pragnacious:

iteribidem:

durendals:

on a textual level, a female character can dress however she wants and shouldn’t be slut-shamed and hated for what she prefers to wear.

on a metatextual level, she might still have been designed with an intention to provide fanservice.

this means that criticising a design, as opposed to a character, is neither misogyny nor slut-shaming. being displeased about the way a character has been designed is not synonymous with hating her. 

have i made myself clear?

This is giving me thoughts on Emma Frost and how her character at least attempts to flip around the metatextual fanservice so common in comics. Aside from the fetish elements, Emma isn’t comparatively more naked or more sexual than any other female character. She’s wearing lingerie and gravity-defying outfits while everyone else is wearing skimpy low-cut leotards, and there really isn’t that much difference. But unlike nearly everyone else, Emma consciously chooses to dress provocatively and present herself that way. Her character is constantly preforming and reminding the reader that she’s performing. She’s not being dressed up by an offscreen omnipotent artist, she designed herself to be fanservice. 

It’s not really a huge step, and the end result of titillating the reader is the same, but I like that bit of extra agency she has. At least the titillation is being acknowledged in the text and Emma is using it to control the viewer instead of being an unknowing metatextual sexdoll. 

This is really great meta and you should feel good. 

(via pragtastic)

codenamecesare:

pearlo:

Basically I will reblog any and all variations of this scene, because it informs my characterization of Erik more than pretty much any other particular moment. HIS LITTLE FACE, YOU GUYS. HE HAS NEEEEEEDS. AND EMOTIONS. Eriiiiiiiiiiiiiiik.

That moment in the lower left when Charles says “It’s nearly gotten you killed all this time,” and Erik looks like he has no idea how to react to someone caring whether he lives or dies ;_____;

codenamecesare:

pearlo:

Basically I will reblog any and all variations of this scene, because it informs my characterization of Erik more than pretty much any other particular moment. HIS LITTLE FACE, YOU GUYS. HE HAS NEEEEEEDS. AND EMOTIONS. Eriiiiiiiiiiiiiiik.

That moment in the lower left when Charles says “It’s nearly gotten you killed all this time,” and Erik looks like he has no idea how to react to someone caring whether he lives or dies ;_____;

(Source: willliamgraham)

vifetoile:

So many things to say about this scene

About how it showcases one of my favorite elements of the LotR trilogy, Jackson’s ability to put in perfectly IC moments that just bring the characters to life, and interject humor and levity into a series that (let’s be honest) needs it, without ever detracting from the real gravitas and threat

About how it shows Boromir’s best side — not his fighting, glory-seeking, Ring-hungry side, but his kindness and warmth — how he may be less noble and pure than Aragorn, but he’s in a way more human as well, how Boromir is always the one looking out for and guiding the little Hobbits, which is what makes his fall from grace even worse. He’s not the Token Evil Teammate; that would be practically a kindness to my feels

And about how Merry and Pippin are AWESOME and ADORBS

(Source: elijahwood, via groovyphilia)

vifetoile:

So many things to say about this scene

About how it showcases one of my favorite elements of the LotR trilogy, Jackson’s ability to put in perfectly IC moments that just bring the characters to life, and interject humor and levity into a series that (let’s be honest) needs it, without ever detracting from the real gravitas and threat

About how it shows Boromir’s best side — not his fighting, glory-seeking, Ring-hungry side, but his kindness and warmth — how he may be less noble and pure than Aragorn, but he’s in a way more human as well, how Boromir is always the one looking out for and guiding the little Hobbits, which is what makes his fall from grace even worse. He’s not the Token Evil Teammate; that would be practically a kindness to my feels

And about how Merry and Pippin are AWESOME and ADORBS

(Source: elijahwood, via aristo-kitty)

YES.

YES.

(Source: firstclassconfessions)

codenamecesare:

My one quibble with McAvoy’s performance as Charles Xavier is that McAvoy delivers some of his funniest lines in a low voice, so that I actually didn’t hear several of them til I watched with subtitles. Maybe my hearing sucks, but until I saw it with captions, I had no idea what Charles said here.
…Actually, though, I really like the fact that Charles makes these remarks sotto voce. It conveys that he’s not a person who’s invested in being perceived as funny, but he does have a dry sarcastic sense of humor, both of which feel right for Charles (and match the occasional deadpan humor of Patrick Stewart’s Charles.) So I guess my real complaint is with the sound mixing that let those lines get lost.

codenamecesare:

My one quibble with McAvoy’s performance as Charles Xavier is that McAvoy delivers some of his funniest lines in a low voice, so that I actually didn’t hear several of them til I watched with subtitles. Maybe my hearing sucks, but until I saw it with captions, I had no idea what Charles said here.

