as lab partners and from it, a budding friendship into best friends that doesn't take a turn until their mid-twenties.

Blossom is the big spoon. Always.

They're the kind of couple whose favorite thing is just to be with each other. They could be waiting at the DMV for hours, or suffering from food poisoning, but if it's together, it was the best day. This also makes them the worst couple to invite places. Because if you invite one, you best believe the other will be there, and they kind of will do their own thing. This isn't a diss or intentional, it's just they have the most fun when with each other.

Shouldn't be surprising, but they are THAT couple when it comes to PDA. Butch is a touchy, puppy dog kind of a guy, and Blossom has come to understand and accept his need for physical touch. Besides, he's hot and she's allowed to make out with him whenever she so pleases.

They are terrible sleepers. Butch has too much energy to get more than two-three hours if he's lucky. Blossom, either overworks herself or her mind overthinks. This leads to them having a lot of late-night hang-outs/dates at the start of things, and when they do move in together, they find it a bit easier to sleep until an acceptable five to six hours.

They have the worst taste in media consumption. Their watchlist consists solely of whatever is ranked low on IMDb, and probably the reason that one shitty show you swear no one watches got renewed. The same goes for Blossom's choice in non-academic reading. Any of those terrible romantasy books you've heard about, she's torn through it with highlighted passages and colored sticky tabs on all the cringy dialogue/plot holes/questionable smut. She rants to Butch about them often, and sometimes, he'll quote something to see if she notices (primarily the spicy stuff). 97% of the time she catches it, and 3% of the time she's embarrassed a line worked on her.

Butch buys her flowers every other week just before the last bouquet is about to die.

Butch is and will always be ACAB, and he is strongly against any superhero organization. He gets Blossom and her sisters are genuinely trying to make a difference and help people, but superheroing sometimes involves collaborating with cops. Unless there's an attempt of assault or murder, Butch won't get involved even if it's happening right in front of them. This tends to be their biggest disagreement because Blossom understands his personal grievances and she agrees to a point with him, but she does wish he'd helped out when a robbery or monster attack derailed their date night.

Before they even got together, they were relationship people. Blossom's past ones were known to have at least a two-year minimum, and Butch had a hard time entertaining anything if he wasn't committed due to his quickness of boredom.

Blossom's humor is saltine-cracker dry and her jokes are often taken as rude because not a lot of people realize she's attempting a joke, they don't even think she's capable of telling one. But ask Butch, and he'll tell anyone willing to listen she's the funniest person he's ever met.

While I'm a color-crack shipper first, I do love other ships (brickercup, the blues, bubbles and/or boomer having a queer relationship with a normie), and I like to think of Blossutch as the constant. There has to be a time of wacky hijanks that lead to them and the others breaking into the multiverse later in life, and while their siblings are disgusted/perplexed by whoever is paired differently with them, Blossom and Butch are together in every alternative timeline they are shown.

Okay, okay. I think that's more than enough. Before I go, I wanted to say thank you for this ask. I've been putting off a Blossutch project I have planned for a summer release (hence why I think about them daily) and this definitely got the ol' brain working in the right direction. Hope this was something worth reading, lol.

#blossutch #powerpuff girls #can you tell how much I love them?#blossom utonium #butch jojo #ppg blossom

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thunderheadfred · 5 years

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Why I Love Spike But Also Hate Him A Lot: an unsolicited essay by me

OR: Why I personally relate to blood-sucking poseurs OR: dude what if I ever got high enough to rewrite season six?

(under a cut because this goes on for a while. also discourse frightens me)

Okay. I’m like twenty years late. But I’ve been rewatching BtVS s5 during my latest depression spiral and wandering against my better judgement into the Spuffy fic verse. Disclaimer that my grasp of the series’ larger canon is meh at best, and frankly I don’t care.

As usual, I have too many thoughts.

Spike is, hands-down, my favorite character on this show. Maybe one of my favorite characters, period. He’s just... good to watch. But listen. Secret poet or no, he was never an inherently good person. Meek and shy does not equal Buffy’s equal. I squirm at this apparently massively popular canon interpretation of his human character as some kind of adorable perfect cherub, as if William the Dipshit Poet is somehow preferable to Spike the Complicated Murderer or like, we should just automatically assume that cute shy white people who lived in 1880 London are default Lawful Good when in fact... ahahaa haaaa YIKES COLONIALISM?

