GUYS GUYS GUYS
GUARDIANS OF THE GALAXY WAS LITERALLY WRITTEN BY A FEMALE ROCKET SCIENTIST
SHE’S THE FIRST WOMAN TO EVER WRITE A MARVEL MOVIE
WHY IS THIS NOT GETTING TALKED ABOUT
It's me, ¡Mira! Where I reblog the BBC Sherlock images I have fallen in love with! Also! I'm a very excitable girl! Hence the exclamation marks! #believeinsherlock!
Potter has done too much for me for me to ever want to shit all over it. I’m never going to say: ‘Don’t ask me questions about that’. I remember reading an interview with Robert Smith from The Cure. Somebody said to him: ‘Why do you still wear all that makeup, don’t you feel a bit past it?’ And he said: ‘There are still 14-year-olds coming to see The Cure for the first time, dressed like that. I’d never want to make them feel silly.’ It’s a similar thing with Potter. People are still discovering those books and films. It would be awful for them to find out the people involved had turned their backs on it. Though sometimes, people do come up and say ‘I loved you in The Woman in Black,’ which is really sweet. That’s them knowing that it matters to me that I’ve done other stuff.
A forgiveness scene is not only there for the characters, it is there for the audience. In fact, many argue that forgiveness scenes are solely there for the audience. Almost always they must include the following;
-the offender must be seen crumbling, or in a bad emotional state. This is generally achieved by either showing remorse, or by placing the actor in a high angle shot. The lighting, and background colors are also very important.
-the offender must state “I’m sorry” or a similar thing, such as “I was wrong.” “Forgive me.” Etc.
-We must see the offended go through an arc. It can be minor, or it can be major. It really depends on the problem. We must see him go from anger, to love or a “forgiveness” state
-the offended must say “I forgive you.” Or a similar thing such as “it’s ok.” Depending on how big the offense was, the offender will have to work harder, and the offended will have to say more.
- generally if it is a couple you will have a kiss, or a hug. If they are friends you may also have a hug. It truly depends on the character’s personality.
Now, with Mary and John, we NEVER heard Mary say I’m sorry. We never heard John say I forgive you, even when he told us that the words were prepared.
The cinematography showed little to no remorse on Mary’s part, it actually made her look… Defiant. And we didn’t see John go through an arc, especially because of the way they placed the scene (the scene before it portrayed Mary in an incredibly negative light, while they gave the audience no room to breathe after that, making it impossible for the audience to “move on”) and the timeframe they used also hurt the “forgiveness” scene.
this gif makes it look like they’re kissing (◡‿◡✿)
I will use the term “romantic friendship” to describe a close affectionate relationship between two men who were social equals. The term has been used extensively in scholarship focusing on the effusive writings of young male couples during the mid-nineteenth century, usually with the implied understanding that the relationship was not sexual (despite the steamy rhetoric of the surviving correspondence). I will use the term with the explicit contention that a romantic friendship might indeed have included a sexual component, since I have come to believe that eighteenth-century Americans did not draw borders around sexual behavior with quite the clarity and severity of their Victorian successors. A fluidity to male intimacy admitted a wide repertoire of physical expression, and those expressions ebbed and flowed with time and circumstance.
Romantic friendships usually arose between men of similar age and social class. The relationships were passionate but in most cases fleeting, not because the men were unable or unwilling to make a lasting commitment, but because they could not envision a future in which they could ever consider themselves to be a recognized couple. America included only one city that could begin to rival the size and social complexity of Berlin, Paris, or London. Only Philadelphia was large enough to provide men-loving men with the anonymity of numbers. In rural areas among the lower classes it might be possible for two men to live their lives together working the same farm or pursuing the same craft, but in more urban areas, especially among the socially prominent (whose stories are the ones most likely to be preserved in surviving documents), heterosexual marriage was the only acceptable goal. Men entered into romantic friendships with the understanding that one - and probably both - of the partners would eventually marry and establish a traditional family. Though many tried to maintain an emotional connection with their partner, the demands of their new roles as husband and father rarely allowed for continued intimacy. This arc from passionate devotion to wistful nostalgia is documented again and again whenever long runs of male-male letters have been preserved.
I really have a lot of fantasies about literally bumping into Steve Rogers in a laundromat