Imagine Steve is that little kid from Brooklyn again for a day. It triggers something within Bucky. For a moment Steve hopes that he never has to be Captain America again.
It’s all Thor’s fault. Steve’s pretty much forgotten what it feels like to be sick, but then Thor shows up to one of the Avengers picnics with the sniffles, and whatever Asgardian bug he’s brought takes Steve down.
He’s actually kind of okay with it, though, after getting over the initial shock of being sick after so long. It hurts like a motherfucker, honestly, but something happens to Bucky when he comes into the living room to find Steve staring listlessly at the TV in his favorite hoodie and the duvet off his bed.
Bucky spoonfeeds him chicken soup and it’s just like old times, except not, because instead of water Bucky makes him drink Gatorade—“Natalia says it replaces sweat better, and, pal, you’re pretty sweaty”—and the fever is so bad Steve wants to crawl out of his own skin. Everything aches, even the touch of his clothing against his skin, but still, when Bucky runs his hand through Steve’s damp hair, Steve leans into it.
Bucky kisses his forehead, still kneeling in front of the sofa, and says, “god, Stevie, you’re burning up,” and for no reason, or every reason, this is what makes Steve burst into tears.
Sobs claw their way from his throat, and Bucky just holds onto him, not speaking, his hand still in Steve’s hair. Bucky doesn’t even try to calm him down, and by the time Steve finally pulls himself together, his head is pounding and he can feel the edges of his mind slipping away into sleep.
But Bucky makes him sit up and take some ibuprofen to bring down his fever. Steve polishes off the last of the Gatorade while he’s at it, and when Bucky finally, finally tells Steve it’s time to get some sleep, Steve refuses to do it until Bucky spoons him, just to be contrary and also because Bucky’s always been great at it.
When he wakes, it’s to find that both of Bucky’s arms have snuck up under his hoodie, his right hand flat against Steve’s belly, his left splayed out across Steve’s heart. Behind him he can hear Bucky’s sleeping breath, and for a second he can trick himself into thinking he’s back in their apartment in Brooklyn, and today Steve’s got to head down to the recruitment office, and—
And then he breathes out without wheezing, and everything clicks back into place, and he thinks that maybe he can put up with being Captain America if that hand, that metal extension of Hydra, can be so tender as to feel for his heartbeat.
Here, have a ficlet to go along with my Steve and Sam headcanon.
Natasha woke up groaning. Her head was killing her.
Then again, she woke up at all. Considering the last thing she remembered was a missile coming their way, that was a plus.
“Natasha?” Steve’s voice was concerned. “You okay?”
“Yeah, yeah I’m fine.” And rocking slightly with the motion of the car. “We’re driving?”
“Well, I was kind of hoping to avoid being captured today.”
“Fair enough.” She managed to sit up without throwing up. Small victories. Steve handed her a bottle of water without looking, and she drank it slowly. After the initial protest, her stomach settled. Good. She really was fine. Maybe a minor concussion, but she’d fought with worse.
“So where are we going?”
Steve frowned slightly. “We need a place to lay low for a bit. To figure out our next move.”
She rolled her eyes, wincing. “Where exactly can we go? I don’t know about you, but I just found out everyone I know is probably trying to kill me.” She paused. “Except you, of course.”
“Of course.” He was fidgeting. “Actually, I do know a guy. Not SHIELD.”
“You know a guy. A friend?”
“Sort of a friend? When did you meet this guy?”
Was there a hint of color in Steve’s cheeks? “A few days ago. He’s a veteran, works at the VA.”
“A few days ago. And you trust him?” Steve nodded, and Natasha shrugged. Steve was too trusting, but it wasn’t like they had any better options. “This guy gave you his number? We’ll have to find a cell phone somewhere…”
“Actually, I was planning on driving straight to his place. Less risky that way.”
Natasha stared. “You…know where he lives.” Okay, that was definitely a blush. “Steve Rogers, did you get yourself a date?”