I actually think the reason Spike is “more human” than other vampires (in the weird, contradictory Buffy soul-canon) is exactly because William was not Pure, he was a Pratt. Sweet? I guess. Loves his mum? He’s got that going for him. But that guy?? Is not Buffy’s long-lost true love, not a weepy ghost to be shoved into Spike’s Billy Idol cosplay bod at the last minute. In a show that, at its best, tries to give us a protagonist who fundamentally believes we must always make the choice to keep living mindfully, accountably, and with purpose... we get a love interest who is... Spike. A guy who, until the very end of his arc, acts as though he has zero fucking free will. Even though, through a combo of deliciously fun and inconsistent writing, Spike is apparently the only vampire in the Buffyverse who does.

I’ll get to that but first, let’s accept for a minute that Free Will + Buffy = good, and people who roll over and say “I had no choice” + Buffy = Mr. Pointy. This counts for her friends too, (*coughWILLOWcough*) and it’s one of the reasons I love the show despite its many textual problems. As a character piece, it’s great. People fail to take accountability for their behavior all the time. It’s an extraordinarily human flaw, one that rarely equals automatically evil, and I love that it can bite characters on the side of good, too. But that’s not the point of this, oh shit!

Okay. William, cute glasses aside, has no free will. He didn’t even sign up for the vampire thing, he just wanted to get felt up by a pretty girl who saw him cry and didn’t laugh at him. At every point, he was an immature, weak-willed, naive dreamer type who wanted nothing more than to be validated by his shitty friends. The vampirism made him a killer, yeah. But it also inadvertently gave a cowardly nobody a lot of good qualities. Now he’s a weirdly observant, relentlessly optimistic, fun-loving, sexually secure Cool Guy who gave up poetry for punk... but still tries too hard to impress his shitty friends. Basically, being a vampire made this guy a happier-but-still-undeniably-crappy version of himself, especially... considering all the murder.

But now, let us transparently and metaphorically link cartoonish Vamp!Murder to addiction. Because wow, death in BtVS is either a manipulative authorial gut-punch or a dumb joke, and either way, it’s almost impossible to take seriously in this show, so let’s not.

How to make a remorseless bloodsucking fiend out of of “boo hoo I’m a bad writer and I wish some jerks thought I was cool?” Ha ha you can’t! Turns out you basically recreate my early twenties but with more murder. Spike is a socially-dependent ADHD art school reject on a century-long avoidance bender. He’s a codependent, moon-eyed boyfriend who learns how to aggressively project not caring while caring Far Too Much, all while clinging to aesthetic as an identity. ALTHOUGH let us not deny that he 100% enjoyed all the killing - wtf so much killing - because for vampires, killing equals pleasure, and charming, “happy” addicts always justify the comforts of their vices. He talks the talk cuz fitting in is his whole deal, but he’s not actually in it for chaos and destruction or any high-falutin’ evil reason, or even really for eating delicious ladies but because, in the end, it feels good and the only girlfriend he’s ever had thinks eating people is cool. Even his whole (gorgeous, splendid to watch) episode-long speech about killing two slayers was written more for Buffy’s character arc than his; we don’t really know why he killed the slayers other than like, “Because they had a death wish I guess. Side note: it was fun.”

There wasn’t much legitimately vengeful or hateful stuff in sad little William for demon!Spike to work with, and apparently William’s soul-or-whatever moved about twelve inches over his left shoulder and stayed there, occasionally poking him for the next hundred years. So it should shock no one that he immediately switches sides when a) his girlfriend dumps him, b) his addiction suddenly hurts, and c) it’s time to impress a new friend group.

I get that Spike’s whole soul-getting between s6 and s7 has been interpreted in fanon as a grand romantic sacrifice (ehhhhhhhhhhhh) and I get why that’s tempting, but the show itself bungled that up way bad and I just can’t get behind it. R*pe idiocy aside, making it ultimately all about Buffy just kinda cheapens what could have been a really fucking powerful redemption arc, one that would have led to a far more satisfying love story. Especially from Buffy’s perspective.

Okay listen.