…Actually, though, I really like the fact that Charles makes these remarks sotto voce. It conveys that he’s not a person who’s invested in being perceived as funny, but he does have a dry sarcastic sense of humor, both of which feel right for Charles (and match the occasional deadpan humor of Patrick Stewart’s Charles.) So I guess my real complaint is with the sound mixing that let those lines get lost.

(Source: nyborgs)

codenamecesare:

pearlo:

unforgott3n:

groovyphilia:

I made two because I couldn’t decide which was more soul-crushing

how about now

am I kicked out of the fandom yet

Yes, you’re out.

AHHHHH THE SECOND ONE. ERRRRRRRRRRRRRIK.

I think one of the reasons this film resonates so much for slashers— for me, anyway!— is because lots of slash stories hinge on The Big Misunderstanding, you know, there’s just this one thing keeping the guys from getting together happily, but that thing isn’t really an obstacle, it’s just a misunderstanding that, once resolved, leaves them free to be together.

The end of XMFC is set up like the ultimate Big Misunderstanding… take two guys whose fraught relationship is at a crucial moment, add a helmet that cuts one off from really understanding the other, and all it takes is a few words: “We want the same things” - “I’m sorry, but we do not” - to make each of them think the other one is rejecting him. Erik lays himself out there with “I want you by my side”, but with the aklsd;f helmet on so that Charles can easily misinterpret him, and believes that Charles’s answer was no, I don’t want to be with you now; meanwhile Charles was saying, no, we don’t want the same things, if agreeing with you about the bombing that just almost happened is a condition of staying together, I can’t, in the hope that Erik would say, okay, we don’t have to agree, we’ll work it out later, right now let’s get you to a hospital— and Erik walked away from him rather than even attempting to reconcile their differences. ;_;

I mean, in the overt context of the movie, I’m sure it’s supposed to come off as a genuine ideological standoff where they really do mean what they literally said, but… nope, since even the filmmakers and actors talked about the romantic tragedy of it all, I’m going with Big Misunderstanding. Especially since revenge is set up as Erik’s central motivation, and then when Charles gets injured, Erik literally drops his revenge and lets the missiles fall to go to Charles. Definitely leaves me feeling like Nekosmuse’s fantastic When We Two Parted fits right into canon.

I can’t decide what’s killing me faster here, the Softer strips or the commentary.

(Source: groovyphilia)

rebootingfromstart:

pragmatichominid:

rebootingfromstart:

Erik didn’t know what mutants were while he was hunting Shaw down, or even that any others existed. He just knew that he could move metal. When he and Charles first meet, he’s obviously astounded that there’s someone else out there who can do fantastical things like he can. Killing Shaw and distrusting humans are two different things, and frankly, they’re not that related. He never hated Shaw because he thought Shaw was human; he hated Shaw because Shaw killed his mother and tortured him.

Once he finds out about mutants, and the fact that the CIA are trying to track them down, of course he’s going to see it in the same light as Jewish people being forced to identify themselves. The government is trying to identify an entire group of people without their consent, and Erik has no reason to trust governments after what he went through. He is very clear that he doesn’t trust humans, but he doesn’t start to target them until they target mutants for being mutants. Until the beach, where two powers who had been ready to go to war with each other decided that they could overcome their differences in order to destroy what was different and frightening.

And even then, as far as First Class goes, Erik is not targeting humans. He’s protecting mutants. That will probably lead to attacks in the sequels, because let’s face it, I don’t think the movies are going to go the anti-hero route with him, but as the end of First Class stands, the only time Erik targeted humans specifically, instead of whoever happened to be in his way, was when he turned the missiles on the people who fired them in the first place.

Erik acknowledges in the movie that there are good humans, when he says Charles wants to think they’re all like Moira. I’m pretty sure he’s aware that there are bad mutants too. That doesn’t mean he’ll stand by and let them be killed for being mutants. Killed for being assholes, sure, I don’t actually see him having a problem with that, but if someone’s role reason to hurt another person is because they’re a mutant, then Erik is going to have a problem with that.

Everyone else can go home because this is flawless. 

