The New Meme Obsession? #Caturday #MCU

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I love mixing Caturday with Star Trek, but this is a close second, and highly appropriate considering tonight is my return to the theater for an MCU entry.

MCU-Memes-woman-yelling-at-white-cat-tony-stark-captain-america – Comics  And Memes

Is this the next big meme template?

Probably not.

Pin on Marvels

Flerkens >> dogs.

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I’ve Still Got Nothing @Partynerdz #MCU

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Just like yesterday, I’ve still got nothing. Look, work’s been tough lately, so here are a couple more silly MCU memes.

Care of Party Nerdz https://partynerdz.com/

Is this one better?

Nebula’s hair makes no sense.

I’d be cool with Hemsworth doing this well into his 80s.

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I’ve Got Nothing #MCU

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I’ve been getting crushed at work recently. Today is the first weekday I’ve gotten to the gym since Wednesday of last week, and it’s also the first day since Monday of last week that I didn’t stay a couple extra hours. So with no time even to think of something to write, let alone actually put it to digital ink, here’s a silly meme for you.

It isn’t even that funny. Dammit.

As I said, I’ve got nothing.

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Was Yondu a Child Abuser? @RookerOnline @KarenGillan @RobertDowneyJr @VancityReynolds @twhiddleston #MCU #Yondu #movie

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Recently, I’ve been posting some angry comments on Facebook about child abuse, which were in turn exacerbated by my viewing of Allen vs. Farrow on HBO. I’m not going to discuss any of that on a goofy blog like this. This shouldn’t be where you come for that sort of heavy conversation. (I won’t even discuss sports on this blog.) However, a Facebook friend made a related comment on a topic that’s very much a subject of this blog:

Stop celebrating MCU Yondu as an model father, he was a child abuser.

First, I don’t know of anyone that has celebrated him as a model father. Everyone whose comments I’ve heard or read is more than willing to acknowledge his faults, so that comment isn’t fair to any of us that discuss Yondu. However, it’s not even fair to the character of Yondu.

I’ve discussed in the context of Nebula why this is (sort of) an unfair criticism. TL;DR, in the real world, Nebula’s crimes shouldn’t and wouldn’t be swept away because she suddenly realized that she loved her sister. But this isn’t the real world; this is cinema. In cinema, sometimes the only way to get a story of redemption across to the average viewer is to do so through a kind of hyperbole. It won’t have the emotional impact intended unless you go from one extreme or the other. Tony Stark committed all sorts of computer crimes while testifying before Congress in Iron Man 2, and we all laughed about it because the corporate villain of the story was made to look like a fool. Darth Vader — the same guy that murdered younglings — was forgiven because he suddenly prioritized his repressed love for his son. Ryan Reynolds plays a pretty bad guy in Deadpool, but it’s okay because he’s funny and loves his wife. Loki tried to violently take over the Earth, then, against all odds, valiantly sacrificed his life to try to stop Thanos. There are countless examples of this, and not just in the fantasy genre, though I’m having trouble coming up with more meaningful, heartwarming stories of redemption than Vader, Yondu, and of course the best perhaps in cinematic history, Nebula. That’s probably because the fantasy genre allows you to go beyond the limits of logic with the horror and wonder it provides as the vehicle for that redemption.

Now, because we live in the real world, it’s certainly fair to use art to address these issues. I encourage it, especially with a topic like this that might otherwise be difficult to discuss (e.g., child abuse). Art is great for that sort of thing whether the filmmaker agrees with your point of view or not. Art is in the eye of the beholder.

My point is simply that context matters. The MCU is a fantasy world presented on film. The swing from villain to hero requires extreme circumstances in order for the audience to appreciate the redemption arc. That’s the context, and within that context, we can see that Yondu actually loved Peter and, in his own twisted way, tried to do right by him. We never saw him cause Peter physical harm, and in the end, he literally saved him from his irredeemable, biological father. So, maybe cut Yondu some slack. The real world needs more people that can shed their cognitive dissonance and admit when they’ve screwed up. In that (narrow) sense, Yondu is a role model.

Just don’t try this at home, parents.

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Nerd Limericks #StarTrek #MCU #StarWars #DCEU

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Sundays are now lazy days for me. Going forward, I’m just going to re-post other people’s work or just do something silly. Today it’s my own work, but it’s work I’ve already done. I went a little nuts today, creating my own, ridiculous spin on a Facebook post. I posted a handful of nerdy limericks, referencing Star Trek, Star Wars, the MCU, the DCEU, and Lord of the Rings. Each one has a Twitter hashtag of #NerdLimericks, so you can just click here to see them all. If I, or anyone else, adds more, they show up using that same link. The complete URL is: https://twitter.com/hashtag/NerdLimerick?src=hashtag_click.