We have a guy who has been playing the “duh, Vampire!” card for a century, pleasure-seeking and self-centered, pandering to various peer groups, murderous or otherwise, a happy addict, impervious to change. So when finally, after a HUNDRED SODDING YEARS of being a soulless, hilarious dick, Spike has consequences shoved into his gray matter by the government, he doesn’t change. At all. He just starts obsessing over another woman, doing what he thinks she wants. A woman he thinks will give him new pleasures, a new, perpetually fine status quo. But this woman is Buffy, whose identity is rock solid even though her life is constantly full of challenge and change and choices. She “rewards” Spike only when he makes willful, selfless decisions. And the rewards aren’t romantic, either. Not early on. Even in canon, she keeps rejecting him over and over again, for crystal clear reasons. Thank god. Because when he accepts that she’ll never have him, but still does the hard stuff anyway, he’s unwittingly starting to change. It’s not just Buffy. Buffy demands real personhood. Independence. Identity. Choice.

Uh oh. She’s gotten to him, then. Though it starts out selfish, he still makes a CHOICE. Quite literally, he takes on the pain of self-improvement - first by embracing the consequences of his chip, later by going on his fancy sparkly soul quest. Buffy is the catalyst, no doubt, because once a poet always a poet and girls are pretty, but Spike’s path to improvement (if not redemption) was already there, laid out nice and neat. His narrative low point, the lightbulb moment that makes him want a soul again, should never have come out of a season of terrible backsliding, culminating in the shower scene we all regret.

It should have been The Gift.

Death isn’t Buffy’s gift. It’s love. And not that simpering, easy kind of love that just says, “there there,” but the hard, truthful love that makes you want to keep getting that goddamn rock from the bottom of the hill. Yes, Spike’s arc should still be about Buffy, it’s Buffy’s show, but it should have been more about the hole she left behind. Not just in Spike but in the world.

What’s left? This latest and greatest group of people who have so far RIGHTLY rejected a demon whose sole motivator seems to be comfort. And maybe when these particular people hit rock bottom, they have enough wisdom to see a monster down in the dark and recognize themselves. Maybe Dawn (whose humanizing effect on Spike has been nearly as important as his obsession with Buffy) shows him that rare, rare thing called Validation. And oh god, he realizes he’s never actually moved beyond trying to sell effulgence to Cecily Whatsherface, that he’s been sitting on his own grave for a hundred years, waiting for someone to coddle and fix him, and now the only woman who might have, the best woman, literally the one girl chosen one above all others... is gone. This would be a good time to die.

Or...

...maybe there is no magic soul cave, maybe he tries to end it and makes the CHOICE not to. Chooses to stay and help, because what else is there? Then BAM! it just slams back into him in a way that hurts like you can’t even believe, because admitting how bad you’ve fucked up is the most painful moment of a lifetime and I’ve lived it and I wish I’d had a hellmouth to jump into, but the Scoobies pull him back, and he takes care of Dawn until life seems to have some meaning again, then Buffy comes out of the earth traumatized and broken and no one is better equipped to help her than a recovering Spike, not because he’s magically her rock but because he’s also learning how to roll his own rock and keep on climbing, because Camus ruined us all for metaphors...

THE END

Anyway. As a recovering addict and toxic person who has been struggling a lot recently... who wants to improve and be able to give more to the people I love, Spike has an arc that just like... cuts me deep, man. Especially because of what should have been.

#I'm also afraid to tag this as anything #haha aaa aa #uh

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omegangrins · 5 years

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Attack the Block - The Hulk Deconstructs the Modern Hero

The full movie:

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Rewatching this movie because of our new love of Jodie Whittaker, and I was reminded of this review from the Hulk. It's strangely worded but takes a refreshing perspective on the idea of a protagonist. This is what he says about John Boyega's character Moses, and heroic characters overall.

My favorite bit is from the end though:

**OKAY NOW FOR WHAT MOST SPECIAL OF ALL: ATTACK THE BLOCK DONE SOMETHING THAT HULK CAN NO REMEMBER A SINGLE OTHER FILM.

IT GOT MOSES RIGHT.

TO CLARIFY, HULK NOT TALKING ABOUT THE COMMANDMENT GUY, BUT INSTEAD THE LEAD CHARACTER OF ATTACK THE BLOCK AND MORE IMPORTANTLY, THE KIND OF CHARACTER HE IS AND WHY IT SO IMPORTANT.

