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#not tony neg
kelconfetti · 7 months
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its rant time.
before i say anything i wanna say this isnt wanda or tony neg i love them both but this has to be said
something that makes me really mad is the way wanda stans constantly blame tony for her ending up in the prison in civil war. tony was the reason she wouldnt have been in that situation if team cap just left her there.
tony keeping her locked away, as horrible as it sounds at first, he was trying to protect her from the only bad thing rhat happened to her in civil war. her being in the prison she entirely brought upon her self and i fully stand by that
im not a massive fan of tony stark i will admit, but tony wasnt responsible for what happened to wanda in cw.
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daisy-mooon · 6 months
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Tony Stark: I have to babysit Peter Parker. He's a bit annoying. I guess he's alright.
Carol Danvers: Everyone clap for Kamala Khan right now or I'm blowing this fucking building up with you all inside of it.
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cosmoweirdkid · 3 months
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variousqueerthings · 3 months
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spartacus pt. 2 watch and we've got evil bisexual roman hitting on tony curtis (well, I say "hitting on" tony curtis has no agency in this scene) (but also tony curtis The Actor sure is in more than one movie where he - the actor - would be doing fascinating things with other men in terms of erotic power play scenarios)
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puhpandas · 5 months
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I lowkey feel like tony was Gregory’s first friend alongside with Ellis. Cassie is definitely Gregory bestfriend, but tony is his first and that’ll be a special place in his heart. I really do hope even if it’s for a second we get a mention of both tony and Ellis.
god me too brother 🙏 theres so much potential with ggy trio as a group and their friendship and like the idea of them growing apart in a normal life scenario but ggy happening and the glitchtrap stuff happening like. changes things. the scenario that post ggy (and ofc if tony survived) they all reunite but their relationship is forever changed bc of whayt ha.ppenened but like. in a good way. they would have grown apart but these things happening to them made them change their minds. it made them grow closer. like any events where tony survives ggy is the most interesting idea in the world
and of course after those events gregory and tony would have such a special relationship. like what do you mean youre super close with the guy who tried to murder you and you draw comics together
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heinrix · 1 year
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someone put his ass in succession right now i am not fucking joking
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bonesashesglass · 10 months
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Okay, I don’t know how many people are going to see this but I really want to talk about this. I want to start out by saying that I love comics, and normally I try to keep this blog positive, but Tom Taylor’s writing in the current Nightwing and Titans run has really been bugging me.
I know a lot of people on this site have already talked about this, but I want to discuss why I think his writing is poor and harmful to the character.
This is a page from Batman Year 3, where Dick Grayson finds out the man who killed his parents was let out of jail:
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At this point, Alfred had been trying to get the chance to tell Dick until he saw it on the computer himself. It’s one line of dialogue, but you can feel the shock and the panic the moment he finds out. He’s scared. Alfred isn’t even on the page and you can feel how his heart goes out to Dick. There’s so much tension and emotion in this panel, and the fact that Zucco was let out of jail was never said, the reader just knows based on the context and character reactions.
Compare this to the same incident in Nightwing #99:
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There’s nothing. There’s no emotion, no substance, no soul, no heart. Reading this is like watching to actors just read lines off of a page. Dick barely even has a reaction, the man who murdered his parents was let out of jail and he’s making quips. I feel absolutely nothing looking at this page, and that’s a problem. Storytelling is supposed to get the reader to feel like they are a part of the story, the audience should feel what the character is feeling, or at least be able to tell when the character is feeling something. Here, there is nothing. The dialogue feels like it was written by a robot, the characters feel like pod people pretending to be human.
I’m not saying that I want some world ending events or super emotionally devastating arcs for Nightwing, I think after the last few years Nightwing does need a lighter, more day in the life feel for a while, but even lighter stories need to be emotionally engaging, and this isn’t.
Tom Taylor has made a lot of creative choices that I don’t necessarily like (giving him a random long list sister, for one, and the whole thing with Olivia) but that doesn’t bother me as much because it’s a case of the audience just not liking a story, as opposed to the story being objectively bad.
I can think of a million other examples like this where he has introduced a concept that should have deeply affected Nightwing, but were executed in a way that made the characters and the audience feel nothing. (Him and Barbara getting together, finding a long lost sister, getting superpowers, fostering a daughter).