Just for good measure, here are direct links to just a few of them. Retweet them all and share your own!

A la ….
I love this movie.

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Pepper Potts Sucks! @ComicBook @BrandonDavisBD @Rowaenthe @RobertDowneyJr #IronMan #QuarantineWatchParty #MCU

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June 30 was the first ComicBook.com quarantine watch party in quite some time. As always, I made a few more Twitter connections through the conversations that came from it. These conversations inspired three posts for my blog. This is the second one that in some sense serves as a sequel to the first one.

I must admit that I’m a little out of my element. As I said in the prior Iron Man-related post, I don’t analyze these movies from the perspective of an expert in screenwriting. I focus on themes that are important to me. This post eventually strays into an analysis of moviemaking and human relationships, so I have far more questions than I have answers, and my affirmative claims are often mere speculation. My primary question is: What purpose to the larger story did Pepper’s naivete and/or stubbornness serve?

Here’s what I’m talking about:

In other words, there are several incidents throughout the MCU where Pepper makes the same mistake that many people make in the real world. She tries to interfere with a strong person doing what’s necessary because she doesn’t understand what strength of character is, or at least why it’s important. As shown in Shazam!, attitude is often far more important than actual ability, which is why even in the non-caveman, modern world, strength is an important feature. While Pepper is a hard worker, intelligent, and portrayed as strong in other ways, that’s not a realistic portrayal. She’s simply serving a plot, so the script has her acting both strong and weak at different points.

While we all have our strengths and weaknesses, this paradox is far more profound than that. She doesn’t get a simple reality that, again, I’ve seen a lot in the real world: Telling Tony not to act because it places him at risk is counterproductive. If he doesn’t act, the bad guys will win, and Tony will die anyway (along with many other people). This is absolutely maddening, and it happens during Paltrow’s entire tenure in the MCU. At the end of Iron Man 3, Tony temporarily gives up being Iron Man for her. Fortunately, real world economics prevail, and the screenwriters quickly send Tony back into the fray to save half the universe. But the point is that, if you’re weak, that’s fine, but don’t stand in the way of the strong. They have a job to do, and it’s generally saving your ass.

How Did the Relationship Work?

Sorry, but my writing gets a little choppy here because I’m suddenly shifting gears.

I’m light years from my area of expertise, but perhaps Stark latched onto a person with such a silly outlook because her motivation was seemingly unconditional love, and that’s what he was searching for. According to Captain America: Civil War, he lost that relationship for a while, but as soon as he could, he grabbed her and didn’t let go. As I speculated in the prior Iron Man-related post, that’s probably because Tony’s lack of a family was haunting him (as it often haunts me). Or maybe it’s far simpler: Opposites attract. Because it’s just a movie, they were able to write the script anyway they wanted, so the resulting relationship with Pepper worked even if it wouldn’t in the real world, which wouldn’t be so generous. (For the record, Civil War screenwriter Stephen McFeely stated that her presence would have calmed Tony, but he needed to remain dark and angry in order for the events to play out as they did.) Tony never got “fixed’ by anything we saw on screen; the script just pushed him in that direction leaving the details to our imagination (other than the unwitting therapy session with Bruce Banner in Iron Man 3). Figuring out why is merely speculation. As complex as some of these MCU characters are relative to other movie characters, they’re still not real. They’re just two-dimensional characters driven more by dramatic forces than by real, psychological or logical ones.

It appears that Pepper’s behavior always served to advance the plot. She could hold Tony back or push him forward as needed, but she usually held him back. When she did so, her thought processes were wildly illogical, and that grated on me.

I don’t want to hate Pepper Potts, but I do. There. I said it.

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Dysfunctional to Functional Family: Tony Stark, Obadiah Stane, Spiderman, and Morgan Stark @ComicBook @BrandonDavisBD @Rowaenthe @TheJeffBridges @RobertDowneyJr #IronMan #QuarantineWatchParty #MCU #Spiderman

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June 30 was the first ComicBook.com quarantine watch party in quite some time. As always, I made a few more Twitter connections through the conversations that came from it. These conversations inspired three posts for my blog, this being the first one.

My posts aren’t about getting clicks. If no one read any of my posts, I wouldn’t really care. Writing them is more about catharsis than fame. Moreover, I’m no film student, psychologist, or sociologist, so I can’t break down the science of movie-making or human behavior. Instead, these posts are about analyzing the themes used within the movies due to my personal connection to their messages (accordingly, YMMV). As a result, my favorite posts have been about Nebula’s Redemption, my comparison of Shazam! and Guardians of the Galaxy, and others dealing with a particular theme. That theme is realizing and accepting that your idealized vision of family is complete nonsense, breaking away from those abusive relationships, and appreciating the family you didn’t realize was in front of you the whole time (though for me personally, the third has been elusive). Not everyone has these experiences, but it’s a recurring theme in superhero movies. I never considered that the first Iron Man movie implicitly raised issues related to this theme.