HULK NOTICING THAT SOME FOLKS SORT NOT REALLY GETTING WHAT MAKE MOSES GREAT. THEY CERTAINLY GET THE FEELING AND UNDERCURRENT OF WHAT OCCUR (IT SO WONDERFULLY ENGAGING IT HARD NOT TO), BUT THE COLLECTIVE SUMMARY OF MOSES’ CHARACTER’S JOURNEY SEEM TO BE MORE OF A “HE TAKING RESPONSIBILITY NOW!” KIND OF THING… AND THAT TOTALLY FAIR BECAUSE HULK NOT ENTIRELY SURE IT OBVIOUS:

MOSES IS AND ALWAYS WAS THE KIND OF PERSON WHO WOULD RISK HIS LIFE FOR SOMEONE ELSE. AND IN REAL LIFE, THOSE KIND OF PEOPLE EXTREMELY COMPLICATED.

LET’S GET ONE THING STRAIGHT. MOST SCREENWRITERS HAVE A PRETTY SHITTY CONCEPT OF HOW HEROES WORK.

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1) MOST OF THE TIMES THE AUDIENCE IS TREATED TO AN ENDLESSLY REGURGITATED JOSEPH CAMPBELL VERSION, WITH THE SAME PAINT BY NUMBERS ANSWERING THE CALL BULLSHIT WE SEE TIME AND TIME AGAIN. HULK TOO THOUGHT IT A NOBEL CONCEPT ONCE… IN 8TH GRADE. ANYONE WHO CITES THAT STUFF AS GOOD STORYTELLING HAS TO TAKE SCREENWRITING 102 NOW. YES, IT A HANDY ARCHETYPE AND UNDERCURRENT OF ALL HEROES (EVEN MOSES), BUT SOLE DEPENDENCE ON IT FOR STORYTELLING WILL RENDER ANYTHING YOU TRYING TO DO COMPLETELY ROTE AND POINTLESS. STAY AWAY WRITERS. STAY AWAY.

2) MOST REAL LIFE HEROES ARE ALPHA PERSONALITIES. MOST SCREENWRITERS ARE BETA PERSONALITIES. A.K.A. PEOPLE WHO POSSIBLY SPENT THEIR FORMATIVE YEARS BEING TERRORIZED BY ALPHA PERSONALITIES.

TO COMBAT THIS OBVIOUS PROBLEM HEROES ARE WRITTEN BY BETA PERSONALITES IN SEVERAL WAYS:

A) THE BETA BECOMES THE PASSIVE HERO, WHO MEANT TO REFLECT DECENCY AND EVENTUALLY GET THE GIRL JUST BY BEING DECENT GUY! (HINT: THIS ACTUALLY NOT HOW IT WORKS AND SAID HERO WHO THINK THEY DECENT GUY NOT ACTUALLY A DECENT GUY. JUST UNDERDEVELOPED AND LIKELY WILL TURN INTO BITTER ASSHOLE ONCE THEY ENCOUNTER THE TERRIFYING EQUALITY OF ADULTHOOD). OH AND ALL THE WHILE THEY TERRORIZED BY IDIOTIC ALPHA PERSONALITY VILLAINS. THEY WILL LIKELY BE RICH OR FOOTBALL PLAYERS. HULK JUST DESCRIBED 99% OF 80S MOVIES. MOVING ON…

B) THE BETA IMAGINES A HERO NOT BASED ON HEROIC QUALITIES BUT INSTEAD JUST THE ANTITHESIS OF ALL THEIR WEAKNESSES. PERFECT EXAMPLE? JAMES BOND. THE IMPOSSIBLY SUAVE GUN-TOTING LADY-FUCKER EXTRAORDINAIRE WHO NEARLY NEED TO SLAP A GIRLS BUT TO SHOW HER WHAT’S WHAT… HULK KNOW LOTS ABOUT BOND. AND NEEDLESS TO SAY THERE PROBLEMS WITH THE CONCEPT.

C) IGNORE ALL THIS AND CREATE YOUR HERO CENTERED AROUND A LARGER SOCIAL CONCEPT. IT CAN BE ANYTHING FROM FEMALE EMPOWERMENT TO CIVIL RIGHTS TO WHATEVER. POPULAR IN COMICS, DISNEY FILMS, BLAXPLOITATION AND OTHER STUFF.