“Like I said. I’m 95, not dead.” He was refusing to look at her, shoulders a little tense.
“Good for you.” She meant it. Although…”Does this mean I should have been trying to set you up with Jim from Accounting instead of Kristen from Statistics?”
He snorted. “If you have to set me up with anyone, Kristen’s a better choice than Jim. Has anyone ever told you that you have terrible taste in men?”
“All the time.” The banter was easing the tension out of his shoulders, at least. Good.
“Besides, I’m doing just fine on my own.”
“I’ll keep that in mind, Captain.” She grinned. “But I make no promises.”
So can we talk about the Winter Soldier’s leitmotif on the Captain America 2 soundtrack? Because it’s nothing short of brilliance.
It begins with a slow build— like an air raid siren— that climbs into an almost human wail before spilling into something similar to radio static. All similar war-time alerts that are heralds of one warning: He’s coming.
The warnings are abruptly ended by mechanic, industrial clanging noises— staccato and heavy— that tell us that the Winter Soldier has arrived and has come for blood. Continual small “screaming” inflections over the music emphasize the terroristic nature of the track. And then— finally— the music track cuts in as a pairing to the heavy industrial noises that had bombarded us for almost four minutes prior.
The fact that the track is almost entirely industrial— no “natural” sounding instruments occur until the last minute or so— is beautifully appropriate. Winter Soldier’s theme is as manufactured and as mechanical as he is— cold, choppy, and wholly a product of artificial engineering.
oH YM GOD CONNOR MADE ME A GIF OF THAT GUY I WAS TALKING ABOUT
LOOK AT HIM
HE KNOWS SOMETHINGS UP MAN
THIS BROTHER AIN’T HERE FOR ALEXANDER PIERCE’S BULLSHIT
i am in desperate need of fic about this guy
This dude has been in his office all morning. He had to process the paperwork on the last Hawkeye op and that is a serious amount of paperwork and there are only so many ways to say, “then Agent Barton fucked up” before you start sounding repetitive. He had done some pretty excellently crafty accounting too and he’d brought the figures downstairs because when he asked the computer where his supervisor was, it said he was downstairs.
He just wanted the damn figures to get approved. A signature. He just need the damn signature.
And, yes, he knew who Alexander Pierce was and, yes, he knew that he was technically his boss’s boss’s boss or whatever, but the man was talking some serious horseshit.
He carefully put the file on his supervisor’s break and said with not-even-a-little-bit-concealed disdain, “I’m taking my lunch until people stop being stupid in here.”
He came back two days later because he was a nice guy and he could volunteer to sort through some rubble. But he only came back because people stopped being quite so stupid.
It’s time for a delightful romp as the Doctor and Clara head to Sherwood forest to meet the not-so-fictional Robin Hood! This was a lovely episode that showed just how good Doctor Who can be when it indulges in a bit of silly fun. I have absolutely no complaints, so this week I’m not going to do a proper review. Instead, I’m going to have a bit of fun myself and do an episode recap!
The episode starts with Clara convincing the Doctor to seek out the fictional Robin Hood, a character she has always admired. The Doctor intends to let her down easy with a brief visit to Sherwood forest, only to accidentally stumble upon the real-life Robin Hood. Of course, the very first thing that Robin Hood attempts to do is steal the Doctor’s TARDIS and challenge him to a sword fight. The Doctor chooses to fight back with a spoon. This isn’t quite as condescending as pausing in the middle of a sword fight to eat a sandwich, but I’m sure the Third Doctor would approve.
Though I have to admit, once the spoon was introduced, I was very disappointed when there were no “I’m going to cut your heart out with a spoon” references.
(Anybody? Prince of Thieves, Alan Rickman as the Sheriff? No? Right then, I’ll just sit here in the corner with my American Robin Hood.)