Father Figure

Tony Stark’s (Robert Downey, Jr.) father died, and then Tony disappeared for a while. This isn’t surprising considering how self-absorbed he is, but when he returned to Stark Industries, Obadiah Stane (Jeff Bridges) must have served as a father-figure for him. Before I go forward, I want to mention . . .

Tony didn’t show as much respect for Obadiah as you would want to see from your own child, but Tony didn’t ever show much respect for any authority figure, so it’s still fair to assume Obadiah acted as an adoptive father to him. That is, Obadiah wasn’t merely a coworker, boss, or even family friend. Assuming that, it must have been absolutely devastating for Tony when he realized Obadiah had called for his removal from the company, and even worse, his death. That betrayal would hold back Tony’s growth, which became a slow burn throughout the Infinity War saga. It helps make Tony’s grief over Black Widow’s death as believable as that of any other character despite his never overtly expressing that grief or deep feelings for her. It wasn’t until the first Avengers that Tony showed a willingness to “lay down on a wire” for his allies, but his ego made sure that no one would forget that. Somehow, it was still about him . . . until he started to understand fatherhood in Captain America: Civil War.

Peter Parker and Morgan Stark

In Civil War, Tony latched onto Peter Parker/Spiderman. At first, he was looking for a little more firepower to take down Team Cap ®©TM℗SM, but by Infinity War it was clear he had a genuine emotional attachment to Peter.

By Avengers: Endgame, he was devastated because he “lost the kid,” but he got a second chance in that film. Tony’s life became about Pepper and their daughter, Morgan. He was reluctant to restore the Vanished because doing so threatened what he had finally found after a lifetime of searching, even if it meant giving up on his filial figure, Peter.

Tony’s progression from self-absorbed brat to the guy who’d “make the sacrifice play” was 22 movies long probably because of Obadiah more than anything else we saw, but Tony made it there, and that wound up saving half the universe.

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No Small Parts: Miriam in Captain America: Civil War @AlfreWoodard @RobertDowneyJr @ChrisEvans #MCU #CaptainAmerica #IronMan #NoSmallParts

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Unlike the other MCU films, the overarching storyline in Captain America: Civil War wasn’t the Avengers finding a way to come together, but rather the Avengers being torn apart. Behind the scenes, the Sokovia Accords were being written, and Secretary Ross was getting ready to confront the Avengers, but for the disassembly of the Avengers to occur, it had to come from within. The two factions were led by Steve Rogers and Tony Stark. Steve needed no outside help to make his stand; it’s what he does. Likewise, Tony is prone towards sacrificing liberty in favor of security, but in prior films, he insisted on being the one in control of that security. Something had to push him over the edge to where he’d be willing to surrender that control to the government that he so routinely dismissed.

Enter Miriam, played by acting veteran Alfre Woodard.

Jump to 0:55 for the scene in question.

Miriam tells the story of her son, Charlie Spencer, who had the city of Novi Grad, Sokovia dropped on him during the events of Age of Ultron. She blamed the Avengers for his death and laid a huge guilt trip on Tony Stark in that scene.

One of my pet peeves about superhero movies is the after saving the world, the unappreciative human race vilifies the heroes because of the collateral damage that occurs, ignoring that, in some cases, without the heroes the entire human race would be killed. That’s certainly a theme in Civil War, and it’s annoying as hell, but in Civil War those arguments were no more than a means to advance a more reasonable position. The United Nations truthfully understood that what the Avengers were doing was right, and that the consequences of those actions were often not the Avengers’ fault. They simply wanted international oversight to minimize those consequences.

But logic isn’t always the best motivator. Even the most stoic among us are emotional creatures. You can’t blame the Avengers for feeling bad about what happened. If a criminal held a gun to a loved-one’s head, and you felt you had to kill the criminal in order to save that person’s life, the world wouldn’t blame you, but you might still find it difficult to deal with having killed another human being. Maybe you could have disarmed the criminal, and if so overpowered him. Tony was facing the same emotional dilemma, and to make matters worse was the creator of the threat, Ultron. Even more, maybe Tony could have zigged when he zagged and saved some more lives.

Miriam appealed to that emotion, and in less than 2 minutes of screen time, set in motion the civil war between the Avengers.