I want to bring this up because it looks like Tom Taylor is getting more and more control at DC because people keep buying his issues. Presumedly, because of the lighter, fan-servicy feel. But this writing is objectively bad. If he’s going to be writing more titles he needs to make his stories more emotionally engaging, and to do that, he needs to stop telling instead of showing.
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softambrollins · 5 months
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'fumbled punk and jade' lmaoooo one's a literal piece of shit who attacked people and got fired after being given everything and the other one had an insane undefeated streak and title run even without much experience. FUMBLED???? the most brainless people in the world i swear. seek help.
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queermasculine · 2 years
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i gotta confess something to you tony... those guys i butchified back there? didn't even have any butch swag. i mean you saw it, the men were utterly swagless. i don't know what came over me. i had the butchification ray in my hands and i just started blasting, it was carnage. there's too many of them in my head now... so many wet paper towel butches... plain rice butches... just-some-guy butches... you gotta help me. i'm being plagued by visions of butchhood where our masculinity is something that can be mundane and average and unremarkable, and the worst part is i'm not entirely opposed to it! i mean i'm practically comforted by the notion tony! what's happening to me?!
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lightwaslaughter · 2 months
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im watching all the marvel movies in chronological order and ranking them all (just.. cause) and im very surprised to find that iron man three has become my favourite iron man? when did that happen. where did this overwhelming love for this movie come from. hello
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thatiranianphantom · 2 months
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Okay, yeah, I'm gonna say it.
Wild Cards. I mean, it's a CW show, so we expect little, but I think somehow, I still expected too much.
So anyway, thoughts be under the cut. Just my thoughts, to be fair. If you have different ones, that's cool.
(And my friend, if you click that cut, you know what you're getting into!)
It just feels like....they threw in a bunch of the most typical "case of the week" cliches that usually would work but just...don't?
The characters are flat as HELL. Every single character has 1 (1) personality trait. The only reason Max stands out at all is because the rest of them have the affect of a government office receptionist.
The stories are so instantly forgettable. Like I've watched all 6 currently out episodes to give it a fair chance and frequently forgot what was happening halfway through, because it was just so inconsequential.
IT. IS. SO. BORING. See above point, but at least in Riverdale, you were entertained, last three seasons aside. This show...it's the kind of thing you'd only keep on if you didn't have a remote in reach. The stories are so completely predictable that I feel like one of my preschoolers could map it out.
The case of the week format. Look, it is SO possible to do the case of the week stuff and get you invested in the story and the characters, even if they only appear for one episode. Think of Fish in Wynonna Earp. Chelsea Cole and her mom in Bones. So many examples and yet the stories in all six episodes were just - I don't understand why I am supposed to care about these randos?
The acting. God, it's so bad. I have seen Giacomo do good stuff on Grey's but here he's just as flat as everyone else, with a profoundly uninteresting character to boot. And Vanessa uses absolutely zero inflection in her tone and no facial expressions? The last episode where she was discussing her mother should have been an emotional scene but there was so little emotion in her voice? Compare it to ND where Nancy talks to Birdie about being something more than just a girl who survived a tragedy, and you can hear the emotion in her voice.
I am so confused by how they're presenting Max? They want us to think of her as a genius mastermind criminal who regularly scams people and also a benevolent innocent lil baby and how dare people suggest she may not be trustworthy? She isn't a cop, she's a criminal! This is the entire premise.
They are clearly using all the cliches - the Not Like Other Girls, the Wisecracking Group of Sidekicks, the Unconventional But Effective Methods, the Hidden Emotional Trauma, and of course, the Will They Won't They. But the thing is, there's so little character there, I don't care if they will or won't? Again, it feels like they are throwing in what should be all successful tropes, but they don't hit at all?
Also, before anyone says it, yes I realize they are only six episodes in. But tbh, in all the shows I like, by the 6th episode the plot and characters were quite well established. I don't think I can drag myself through another episode of this show.