AND D) THE MUCH MORE INTERESTING AND SUCCESSFUL RECENT SOLUTION HAS BEEN THE ADVANCEMENT OF THE MODERN ANTI-HERO. AT BEST THEY REPRESENT THE HUMANE AND UN-PERFECT QUALITY OF THE SEMI-HEROIC FIGURE THE AUDIENCE INVESTS IN… AT WORST THEY REFLECT THE BETA WRITER’S OWN SHORTCOMINGS, BUT WITH BETTER LINES THEY WISH THEY SAID IN REAL LIFE AND A FORCED AUDIENCE TO ROOT FOR THEM… HULK PRETTY SURE WOODY ALLEN IS THE ONLY ONE WHO EVER DID THIS WELL (BTW, HULK KNOW A LOT ABOUT ALPHA AND BETA PERSONALITIES. WHY? CAUSE HULK THE FUCKING HULK. HE BEEN DEALING WITH THIS BANNER/BIG GREEN GUY SHIT FOR LIFE. SO HULK GOT IT DOWN).

BUT WOULDN’T YOU KNOW IT? THERE’S ACTUALLY THAT RARE ANSWER E)… ONE SO IMPOSSIBLY RARE HULK CAN ONLY ACCOUNT THE HANDFUL OF TIMES HULK SEEN IT.

THE ACTUAL, REAL HERO.

WHAT WOULD IT TAKE FOR YOU TO PICK UP A GUN, SWORD, WHATEVER THE HELL, AND RUN OUT IN FRONT TO DEFEND YOUR FRIENDS? TO LEGITIMATELY SACRIFICE YOURSELF.

… THINK ABOUT IT.

IT SOMETHING PEOPLE SEE TIME AND TIME AGAIN IN MOVIES AND YET IT SOMETHING WE NEVER REALLY QUESTION WITH OUR OWN LIVES. WHAT WOULD IT TAKE FOR YOU TO DEFEND YOUR FRIENDS? THE MOST OBVIOUS EXAMPLE IS THE MILITARY. GRANTED, THE MILITARY AND THE REASONS FOR JOINING OFTEN PAINTED IN ROSES. IN BRUTAL HONESTY, LOTS JOIN BECAUSE THEY WANT TO KILL STUFF, IT WAS FORCED ON THEM, OR MOST OFTEN THEY JUST NEED THE MONEY. BUT LOST IN THESE CYNICAL REASONS ARE THE THOUSANDS OF MEN AND WOMEN FROM ALL WALKS OF LIFE WHO JOIN TO CONTRIBUTE TO SOMETHING BIGGER THAN THEMSELVES. IT’S HEADY, HONORABLE STUFF. SOMETHING THAT THE POSH, LIBERALLY MINDED WORLD OF HULK AND EVERYONE ELSE FORGET. SACRIFICE = REAL. BUT IF OFTEN TAKE A FLAWED, INTERESTING, AND DEEPLY WOUNDED KIND OF PERSONALITY TO GET TO THAT PLACE OF SACRIFICE. IT RARELY A WHOLLY NOBLE PURSUIT.

AND HULK HATE TO BREAK IT TO YOU, BUT YOU ALSO MEET A LOT OF THESE HEROIC PERSONALITIES IN INNER CITIES.

AND OFTEN THEY IN GANGS.

THIS ALL SOUND VERY COUNTER INTUITIVE HULK KNOW, BUT HEAR HULK OUT. THERE ARE INNER CITY ALPHA MALES BUILT UP AROUND POMP, CIRCUMSTANCE, AND POSTURE (THIS ALPHA MALE WELL REPRESENTED BY THE LEAD, BAD DRUG CHARACTER IN THE FILM). THE OTHER ALPHA MALE IS EQUALLY COMPLICATED. BUT THEIR PERCEIVED STRENGTH COMES NOT FROM FEAR, BUT SURVIVAL INSTINCT. THAT BECAUSE THIS KIND OF ALPHA MALE OFTEN BROKEN BY HOME LIFE. THEY ARE OFTEN ABUSED. AS SUCH, THEY WILL LIKELY BULLY OUTSIDERS. THEY WILL OFTEN GET INTO SELLING DRUGS. THEY DON’T HAVE THE SOCIAL TOOLS FOR EDUCATION AND SCHOOL. THEIR PAIN OFTEN BROUGHT ON THEMSELVES AS MUCH AS IT IS DEALT TO THEM. IT CYCLICAL.