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Good Watch: The Ending of All Creatures Here Below Screwed Me Up @karengillan @Dastmalchian @schifflifilms #movie

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The ending of All Creatures Here Below really screwed me up, and it’s been festering in my brain for about a week now. (Technically, I’m already screwed up, and this just raised the issue. The coincidence that it was released on my birthday in 2019 is rather odd.) As I mentioned in a prior, spoiler-free post, I rented it, saw it, had to watch it a second time. This movie strikes the precise emotional chords for me. YMMV.

Spoiler Alert!

Before you read further, please note that this is one of those few movies that I’m glad I saw spoiler-free. If you’re at all spoiler-averse, you should stop reading now and watch the movie. If not, you’re robbing yourself of a process that made the movie even better for me. I watched it once, tolerating the typical humdrum character and story development necessary to start any film, was hit with the twist towards the end (which I won’t spoil here), and then was hit with the ending. At that point, I knew I had to watch it again, which completely changed how I saw the start of the movie. It was no longer humdrum; rather, almost every moment became disturbing and/or important.

The Characters

The two main characters, Gensan and Ruby, are bad people. They commit crimes, both minor and heinous, throughout the movie. I should be rooting for their downfall, but as I’ve pointed out, this movie demonstrates how complex issues can get. While I don’t waiver one bit on the position that they should both be in prison, the screenwriting (David Dastmalchian) and directing (Collin Schiffli), and acting (Dastmalchian and Karen Gillan) leave me conflicted. I feel bad for the characters, probably because I know that the emotions they feel are ones with which we all sympathize. They deserve to be in prison because of their actions, but how they emotionally respond to their own actions, as well as how tough their circumstances are, are relatable. Some of you may even share those circumstances.

5 Minutes

Most of us can appreciate the finality of death. Once a person dies, that’s it. Even if you’re religious, it feels like they’re gone forever. This inspires a very common sentiment: “What I wouldn’t give for just five more minutes with [person].” Depending on the relationship, you may want to spend that five minutes kissing, hugging, or just talking to that person, telling them how you feel about them or sitting back and enjoying their wisdom one more time. Regardless of what you need from that five minutes, you need that five minutes.

In the end scene, Gensan is living in what should have been those five minutes. In his twisted mind, he had to kill her but not at that precise moment. Even for a guy who was so emotionally stunted, I think he, like all of us, would appreciate just a few more minutes with her, but he’s the reason he doesn’t have those five minutes.

Moreover, despite Ruby’s mangled corpse being out of view, we all know what Gensan sees before him. However, the director (I think that’s where the credit lies) makes sure we connect emotionally with that scene. Ruby falls to the ground after the initial (brutal) strike. She gets hit again, and we see only her right hand clutching the grass. Then she’s hit a third time, and her hand is limp. On the fourth and final strike, it simply bounces a bit from the impact. We see her death occur without the blood and guts, but we can’t ignore the brutality of it. Gensan is looking directly at the product of his own handiwork knowing that he didn’t have to do it before spending five minutes saying a much-needed goodbye.

Ruby’s Letter

Ruby gets to have those five minutes in a sense, because through her letter to Gensan she tells him how she feels about him. She saw him as her “knight in shining armor,” but he failed her in that regard in the worst way imaginable. Gensan must now be overwhelmed by his own betrayal.

And all of this could have been delayed five minutes.

It May Be Even Worse

As if all of that isn’t bad enough, Gensan may have to relive this pain over again. Let’s say he gets exceptionally lucky and serves only twenty years in prison. Assuming he’s thirty years old, he’s out at fifty, with on average (statistically speaking) twenty-six years left to live. On the day he’s granted parole and knows he’s getting out, something’s going to hit him: If he could have gotten lucky, perhaps Ruby could have as well. She could have also been getting out of prison at some time, so they could have decades of those “five minutes” together if not for his short-sighted actions.

He’s going to have to relive that same pain again, knowing that he robbed himself and her of that time together, as well as everything else that goes along with life. How could you live with that?

Personal Matter

Everyone has their pain, and I’m no exception, but my greatest pain dwarves the rest of it, perhaps defining me. Several movies have occasionally tugged on that particular heart-string, but none struck that particular chord as hard as this movie did. Perhaps that makes me like this movie more than you will, but I still encourage people to watch it. Even if you’ve just spoiled it for yourself, there’s a twist I haven’t spoiled, and the ending should still be a powerful watch for you.

Grade

I give this movie an A+.

America’s Sugar Addiction

There was one other thing that was disturbing about the movie, but in a funny way. To avoid spoilers, I’ll just say this: Ruby, c’mon! You’re still watching TV and eating a Baby Ruth? 😊

Depending on how it’s presented, I sometimes don’t handle death in movies particularly well.

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