"This isn’t a legitimate classification system," said Steve angrily, throwing the book onto the couch next to Clint. "This is bullshit. They’re children, for cripe’s sake.”
Clint’s eyebrows rose to comical levels.
"You can’t just isolate different children or—or— or try to predetermine their characters at age eleven," Steve said, thoroughly angry. "And you certainly can’t condemn an entire fourth of your school’s population to a villainy house, what the hell is that?”
He started to pace.
"As if people never change! As if there’s no moral or ethical growth after age eleven!”
Bucky reached over Clint and picked up the book. Clint gave him a look and he shrugged.
"Hell, if it makes Steve this angry, I gotta check it out," he explained.
"This isn’t a basis for education!" Bucky shouted. "Where are the art classes, huh? Kids this age should have access to art classes."
"Exactly!" shouted Steve. "Maybe a little less institutionalized racism and a little more arts education, am I right?"
Clint buried his head in his hands.
My two (two!) pieces for the "Magical Girl Heroines: Sailor Moon and Sailor Senshi"gallery show, happening THIS SATURDAY (that’s tomorrow!) at Q-Pop in lovely downtown Los Angeles! The art i’ve already seen for this show looks AMAZING and i’m super pumped to be part of it along with many talented pals and talented potential-future-pals.
AH, I HAVE DISCOVERED WHY I HATE YOUR GUTS.
He acts like Star Trek is no longer needed for its ability to address social issues, so now why not just turn it into a bright and shiny action flick and nothing else? Dizzy bastard.
He took a project on without really realizing what it meant to so many people. I’m not just talking about those “crazy” nerds that stand in lines at conventions for hours. I’m talking about Martin Luther King Jr., who begged Nichelle Nichols not to quit the show. I’m talking about the hundreds of men and women that joined the navy or airforce, worked in the space industry, or became astronauts because of Star Trek. He’s forgotten all those people. He didn’t have faith that Star Trek in its purest form could reach all people– because it never reached him. So he molded it into something very different to fit a societal standard of action movies that pervades Hollywood today.
He missed that mark. And he pats himself on the back for it.
it’s the mlk / nichelle nichols bit that really hammers things home for me where jj dropped the ball on this franchise.
like, he wants it to be accessible popcorn entertainment without as much heady philosophy, i can get that, i can even get behind it to a point, except it’s also completely ridiculous coming out of his mouth bc //what do you think lost was jj//. also this and the other gifset misses out the part where he says he finally got way into star trek during production and now loves it. (though the preponderance of enterprise references and the dip in ambition between movies does remind me more of voyager playing it safe than ds9 taking risks, but paramount stopped believing in the idealism of the franchise themselves about fifteen years ago so that’s not even surprising.)
no, it’s the fact that uhura even //existing// was revolutionary in the eyes of martin luther king jr. in //nineteen sixty seven//.
in 2009? chekov being a russian dude wasn’t diversity. five of the seven main cast being white males wasn’t diversity. less than a third of the characters with names and dialogue being not-white-males wasn’t progress. //half of the female characters dying// wasn’t progress. the female uniforms being sexy sexy where the men get practical clothing was the //opposite// of progress.
and hey, they didn’t bother to mix up the core seven by making chekov a russian //girl// genius or bones idris elba or spock sendil ramamurthy or kirk katee sackhoff or whatever. but it’s okay, that’s only seven characters out of an infinite canvas. and they did another movie, they levelled up, they added nothing but diversity to the cast, right?
replaced tyler perry with peter weller. kirk wakes up in bed with //literal japanese catgirl twins// who aren’t named or seen again. all the poc and aliens are (still) background scenery. there are women wearing something other than the sleeveless gogo skirt //but only in the background//. the new villain, who was a man of color as strong, smart, and capable as kirk back in the 60s / 80s, is now a white man with a desi name. 8/10 of the major characters are still white men. and the only character written as a person of color is //still// zachary quinto.
jj, this is my problem. you have officially failed to represent the future as //better//. you’ve adopted a ridiculous colorblind ideology that amounts to ignoring the varied experiences of not-white-males, but failed to pair it with //casting mostly or even just 50% not-white-males//.
in the future, men are still disproportionately represented in the workforce? //white// men still dominate all the hierarchies of power? the only important places on earth are in the usa and great britain? less than half the named characters are women? we have transfer students from other planets but there are only terrestrial minorities in crowd shots? white people are a demographical minority worldwide //today// but don’t tell the future that?
in 2004 edward james olmos, talking about new galactica, commented that that was the first time we’d seen latinos in space. //that shouldn’t still be true//.
white people’s ideas of the future are TERRIFYING.
fuck nu trek
this is why i never gave a shit about it and will continue to not give a shit about it
There is this thing that happens in Hollywood, that is the root of this issue, and it bugs the crap out of me - successful directors take on successful franchises as projects but aren’t actually fans of the source material. They have *no* emotional investment in staying true to the source because the source means nothing to them at all, and not understanding the source means they don’t get what makes it special, leaving us (as the audience) flat because the new creation leaves the IMPORTANT parts of the source material behind. This - losing the envelope pushing of diversity acceptance in the future, this is a major key to the Star Trek franchise; using the original road map, one of the people on the bridge should have been Islamic. The thing is, by not being a part of the culture, the directors are so far removed from what is important to the culture that they overlook it… and then they wonder why the fanbase pans their finished product, and the Hollywood machine takes this to mean that there is no fanbase for these things really.