Addendum: Erik can’t afford to think about the good humans and take them into account because the humans whose actions matter — the ones who have already tried to kill mutants — have shown that they won’t take the good mutants into account. Even if you put Alex’s prison sentence into the picture, and Erik’s overt distrust of humans, the CIA had no reason to think Raven, Charles, Sean, and Hank were anything but willing partners with them. Hell, Hank had worked for them, developed at least one jet and a completely unique and unprecedented bit of technology for them. But they still fired on the beach. So Erik can’t afford to think about the humans like Moira, like his mother, because if he does, he won’t be able to protect mutants properly, and it has to come down to that for him. I can’t see him settling for anything less than doing everything he could.

Slightly hijacking this really excellent discussion of Erik:

As far as those on the beach could tell, their own side had just decided to fire on them, for no better reason than because they were doing scary inexplicable things.  If you pay close attention to what was happening on the CIA’s end of things, I think the truth is more complicated. Yes, they fired on their own people. But the target was Shaw; their own people were collateral damage. That’s why it matters that Moira couldn’t get through to her bosses with the Blackbird’s damaged communication system. She couldn’t tell them that Shaw was dead.

It’s still worth noting that when Moira’s boss argued (feebly) against the attack, it was for Moira’s sake. He never even mentioned the others.

(Source: firstclassconfessions, via slushiebear)

atelier-dayz:

intowhiteness:

Anon, are you me?
Charles is so tragic. Maybe because my friends are the most treasured thing in my life…some mean more to me than some members of my family. So Charles being so alone at the end broke my heart completely, because I can only imagine how hard it must be for a telepath to make real, trusting friends.
Okay, thanks for making me feel this unbearable sadness. ;____;

Yes, yes, yes. All of this. Charles is so so lonely, even at the beginning, and it breaks my heart that he doesn’t have anyone who accepts everything about him completely and doesn’t think of him as “holding them back.” This is such a major part of why I started writing “The People Who Stand By You.”

atelier-dayz:

intowhiteness:

Anon, are you me?

Charles is so tragic. Maybe because my friends are the most treasured thing in my life…some mean more to me than some members of my family. So Charles being so alone at the end broke my heart completely, because I can only imagine how hard it must be for a telepath to make real, trusting friends.

Okay, thanks for making me feel this unbearable sadness. ;____;

Yes, yes, yes. All of this. Charles is so so lonely, even at the beginning, and it breaks my heart that he doesn’t have anyone who accepts everything about him completely and doesn’t think of him as “holding them back.” This is such a major part of why I started writing “The People Who Stand By You.”

(Source: firstclassconfessions)

pearlo:

helens78:

codenamecesare:

mrkinch:

maxkennedy24:

X men - Erik X Charles

Oh, yeah.♥

I’m always in favor of Erik carrying Charles, especially when Charles looks completely in control, as here; his expression is wonderful.

Relevant to all my interests *_*

Oh god oh god this is so great. Erik’s arms, his strength and Charles’s easy complete confidence in him to support him. Charles’s thighs around Erik’s waist ALWAYS.

pearlo:

helens78:

codenamecesare:

mrkinch:

maxkennedy24:

X men - Erik X Charles

Oh, yeah.♥

I’m always in favor of Erik carrying Charles, especially when Charles looks completely in control, as here; his expression is wonderful.

Relevant to all my interests *_*

Oh god oh god this is so great. Erik’s arms, his strength and Charles’s easy complete confidence in him to support him. Charles’s thighs around Erik’s waist ALWAYS.

(via atelier-dayz)

xmenfcfanfic:

Author: ninemoons42

Pairing: Charles Xavier/Erik Lehnsherr. 

Rating: Mature

Genre: Alternate Universe, Modern Setting, No Powers, Serial Killer!Charles, Tattoo Artist!Erik, Broken!Erik, Knife play, Bondage. 

Length: Long (12, 226) (9 Parts)

Summary: Charles is a serial killer, Erik is the man who’s tattooing a masterpiece on his back. Somewhere in the middle, they fall in love. 

Mod Comment: If you are squimish, do not read this okay. I am not kidding. But if you love serial killer au’s and a well written Dark!Charles, this is the story for you. 

