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#i got got by the glasses.
deanpinterester · 11 months
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i cannot stress this enough: if your reasoning for clowning on the mcu is "they overwork their cg artists and animators" i 1000% guarantee that a show or movie you have been stanning for years also abused their artists and you just haven't heard about it because the production companies aren't in the spotlight like mcu productions are. that cartoon for kids? that incredibly animated movie? that non-marvel superhero movie? i've seen people declare their hatred for the way the mcu treats their workers and then turn around and gush about a show that i know for a fact was hell for the artists attached
and no this is NOT me saying "this means you should stop hating on the mcu uwu" it's me saying you gotta be aware that this shit is an INDUSTRY WIDE PROBLEM. you CANNOT "fix" it by refusing to watch mcu movies and feeling good about it. you have to be aware that it's EVERYWHERE. why do you think so many animation and vfx productions are sourced in canada? in india and the phillipines? we are not unionized.
i know it's hard to face the idea that your favourite show might have been made unethically especially when you've spent so much time hating the mcu for doing the same thing. you don't have to start hating your favourite show. just like...be aware. don't be smarmy about it. don't claim without research that a beautifully animated movie Must mean the animators were not working 16 hour days and weekends. i do think we can fix this 👍 but we can't fix it if 90% of us don't even realize what the problem really is
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soldrawss · 1 year
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*holds face tenderly*
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i-am-a-fish · 5 months
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I am
• worried
• depressed
• uncomfortable
• upset
• afraid
• uneasy
it does not feel good.
I'm going to drink some water, take a nap, and deal with these things later
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bixels · 19 days
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Scary Sunset.
I'm concepting things way outta order in this story, but I'm sure you can piece things together. Context is for a storybeat where, after defeating and capturing Adagio (thus having all three sirens in her possession), Sunset enacts her revenge plot to release the sirens on Canterlot as Thea discovers she's been manipulated. In a confrontation, the two scuffle and fight over the siren orbs while Sunset struggles with her conflicting wants and emotions.
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mothervega · 1 month
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anyone out there who enjoys both Bive and The Smiler i’m boutta summon all of you cuz I MADE A SMILER INSPIRED BIVE AVATAR MUAHAHAHAHAA
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isjasz · 9 months
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[Day 68]
More of the guys + cool glasses poses >:D
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valictini · 1 year
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Genuinely believe that they would vote for Cecil
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linipik · 2 months
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Pidge (with some geometric fine-line tattoo designs ) 🌿
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sellieaa · 27 days
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smth about small acts of service
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banjo-bugs · 1 year
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I truly genuinely believe they would get along so well
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beaulesbian · 1 year
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Glass Onion spoilers ahead! - long post
These parallels in the movie are so *chef's kiss* ✨️
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what a combo these two make! ♥
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doctorsiren · 4 months
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paint it over
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drbtinglecannon · 1 year
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The way in Knives Out that the entire Thrombey family constantly subjected Marta to racism for years ranging from micro aggressions to outright threats of deportation, that she knew all their fucked up dirty laundry and how they all were constantly exploiting Harlan's wealth, that they excluded her from Harlan's funeral and each blamed everyone else for it, and that they immediately dropped all pretenses of condescending civility when the will was read, yet she spent almost the entire movie sympathetic of them and wanting to gift them the fortune Harlan left her before finally standing up for herself in the last hour
Vs
The way in Glass Onion that Helen outright hated the entire "disrupters" group for at least ~10yrs before the movie even took place and made her opinion explicitly known, that her acting as her twin sister being jilted was so easy to maintain because she hated the entire group so much, that she didn't at all humor their extremely conditional "comradery" with her cause against Miles, and that in the end when everything was said and done she didn't stick around to watch them all turn on each other because it didn't matter anymore if they did or didn't
Marta's kindness got her the house.
Helen's justified fury burned Miles' down.
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goldenhawk-k · 1 year
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Guys please. Benoit Blanc wasn’t “hinted at” being gay in Glass Onion. He IS gay. CANONICALLY. Even if Rian Johnson didn’t confirm that Hugh Grant is in a romantic relationship with Blanc, if it was a woman answering the door, everyone would just assume that was his girlfriend or wife or smth.
This isn’t something that’s ever gonna be explored bc the movies aren’t about his identity. They’re barely about Blanc. He’s just the world’s greatest detective, and he just so happens to be gay.