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Art Edit Credit to Roberto Coltro
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hearts4juzi · 4 months
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Fnaf books try not to include kids who are snappy with their parents or friends
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cassandraclown · 6 months
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Jericho made Takeshita tap CLEAN at DDT. I want AEW to fail everyday
Tony Khan if I see you on the street I’m killing you
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legionofpotatoes · 1 year
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extremely bad faith mandalorian takes, do not engage please i cannot stop hysterically laughing at this season and thus am incapable of level-headed discourse. these are just words I want to write down to see if they look as unbelievable as they sound in my head
my favorite telltale sign of the embarrassing s3 story optics is their like. genuinely hilarious ostrich-neck-in-the-sand rehash of past story arcs down to the aesthetic fucking beats. that's the shit sandwich that really gets me in this whole stank buffet. It is astonishing. Like there was genuinely nothing else they could come up with as to not upset the status quo of their fickle, marketable story limbo, and so they, and I cannot stress this part enough, ignored established character progression beats and just did them again. they just did them again. from the top, using shockingly similar payoffs, right in front of our own eyes. and I just sat there and ate it!!
din has to re-love his toxic death cult after clearly progressing away from their value systems cause he's cooler with that helmet always on. gotta keep the limbo going. his main north star, set up as his way out of said cult, gets recruited into it instead, completely defanging the possibility of interrogating the entire bedrock of trauma and insecurity that kept uncomfortably clashing with his expressions of love and humanity in the past. now they're all one big happy gel of a Cool Dude With Gun and Kid. gotta keep the limbo going.
at some point he also has to re-learn his droid prejudices to then re-unlearn them again, a couple of times even, for no discernible thematic reason other than to make him act like an ass to some type of botched working class allegories (??? the fuck is going on with droids this season in general??). gotta keep the limbo going.
grogu, meanwhile, has to re-earn a mandalorian piece of armor to re-reinforce his allegiance (and here I was thinking the rond would be a pulpy setup for some shot-dead-fake-out but how can chekov's anything exist in this mangled mess), cause mandalorian culture is a live service videogame of tiered ranks now, so the potential upgrades are conveniently endless. gotta keep the limbo going. speaking of their culture, he also, hilariously, has to then be re-adopted by din to re-reveal their paternal bond and re-dramatize their love. cause he's not a foundling anymore, see; he's an apprentice now! the words are different. that makes the emotional meaning reset also. I know this from film school. audiences have no object permanence, right? they're all fish? we're writing this show for fucking fish, right? like in the aquariums? gotta keep the limbo going.
and they just keep doing this. they will dress it all up with technicalities and loud Plot Noise but it is all emotionally the same exact shit that has already happened and it is making me feel insane. same exact payoffs for backpedaled setups that were already, for all storytelling purposes, finished and done away with. it is comical. they're telling nothing. non-stories and recursive sisyphean plotlines that reset primitive character arcs every five episodes like it's the most unmoored bermuda triangle-ass time loop in space. you cannot even really twist it into some type of harmless expression in lieu of episodic TV, or even something more campy, cause like. it does have a rapidly progressing plotline about big and overarching stuff, stuff that is holistic, linear, and goal-oriented, like retaking homeworlds and reforging their broken nation and fighting mr gideon man. it's not a weekly detective romp with B plots galore, not anymore at least. but the characters somehow start and end in the same spots they always were. like the big ole smoking fucking gun that that is.
it feels like the most clear-cut example of plot moving forward - at breakneck speed sometimes - while characters progress either backwards or just. like. sideways and then back again?? almost like dropping a teabag into an empty mug and calling it a beverage. I see the pretty taste-making ingredient sitting sadly at the bottom there, but where's the substance? what is this all for? to wank it to how cool mandalorians look when they fly? I mean they can be pretty cool, no argument there. but some of them could be cooler if they felt things deeply and that changed them, fundamentally. you know, how A-to-B storytelling does sometimes.
and I am achingly aware that I am aging out of this show's target audience, I know that. but the death by comparison within the same bloody show's adjacent seasons is just as harrowing. what happened. it just worked too good is what. a corporation responsible for telling a myth will never allow it to finish if it suddenly starts hemorrhaging this much money. grogu and din can't progress, even aesthetically, past their season 1 selves, no matter how much that same season's story was setting them up to. cause inscrutable sad dad and cute doll baby combo. we'll either throw away those story hooks or keep resetting them. keep the limbo going.
groundhog day-ass show. it's hysterical. I can't be normal about how mask-off blatant this all is now.
and to follow this up to andor of all things. really clinches it, you know. no notes. just no notes, disney. tens across the board
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jewishbarbies · 5 months
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they were presenting a completely valid argument about Tony Stark
I literally don’t care what “argument” they were trying to make, fundamentally misunderstanding my post and disregarding my wishes so they could continue to live in delusion in their tags is stupid as fuck and I’m not entertaining an argument on anything from someone who can’t grasp the original point of the post. disagree and think different all you want - make your own fucking post to talk about it.
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