(via papercutperfect)

dreamingstarkly:

widowsting:

loki-cat:



#the tone of voice he said this in was perfect #like I feel like a lot of people treat it as ‘lol Steve is stupid’ #but for me that wasn’t it at all #it was just another little thing that highlighted just how out of his depth Steve still is #there are a lot of things that he has NEVER SEEN BEFORE IN HIS LIFE #that he has no concept of because nobody knew it would exist #and he has to deal with being reminded of just how misplaced he is in a hundred different ways #every single time he leaves his apartment #but even though he’s still dealing with all of that #and with losing everyone he ever knew #he still picked up that shield again the second he was asked #because the world needed him to #and that’s why I love him

thiiissss ^^^^^^^^
cinemaliberation:

newdisaster:


Irene sits in a quiet cafe, a cup of coffee at her elbow as she lazily peruses the classifieds. She needs to find a new apartment; apparently her super does not appreciate all the noise her cat makes when Irene is out during the day. She’s already circled three different possibilities and is reaching for her cup when a voice interrupts her silence.
“I wouldn’t live there if I were you. The previous owner was killed by a jealous neighbor. You don’t want to deal with that back-lash…”
Irene’s heart leaps into her throat as she looks up at the impossible. Sherlock Holmes is standing there, his hair shorter and his cheekbones sharper than she remembers, but it’s undeniably the same man. Without asking permission, he settles into the chair opposite, eyes sharp. “I need your help, Irene,” he says softly. “I need to disappear for a while.”
She looks at him and is suddenly overwhelmed with sadness. Not just for herself, but also for John, the man Sherlock left behind. It doesn’t matter how he faked his death or why; Sherlock owes John an apology. Swallowing shallowly, Irene is filled with the protectiveness John must have felt upon seeing her in the power station, all that time ago. She may owe Sherlock Holmes her life, but she owes John Watson something else entirely.
“Tell him you’re alive,” she chokes out, voice harsh with the same words John had said to her once upon a time. “Tell him you’re alive, or I will.”

Ok. i don’t like Irene. Ok, there I said it. BUT THIS.
THIS.
I WANT THIS. IF THEY BROUGHT IRENE BACK I WOULD LOVE IT IF THAT WAS WHAT SHE SAID!! OK BECAUSE THIS WOULD GIVE HER MORE. THIS WOULD MAKE HER CHARACTER MORE.
I mean, they already brought her in. It would WONDERFUL to do this.
“Tell him you’re alive.”
GOD even I would love that.

^^THIS
Because this is the only way that I could ever imagine liking her. I mean, she was a great character whether I liked her or not, but this would make me respect her. 

cinemaliberation:

newdisaster:

Irene sits in a quiet cafe, a cup of coffee at her elbow as she lazily peruses the classifieds. She needs to find a new apartment; apparently her super does not appreciate all the noise her cat makes when Irene is out during the day. She’s already circled three different possibilities and is reaching for her cup when a voice interrupts her silence.

“I wouldn’t live there if I were you. The previous owner was killed by a jealous neighbor. You don’t want to deal with that back-lash…”

Irene’s heart leaps into her throat as she looks up at the impossible. Sherlock Holmes is standing there, his hair shorter and his cheekbones sharper than she remembers, but it’s undeniably the same man. Without asking permission, he settles into the chair opposite, eyes sharp. “I need your help, Irene,” he says softly. “I need to disappear for a while.”

She looks at him and is suddenly overwhelmed with sadness. Not just for herself, but also for John, the man Sherlock left behind. It doesn’t matter how he faked his death or why; Sherlock owes John an apology. Swallowing shallowly, Irene is filled with the protectiveness John must have felt upon seeing her in the power station, all that time ago. She may owe Sherlock Holmes her life, but she owes John Watson something else entirely.

“Tell him you’re alive,” she chokes out, voice harsh with the same words John had said to her once upon a time. “Tell him you’re alive, or I will.”

Ok. i don’t like Irene. Ok, there I said it. BUT THIS.

THIS.

I WANT THIS. IF THEY BROUGHT IRENE BACK I WOULD LOVE IT IF THAT WAS WHAT SHE SAID!! OK BECAUSE THIS WOULD GIVE HER MORE. THIS WOULD MAKE HER CHARACTER MORE.

I mean, they already brought her in. It would WONDERFUL to do this.

“Tell him you’re alive.”

GOD even I would love that.

^^THIS

Because this is the only way that I could ever imagine liking her. I mean, she was a great character whether I liked her or not, but this would make me respect her. 

(via autumnparis)

downtothelastbullet:

As a professor, may I ask you what you think about fanfiction?

I think fanfiction is literature and literature, for the most part, is fanfiction, and that anyone that dismisses it simply on the grounds that it’s derivative…

(Source: onlyalittlelion, via groovyphilia)

^entirely this

^entirely this

(Source: firstclassconfessions, via spicedpiano)