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bitacrytic · 5 months
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I like that Marry My Husband didn't just give us a Cinderella moment for the female lead where she ditches her glasses for contacts and starts wearing form-fitting clothes. They also gave us a Cinderfella moment for the male lead where he ditches his glasses for contacts and starts wearing form-fitting clothes.
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quillyfied · 1 year
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There being two movies now in the Benoit Blanc world, and both movies sharing some recognizable tropes and archetypes to build its flavor, there’s a specific type of character that I’m struck by, particularly as a white woman, in both Knives Out and Glass Onion:
The Sympathetic White Woman.
In KO it’s Meg. In GO it’s Whiskey. They both bond with the (WOC, very important to emphasize) protagonist by being less crappy to her than the rest of the cast, and both signal to the audience that they’re trustworthy as far as the protagonist goes. They tell the protagonist that they’re on her side. They try to be supportive. They’re sympathetic to the audience.
Then comes the moment when the Sympathetic White Woman’s security is threatened.
(Brief added interruption to just say: please dig through the notes and replies on this baby for some additional excellent thoughts from other people, including the very important distinction that Marta is a white Latina and not a woman of color (my mistake thank you for the corrections), and more thoughts on Whiskey’s actual/additional betrayal moments!)
For Meg, it’s her mom telling her she has to drop out of school if they don’t get the inheritance money. For Whiskey, it’s Duke dying. In both cases, the protagonist reaches out—Marta tells Meg she won’t let that happen, she’ll support Meg with whatever money she needs; Helen tries to soothe a hysteric Whiskey by telling her she doesn’t need Duke and he deserved what he got (not realizing Duke is dead, of course). It’s a slightly different moment in each movie, but the basic framework is the same: the woman of color protagonist reaches back to the Sympathetic White Woman, and notably, reaches DOWN, offering the support the Sympathetic White Woman offered earlier.
Only…the Sympathetic White Woman was never intending to be the one the protagonist had to reach down to. So she snaps. Meg tells her family about Marta’s mother and they use it to threaten her. Whiskey latches onto the belief that Helen killed Duke and tries to kill her with a spear gun in what she thinks is self-defense. The Sympathetic White Woman Heel-Turn.
Meg and Whiskey both also sort of try to make amends after their Heel-Turn moments, but…the trust is already broken. The protagonist knows better now. The Sympathetic White Woman is not to be trusted.
Why this sticks out to me personally is the very obvious callout that feminists of color have been making about white feminists for literal decades: that white feminism lacks any true support or compassion for non-white people, that it’s empty promises of support and when the chips are down, white feminism upholds whiteness over feminism in an act to protect itself. And whiteness…is a damn difficult thing to even see when you’re white and raised in an overwhelmingly white community, let alone begin to pick apart and unlearn. It’s reactionary, how Meg and Whiskey turn on Marta and Helen to protect themselves.
It would make Meg incredibly vulnerable to support Marta fully, the way she promised to back when she thought she had the resources for it, but Marta is that vulnerable every day just existing as a Latina woman in America. Whiskey’s Heel-Turn moment is a little more immediate trauma based, but when looking for someone to blame, she doesn’t hesitate to blame Andi (Helen), scrapping together the few pieces of information she has—Andi hates all of the Disruptors, Andi got screwed over by them, Andi fought with Duke just minutes before he died, Andi was in their shared room tearing it apart when Whiskey came in distraught. She’s looking for an outlet. There’s Helen red-handed and in view. Boom. Whiskey grabs the spear gun instead of talking it out with the person she admitted just hours ago to feeling sympathy for.
Growing up white and steeped in whiteness causes defensive reactions when that whiteness is brought up, or, god forbid, challenged. It’s a knee-jerk thing for people who haven’t begun to deconstruct it for themselves; even for people who have, to see just how far and deep in American society that reaches is troubling. Humbling. Enraging. The Sympathetic White Woman archetype is, to me, a warning to not let whiteness overrule sense and morals. To be smart about it. And, crucially, to check myself for condescension, especially when interacting with non-white folks in any capacity.
(Also why the presence of Benoit Blanc is so important. He is also sympathetic, he also offers his own support, but crucially, he just uses his whiteness to clear a path for the WOC protagonist to take her place and do what she needs to do. He doesn’t speak over her, he doesn’t turn on her, he just listens, and presents the truth for her to do with it what she will. Or, in one case, hands her highly volatile crystal hydrogen for when she’s really ready to tear the Murderer’s crap down.)
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