BUT IN THAT NEED TO SURVIVE, THEY WILL BE WHOLLY TERRITORIAL. THEY WILL DEFEND THEIR FRIENDS TO THE DEATH. AND THEY WILL DO SO IN THE MOST HEROIC TERMS THAT TOTALLY INCONCEIVABLE TO YOU AND HULK. THEY WILL DEAL WITH ADULT CONCEPTS OF RESPONSIBILITY OFTEN BY AGE 8 OR 9. THEY TAKE THE WEAKER UNDER THEIR WING. THEY WILL POSSESS A STRENGTH AND A WILL SO BEYOND WHAT WE HAVE AS TO ONLY BE DESCRIBED AS SOLDIERLY; ONE THAT IS OFTEN UNCHECKED, UNREGULATED, AND UNCARED FOR AS TO RENDER THE VERY CONCEPT OF SUCH A PERSON TO BE TERRIFYING.

THEY ARE THE HEROIC ALPHA MALE, JUST NOT WHAT WE ENVISION. THEY ARE THE MOST EXTREME VERSION OF THE SAME PSYCHOLOGY THAT CAUSE SOMEONE TO JOIN THE FIRE DEPARTMENT OR THE ARMY… IT JUST IN THE HAZE OF TRUE, HORRIBLE PEOPLE THAT GET INVOLVED IN THE INNER CITY NIGHTMARE, WE OFTEN HAVE HARD TIME SEEING THE GOOD PEOPLE WHO JUST DOING BAD THINGS.

WHY HULK KNOW ALL THIS SHIT? WHY HULK FEEL SO STRONGLY ABOUT IT? HULK’S FAMILY SPENT THEIR LIFE DEALING WITH IT. IT THE SUBJECT OF MAMA AND PAPA HULK’S LIFE WORK. HULK KNEW DOZENS OF MOSES’ (MOSII?). THEY IN EVERY CITY, ALMOST EVERY GROUP OF FRIENDS LIKE THIS. THEY NOT UNDESERVING OF OUR ATTENTION OR OUR COMPASSION. THEY OFTEN DO ALL KINDS OF WRONG, BUT THEIR PLIGHT FUCKING MATTERS. THEY MAY NOT GIVE A SINGLE SHIT ABOUT YOU, OR I, OR ANYONE WHO TRY TO HELP THEM. BUT THEY WILL MAKE A FAMILY IN THEIR MIND. AND THEY WILL PROTECT IT TO THE DAY THEY DAY. WHICH WILL LIKELY BE AT A VERY YOUNG AGE.

AND HULK SITTING HERE, RACKING BRAIN, TRYING TO THINK OF ANOTHER MOVIE THAT UNDERSTAND THE MOSES’ OF THE WORLD (THERE PROBABLY ONE. IN TELEVISION THERE THE CHARACTER OF MICHAEL FROM THE WIRE… THAT ALL HULK GOT). AND WHY THEY MATTER MORE THAN ANYTHING TO PEOPLE OF THE COMMUNITY. HULK LOOK BACK AT ATTACK THE BLOCK AND IT BRINGS TEARS TO HULK’S EYES. TRULY. IT SOUND IMPOSSIBLY DUMB, BUT HULK SWEAR. IT NOT DUMB. THE MOVIE AND CHARACTER OF MOSES COMPLETELY UNDERSTAND THE WORLD AND PSYCHOLOGY THEY TALKING ABOUT. JOE CORNISH BRILLIANTLY USE THE OUTWARD ALIEN THREAT THEY EXPLORE THE HEART AND STRANGE HEROISM OF THESE CONCEPTS. AND THE YOUNG ACTOR, JOHN BOYEGA SO TOTALLY BRING HIM TO LIFE. HE HAVE THIS AMAZING STOIC SCREEN PRESENCE THAT JUST GRAB YOU.

SO WHY THE STRANGE TITLE ATTACK THE BLOCK? BECAUSE THIS A FILM ABOUT TERRITORY. AND TERRITORY BEST MEANS “HOME” AND “COMMUNITY” IN THIS CASE; BEST EXPLORED THROUGH THAT SINGLE, AMAZING CHARACTER.

HULK SIMPLY CANNOT BELIEVE SOMEONE MADE A MOVIE ABOUT MOSES."

And the final, and best, scene of the movies.

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#attack the block #edagr wright #joe cornish #jodie whittaker #john boyega #nick frost #the hulk #film review #protagonist #deconstruction #nira park #aliens

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