YELENA BELOVA and KATE BISHOP — THUNDERBOLTS & HAWKEYE // (2022-2025)
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YELENA BELOVA and KATE BISHOP — THUNDERBOLTS & HAWKEYE // (2022-2025)
Credits to the talented @shunika.terry on IG for the haircut idea behind the smokestack twins
The details are off the chain 🔍 her and the rest of the team coogler put together helped make these twins have their own energy and personalities to the T
KATE BISHOP — HAWKEYE // S01 E05: "Ronin"
Remmick is one of the best vampire portrayals of all time...
So anti-racist he was anti-free will... So for equality, he was color blind...
He had such a lonely childlike quality that you can't help but understand him. his true flaw is that he's selfish. he doesn't want a tribe, he wants a cult. He wants their stories, their music, their culture...
He has no concept of racism being an immortal creature; it even disgusts him in the movie. His unwillingness to even realize he's inacting the same supremacist views as the KKK but in a different form. His "Everyone can be happy if we are all in one group" type of thinking is an inherently blindingly unnuanced way of looking at the black people he's trying to turn. In his eyes, being a monster is better than being oppressed. He can't fathom that they want to stay mortal despite how hard it is being black in the south. This is his main pitch to them to turn. As we see in the movie, what made our main character's community so special was that they were different. all from different tracks of life and cultures, they thought differently and acted differently too...
Remmick wants that, but wants it in a way that takes away agency as an individual. He wants equality without the humanity...
such a complex character...
Watching sinners get snubbed in real time is so upsetting
Each question in this interview could be clipped, the host did a great job with his time slot.
They mention the magical moment at Annie's shop.
The song they would play if they had to fight for their life.
Who Coogler would be in a horror movie.
And how Blues came from a place where death was constantly around the corner so musicians embraced it.
I definitely felt the magic of Wunmi and Michael scene.
immediately after meeting Romeo, Juliet whispers to the nurse, “If he be marrièd / my grave is like to be my wedding bed.” (I.V.148-9)
this echoes later in the play, when she learns Romeo is banished. she takes the cords (presumably to hang herself), and once more tells the nurse, “I’ll to my wedding bed, / and death, not Romeo, take my maidenhead!” (III.II.149-50)
fast-forward. Juliet is begging her mother to delay her marriage to Paris, if even for a few days, “Or, if you do not, make the bridal bed / in that dim monument where Tybalt lies.” (III.V. 212-13)
but where are we getting this motif from? death and weddings? why would a thirteen-year-old girl talk so freely about her own death, and equate it to love and marriage? it’s almost as if her fate is already decided.
because it is. that’s where Lady Capulet comes in. in the same scene as above, Juliet’s mother tells her father, in front of Juliet, “I would the fool [Juliet] were married to her grave.” (III.V.145)
no wonder Juliet is so ready to end her life in all of these scenes throughout the play. how often has her mother told her, in different words, that she wishes Juliet were dead? and how many more times has Juliet’s pain gone unnoticed by the adults in her care?
that’s the beauty of this tragedy. there’s no prophecy. there’s no oracle. there’s no drawing of straws, but each character’s fate has already been sealed before the play even begins. no adult in Verona will offer help to Romeo, Juliet, Benvolio, or Tybalt. they all go practically unnoticed until after their deaths.
even Friar Laurence, privy to Juliet’s pain (“I long to die / if what thou speak’st speak not of remedy,” as she tells him IV.I.68), abandons Juliet in the tomb, with the corpse of her husband, and a dagger, to save himself. all of these children were abandoned. all we have now is their legacy.