AMarleneS-UnsungKnight

— If the meds were switched, then when I got them mixed up, I… I accidentally switched them back, so… I gave Harlan… — The correct doses, yes. But not accidentally.

For Benoit to take the time to reassure that this was not her fault, in way that is so kind and so clear, was lovely.

“Oh, you must be the new kid, the one with the scholarship,” the blonde man says looking at him, “Sure, my brother will see you in a moment,” he adds before touching a button on a strange thing the kid didn’t recognize, “He’s here, should I send him in, Hagane no Kōchō?” he asks, only for both of them to hear a clear yes from that object, “You may go in,” the blonde man instructs the student.

“Thank you,” he says before walking to a huge door that seemed made of stone, but it was too light to be from that material, “You wanted to see me, principal?” he asks once he was inside the huge office.

RIGHT? I like Thor, don’t get me wrong, but this scene actually upsets me a lot for a  lot of reasons.

1. Tony is clearly grieving JARVIS in this scenario. He has literally just told the other Avengers that Ultron killed JARVIS.

2. Thor grabs Tony and lifts him up by the throat at 1:02. He doesn’t let go until 1:09. That is a full seven seconds where he, an Asgardian, was holding a defenceless human up by the throat.

3. No one comes to Tony’s defence! WHAT A TEAM. Clint, Natasha, Bruce, Steve, Maria Hill and Rhodey are all in the room. Yet, the only person who speaks up after Thor grabs Tony is Clint. And what he says is:

“Woah, woah, woah! It’s going around.”

Not let go, or stop, or even ‘hey remember that humans are fragile’. Just “it’s going around”, like Tony deserves this. WHAT THE ACTUAL FUCK PEOPLE.

4. While being held by the throat during those seven seconds, Tony says a full sentence and Thor responds with a full sentence:

Tony: Come on. Use your words, buddy.

Thor: I have more than enough words to describe you, Stark.

So there’s not even an excuse that no one had time to speak or react. Seven seconds is a long time. Long enough for Thor and Tony to speak to each other.

5. By the way, it was also long enough for Steve to speak. But did Steve speak up in Tony’s defence? Of fucking course not. What Steve says is:

“Thor! The Legionnaire.”

This reminds Thor of his task and he lets go, dropping Tony (notice how Tony gasps and staggers when he’s dropped? Yeah, he couldn’t breathe).

6. When we see Tony again at 1:25, he has backed as far away from Thor as he can and is circling the room. He puts Bruce and Steve between Thor and him as quickly as possible. I’d also like to point out that Tony puts his back to the room for a moment, but at 1:39 when Thor addresses him Tony is quick to face the room again. Coincidence? No.

7. This is never addressed again. No one asks Tony if he’s okay, not even Rhodey. By the end of the film, Thor, Steve and Tony are supposedly all buddy-buddy again. I am extremely doubtful that Thor apologized or acknowledged that what he did wasn’t okay.

He was a young artist employed by the Disney studio, but tasked with the entry-level job of finishing off the work of the animators and crafting the “in-between” animations that completed the characters’ movements. Wong had learned that studio executives were creating a film from the new novel, Bambi, A Life in the Woods by Felix Salten. Tom says the young artist read the book and without consulting his supervisor, “took the script and painted some visual concepts to set the mood, color and the design.” 

His sketches recalled the lush mountain and forest scenes of Sung dynasty landscape paintings. His initiative paid off. Walt Disney, who was looking for something new for the film, was captivated and personally directed that Wong be promoted. Today, top animators and illustrators revere Wong’s work. Children today are as enchanted by the misty, lyrical brushstrokes of Wong’s colorful nature scenes, inspired by his training at Otis College of Art and self-study of Sung Dynasty art 

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Thank y’all so much for 1500 followers! I’m so happy to have reached this milestone. I really appreciate it, so I’ll be giving out a super detailed reading as a thank you! There will be TWO WINNERS– one for each prize. 

FIRST PLACE - Pick any two (2) things from the list!

SECOND PLACE - Pick any one (1) thing from the list!

ORACLE

One VERY detailed 7-card reading or

3 in-depth 3-card readings

ASTROLOGY

A general reading of your entire chart or

An in-depth reading of 6 planets/asteroids of your choice (will include interpretations of houses & aspects & retrogrades, of course)

SIGILS

7 custom sigils that I will charge for you as well as send you pictures that you can replicate!

SPELLS

I’ll cast a spell of my design with 3-7 ingredients for your purposes* or

I’ll write you one with with a 1.5 page description and instruction, catering to your wants and needs including avalible supplies, personal preferences, etc.

HOW TO ENTER

1. Follow me (this is all about my followers, after all!)

2. Reblog as many times as you like – every reblog is a new entry (But you can only win once. You can’t get 1st and 2nd).

CLOSES AT MIDNIGHT JUNE 1 - EST

Specifically, this frame. Zuko immediately sees this guy, and gets angry at the possibility that Mai might be interested in him. Why? Is it just supposed to be Zuko being a possessive asshole? He comes off that way, but it’s much more complex than that.

Zuko reacts with anger here. Remember, he often uses anger to mask his hurt feelings. Here, I believe it’s insecurity that he’s trying to hide.

Look at this random guy. He has dark shaggy hair and pale skin, just like Zuko does. This really stands out when you consider that most young men in the Fire Nation don’t wear their hair this way. In fact, I can’t think of a single other that does. So basically, this guy looks very similar to Zuko at a base level. Only... without his scar.

Now consider the framing of the shot. Zuko is turned towards this guy, his scar side exposed. The guy has most of his face covered, except the left side, scar free. He’s also standing in front of a MIRROR, which I have a hard time believing is a coincidence. (You can also see the reflection of his back... look familiar?) This episode is also one of the few occasions where Zuko talks about his face. Actually... I think it’s the only time he brings it up himself, so it’s not a stretch to assume his appearance was something he had been thinking about.

It isn’t a coincidence that this is the guy that Zuko has an issue with. Zuko sees this guy as a more attractive and “normal” version of himself. A big theme of this episode was Zuko and Azula trying to be normal. Later in the episode, Zuko says: “Normal teenagers worry about bad skin. I don’t have that luxury.” The idea of not being “normal” among this particular social circle clearly distresses him.

This also explains his dramatic reaction when the guy is talking to Mai. Compare the body language:

In the first screencap, her body language is closed off; her arms are crossed and her back is to Zuko. In the second, her body language is open and inviting, and she looks interested in what this guy is saying.

Mai acts disinterested and bored (she even says “I’m bored) with Zuko for most of this episode, even with his attempts to give her gifts. Then he leaves for a few minutes to get food for her (which she demanded he do), and she’s talking happily with the guy who Zuko has already identified as “me with no scar”. He wasn’t right to lash out at her like he did, but it makes perfect sense where that anger came from.

MARVEL 

this staged affection, a mix of theatricality and intimacy, the couple holding still for a couple of moments and now immortalised in a very set sequence of embraces and kisses. there is a charm to it even when I can’t tell whether this was a genuine couple portait or just actors hired by the photographer.

let us start with the kiss on the cheek (eyes averted! oh the pose! these were taken between 1910-1940)

or the nearly opposite energy (how daring!) of the kiss or caress with direct eye contact (1910-1930)

and then the innocent – yet so flirty – classic of the park encounter! (1890-1920)

and oh, I am not done, look at this – the adoration of the woman! look at this expression, this pose, this decorum! (1910-1940)

and then some of my favourites from the more playful or direct category, enjoy (1910-1930):