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While I do read many ships as romantic, I still have an aroace lense over everything I consume. I love romance. I live vicariously though my favorite characters because I don't really experience it despite wanting to.
Some brainstorming for a Thunderbolts* fic I came up with a while ago. About a year now, actually.
General idea is Bob's journey through the 14 months we don't see in between the end of TBS* and the post credit scene, with a huge plot element being the development of a QPR between Bob and Yelena.
Bone apple teeth!
âYou know.. Iâve never really had a crush on someone before. Maybe like once, when I was in middle school, but thatâs it,â Bob sighed uncomfortably, worried that Yelena would think itâs weird.
âHuh,â Yelena mused, tying her hair into a messy and small ponytail, serving no other purpose than switching things up. She paused as if she was collecting her words.
âWell growing up with the red room never really gave me any opportunities to âcrushâ. In the red room, sex and dating were weapons. We were taught to use our bodies to complete an objective.. I think I really just donât care for the idea of a relationship. Not after all that at least.â
Her eyes smiled softly, genuinely seeming unbothered, like she'd accepted this long ago.
Bob slouched slightly, bringing himself to Yelenaâs eye level. Carefully he reached his hand to Yelenaâs. Their fingers gravitating towards each other. For a moment he flinches back, second guessing himself, wondering if this gave off the wrong impression, anxiety creeping up to his chest. His hand moves more and more closely to his chest, and he reunites it to his other, defaulting back to fidgeting. Yelena just exhales in amusement, cocking her head. âBob, I like you. I like you a lot. It may not be romantic or anything, but I'm comfortable with you. Your touch brings me comfort, because I know that you donât have any hidden intentions about it, and I know I donât either.â
She gently prys Bobâs fingers apart, stopping him from picking at his skin, and holds onto both hands firmly, like that of a hug. Bobâs lips quiver, realization hitting him like a truck, and flooding over into his eyes. He does his little lopsided smile, and tears start to overflow down to his chin. âI like you too, Yelena.â He lunges forward, quickly hugging Yelena to feel her oh so familiar warmth, the light that she is illuminating his soul. All she does is embrace him back, squeezing him in acknowledgement.
They could probably snuggle for hours if they wanted to, if they had the time. But after a few minutes of hugging and laying down beside each other they get interrupted by a blaring alarm. The pair jolt upward in an instant and clamor away from each other. âAck, sorry,â Bob murmurs, his voice low and quiet. Yelena just grins and whispers into his ear, âWe can continue when we get back if you wantâ. And just like that, she bolts out of the room, grabbing her weapons on the way.
It feels quieter now. In his brain. Itâs a welcomed phenomenon, something Bob doesnât have the pleasure of very often. Usually itâs buzzing, like all his worst tendencies are trying to claw their way out. Before the New Avengers, before her, he wouldâve just turned to drugs and such. But now, after everything, he feels those urges less and less.
He lays back down smiling to himself. He feels as if something he didnât know was missing was returned back to him. Like this small, almost unnoticeable weight has finally been lifted, and despite how tiny it is, itâs still weight he doesnât have to carry anymore. His whole life, on top of everything else, he always worried that his lack of well, desires (both sexual and romantic), was just another thing wrong with him. That he was less than human. But now, he has Yelena, the most human person he knows, telling him heâs not alone. Again.
Bob starts to float upward, but not by decision of his own consciousness, no. This is something different. Emotional. He thinks back about what his therapist told him a few sessions ago. Your powers are not evil, Bob. It can cause a lot of harm, yes, but it also does good. It all depends on your intent.
This doesnât really have any intent, not really. Heâs just floating because heâs relieved. And maybe thatâs a good thing. Itâs still uneasy to use this power. Fear creeps up unwanted, and he drops down, bouncing off the bed slightly before becoming static again. But he doesnât hate what happened.
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Dump of Spaced doodles I made at work in a puny tiny miniscule booklet I made out of scrap paper. I need to use a real sketchbook fr bc photographing these doodles is a bitch lmfaoo
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I feel like people donât give the Cornetto Trilogy enough credit for its female characters. Theyâre all very clearly written as women and even though, like the male characters, theyâre written as certain stereotypes they still feel so real.
Even in Hot Fuzz when the majority of the cast is male you fucking remember realistically happily slutty Doris who has a harem of men at her beck and call. She could have been a male fantasy but sheâs so aggressively in charge of her own sexuality you never hear male viewers sexualize her. Itâs magical.
I didnât even realize that Shaun of The Dead set the tone for me until I watched the movie again a few nights ago.
At 1:27 thereâs a random scene where the only people helping Shaun are the female characters. They donât make any real point of it but we get it. Liz and Dianne know Shaun is slightly stronger than them so they hand him the âspearâ but they act as a team. Extra material on the DVD even revealed that Shaun, Liz and Dianne were the only characters who survived to the end (Dianne got away and hid in a tree apparently).
Women are in general far more capable and helpful in the movie and Shaun himself is the most âfeminine codedâ of the male characters. Youâll never see a male protagonist more honest about his emotions and more willing to be visibly vulnerable than Shaun I can tell you that much.
And in The Worldâs End we have Sam who has her own agency and doesnât exist to be a price to be won by the main character Gary at the end of the movie, try as he might. She will help and save him and let him help and save her, yes, but the movie makes it very clear that doesnât mean he has any right to her. She wants Steven and thereâs nothing Gary can do about that.
The movies arenât feminist masterpieces but together Edgar Wright and Simon Pegg writes some amazing female characters.
Side note; men also act a certain way around women in these movies that I canât quite put my finger on. They donât treat women as brilliant goddess or anything and can be downright inappropriate but thereâs also a certain respect that feels unusual in movies? When Liz grabs Ed in Shaun of The Dead he doesnât push her away or grab her back. He just sorta shakes her off without touching her in a âfuck off but I have zero interest in hurting youâ way. I really donât know how to explain it. Thereâs an understanding that âyes we are stronger than women so we can hurt them unintentionally but we know theyâre our equals in both good and bad so thereâs no reason to take advantage of that and women have had to learn to get the upper hand in other ways so strength doesnât mean an automatic win anywayâ. Just the way Shaun and Ed approach the girl in the garden before they know sheâs a zombie. Theyâre afraid of her but not really and yet a little scared anyway. ItâsâŚdifferent.
But yeah, in these movies women get to be women because it doesnât make them lesser, just like the men get to show their feminine side because it isnât shameful.