We see this with the Avengers (and individual movies like Thor, or Iron Man), where Joss *is* part of the fandom. He is a long time fan of comics and Marvel and *gets* why these characters are important and what is crucial about their portrayal on the big screen. And he has cast actors who bring those qualities with them inherently - RDJ as Ironman is not just someone who has been the playboy fuckup in ENORMOUSLY PUBLIC ways, but is capable of owning that about himself, and being honest about the darkness that brings. ScarJo brings that tiny glimpse of vulnerability that intensifies her strength rather than taking away from it. And this same pattern is true for each of the actors and their characters - the thing that makes that character *connect* to the audience is PRESENT in these films (and the tv series).
And that’s lost when the director doesn’t care enough about the franchise to know what those details are. Sometimes we have lucked out with the ACTOR caring enough to bring that quality anyway (Hugh Jackman, Rebecca Romijin Stamos, and Alan Cummings from the X-Men for instance… Patrick Stewart and Ian McKellen of course). Unfortunately this can also bring us heartache when the writing doesn’t care about the source either; and we get X3, where the delicious truffle is decorating a shit pie.
Oh god guys. JK Rowling is a genius, and so is this person.
the thing I love about this fandom is that there are 7 books and 8 movies to observe. so every once in a while some blessed soul finds a piece of information that makes all the magic resurface again
Oh Lord…it’s a metaphor too. It’s symbolic of Neville holding on to his past, the horrors of what happened to his parents, of being a passive vessel for that atrocity. As if the terrible thing kept happening and would never stop happening.
When he moves forward and becomes part of his own story instead of the story of his past, his strength surges.
And it was a symbol of his grandmother impossible expectation of him to be like his father. She made Neville use his father’s wand and was constantly disappointed when he couldn’t get the wand to work properly. And he ended up getting a new wand after his old one was broken at the end of Order of the Phoenix when he fought against the death eaters at the ministry. He found his own courage and ended up becoming his own man.
And it probably contributed to his later success.
Swimmers train with drag suits, big floppy extra fabric that pulls in the water and slows you down. That way when you compete without it, you have an advantage.
Neville trained with a severe handicap and managed to pass his classes along with his unencumbered peers. The moment he was competing on a level playing field, it must have felt like he was defying the law of gravity.
Lily Evans wants none of your shit and even the marauders get a little sick of the epic that is James Potter’s “pursuit” of the love of his life
I am SO, SO EXCITED to share my SVA thesis film at long last!!!!! This is what I spent most of the past year working on. It’s the biggest thing I’ve ever made, and I still couldn’t have done it without the help and support of a bunch of really awesome people. I strongly recommend watching it in HD and I hope you like it a lot! :)
oh damn, wow, talk about inspiring.
HOLY FUCK I DIDN’T EXPECT THAT AT ALL
IT’S UNLIKE ANYTHING I’VE SEEN BEFORE OHWOWIJUST- /SCREAMING/
I DON’T KNOW IF YOU CAN HEAR ME DREAMWORKS BUT YOU NEED TO ADAPT THE HELL OUT OF THIS RIGHT THE FUCK NOW
This is sooo awesome
WATCH THIS IMMEDIATELY. Just charming and perfect and lovely and oh I have tears.
#slytherins aren’t evil #slytherins are self-serving #slytherins are loyal to what is THEIRS and theirs alone #if the fact that narcissa malfoy #a slytherin #will LIE to the dark lord about his greatest foe being alive #over the smallest hope of saving her son doesn’t tell you that #then idk how to help you
count yourself honoured if a slytherin decides that you are theirs. they will kill for you. they won’t die for you, because where would be the use in that, but they will do everything else.
Wait, when was Jillian Venters in Harry Potter, and doesn’t she usually wear more pink?
Heh. Heh, heh, heh.
And yes, once a Slytherin decides you are part of their chosen family, you are THEIRS, and they will defend you with any deceit they feel is needed.
The Hogwarts Express is revered by all as an institution of British wizardry, a symbol of one’s coming of age and of the sacred passage from beloved childhood to full-fledged magical adulthood. But rites of passage are by no means unique to Hogwarts.
Half a world away, hopping on and off of lines that otherwise service the Shinkansen, occasionally dropping underwater between Hokkaido and Kyushu, is the train to Mahoutokoro. It makes multiple stops rapid-fire, it employs time turner technomancy to arrive always five minutes early, it has no central platform or candy trolley, and it is charmed to be volcano-proof. And the students adore it.
this makes my heart happy