"Here's to the happiest of new years to all my wonderful friends. Let's all raise a cup to ring in the new year. Happy New Year."
Winnie the Pooh: A Very Merry Pooh Year (2002) dir. Jamie Mitchell and Gary Katona
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Something REALLY interesting about this scene
At the beginning of the scene Miles confronts Gwen about the 'small elite strike-team' comment.
Gwen lies and plays it off, saying that most of them are part-time anyway.
IMMEDIATELY after that in the next line dialogue, Hobie confronts Gwen and asks her 'Gwendy, how much have you told him about his place in all this? - Maybe not enough.'
Hobie is expressioning disappointment towards Gwen. He doesn't approve of her lying to Miles, knowing what's gonna happen to him. He doesn't agree with them keeping him in the dark - which is why later in the scene he says
'I haven't gotten a Scooby Doo, mate. But that's what they want.'
He's warning Miles that they're keeping in him the dark, on purpose.
ONCE AGAIN Hobie showing foward thinking and outwardly disapproving of the obviously unfair treatment that Miles is given. He's not angry at Gwen, but he's willing to tell her straight up that she's not doing or telling Miles enough to protect him.
Miles deserved to know Miguel's motives BEFORE meeting him. That's why he pointed it out then.
He's ALWAYS looking out for Miles
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i've been thinking about hobie spiderverse since i came out of the movie theater, about how on a superficial level he acts like every other stereotypically alt character, stealing and instigating and bantering and being chaotic and rebellious and looking Cool™ but on a second look it's so so clear that every single thing he does is motivated by kindness and compassion towards his friends in general and miles in particular, and that's so viscerally truly punk of him
the already famous palm suggestion that makes miles break out of miguel's containment thing. miles initially reads this as condescending but hobie's genuinely trying to help
already he's looking out for miles by trying to keep him away from hq, a place where he knows miles isn't welcome and might be in danger
now, they get to hq and he immediately starts lifting stuff to homebrew a watch for miles, a guy he's known for five minutes (bc you can't convince me he didn't already have a bunch prepped for gwen and the other spider-people he trusts). he even lampshades it with the line above.
he's questioned miles' motives to join the spider society and he knows they're the same as his own: it's literally just to get a watch, to have a means to travel dimentions, to see his friends, to build community. he's already made the decision to grant that ability to miles without subjugating him to the oppressive restrictions and requirements of the spider society. at this point we know he's strongly ideologically opposed to the society and he later in this scene admits he's only there to look out for gwen, just like miles
this one makes me insane. it's a "are you safe at home in your dimension? do you have one? do you need a place to stay?" bc we know he's given one to gwen, who's not safe and does not have nice parents and has been crashing in hobie's dimension for the previous months
and then he tries again to warn miles off the spider society
and when push comes to shove and all the other spider-people are set on stopping miles from going home and changing his timeline he's the only one in miles' corner
btw notice how the palms thing is the first and last thing he says to miles in this film?
anyway. he was in this movie for like 15 minutes tops, showed up exclusively to hype up his friends and protect them by whatever means necessary, adoption papers and illegal interdimensional tech included, and he looked that cool the whole time while doing it. most character ever.
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this is how they got together
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They share one brain cell in the entire spiderverse. Different people, same font.
Trust me guys. This is in the next movie. I was in the writing room. (Lie)
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SPIDERS AHHHHH
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"Unmasked"
I wanna add more but maybe next fan art 👍🏾
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But one is a stranger, a woman she notices while she sits on a bench, gathering herself. It’s a type of woman she has never seen before, because there are no old women in Barbieland. When Barbie looks at her, she finds her beautiful and tells her so. The woman already knows. Suddenly Barbie, the fraught aspirational figure, has beheld someone she might aspire to be, and it is a radiantly content nonagenarian, reading a newspaper on a Los Angeles bench, who knows what she’s worth.
“The idea of a loving God who’s a mother, a grandmother — who looks at you and says, ‘Honey, you’re doing OK’ — is something I feel like I need and I wanted to give to other people,” Gerwig says. When it was suggested that this scene, which Gerwig calls a “transaction of grace,” might be cut for time, she remembers thinking: “If I cut that scene, I don’t know why I’m making this movie. If I don’t have that scene, I don’t know what it is or what I’ve done.”
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Nimona (2023)
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