After a brief scene to establish the evil tyranny of the Sheriff of Nottingham as he plunders local towns and kills innocent villagers, we return to Sherwood forest, where the Doctor is rather desperately attempting to prove that Robin Hood and his merry men aren’t actually real. Gatiss, King of the Pertwee fans, slips in a miniscope reference (yay!). The Doctor is being grumpy about absolutely everything, and rather sweetly has no idea why Clara so steadfastly believes that impossible heroes like Robin Hood can exist.
The Doctor and Clara then accompany Robin to the Sheriff’s archery contest. Robin wins the tournament by splitting the Sheriff’s arrow, but at the most dramatic moment possible the Doctor arrives and, with a bit of cheating, manages to split Robin’s own arrow. Robin has his own “I can’t lose!” moment-
-and fires another shot, splitting the Doctor’s arrow. The Doctor and Robin take turns for a few moments, splitting each other’s arrows, until the Doctor decides he’s tired of your genre tropes and blows up the target.
The Sheriff orders them all captured, and Robin and Clara come to the Doctor’s rescue. The Doctor, of course, wanted to be captured all along, and looks about ready to murder Robin Hood when Robin unveils himself with a dramatic flourish. Still, Robin’s battle with the Sheriff’s soldiers reveals that they are robots, so Robin’s useful for something. After a bit of Venusian Aikido by the Doctor to disarm Robin (be still my fangirl heart), Robin, Clara, and the Doctor are taken to the dungeons.
It’s there that Clara finds herself in the most dangerous place in the universe: chained to two competing egomaniacs.
Clara tries to force the boys to focus long enough to come up with an escape plan, but they compete about everything. Since she’s clearly the only one with her wits about her, she’s taken to be interrogated by the Sheriff. In her absence Robin and the Doctor cooperate long enough to knock out the guard, but they manage to lose the keys and have to lug their chains down to the blacksmith’s forge to get them removed.
Meanwhile, Clara is putting her experience dealing with the Doctor to good use by manipulating the Sheriff’s ego in order to get him to reveal his plans. Unfortunately it works a little bit too well, and the Sheriff is so impressed with her cleverness and ability to manipulate him that he decides to claim her as his wife, something Clara is clearly not interested in.
Deep in the heart of the castle, the Doctor and Robin have stumbled upon the robots’ spaceship, where the Doctor confronts Robin with the legend of Robin Hood, attempting to force him to admit he’s a fake. Clara and the Sheriff arrive, and the Sheriff orders his robots to kill Robin. The Doctor refuses to lift a finger to help Robin, convinced he’s a fake and a tool of the Sheriff. Robin manages to hold back an existential crisis exceptionally well, then takes Clara hostage in order flee the castle. Back in camp with his merry men, he demands to know exactly what the Doctor knows about his life, and why the Doctor believes he is a myth.
The Doctor, meanwhile, is captured once again. With the help of the maid Marion, he escapes, starts a riot, frees the captive peasants, and destroys most of the robots. He confronts the Sheriff one last time, trying to convince him to abandon his plans to take over England, and even accidentally engaging in a bit of bantering (sorry Doctor, you’ve been bantering for about 2,000 years, I don’t think the habit is going to go away that quickly).
And then the Doctor tells the Sheriff that Robin is a robot created by the Sheriff in order to pacify the local population. The Sheriff basically responds with:
It’s at that moment that our legendary hero, Robin Hood, makes his dramatic return to the castle with Clara to rescue the Doctor and face the Sheriff. Using some new moves picked up from his earlier sword fight against the Doctor, Robin knocks the Sheriff off a ledge into a giant vat of gold, Viserys Targaryen style (has Gatiss been hanging out with GRRM on the set of Game of Thrones?).
Unfortunately, some of the robots survived the Doctor’s earlier assault, and they attempt to launch their rocket, even though the engines are damaged and they’ll explode before they reach orbit, destroying half of England in the process. With a little help from Clara and the Doctor, Robin manages to fire a golden arrow into the spaceship, which somehow helps propel them into orbit, where they explode safely. England is saved and it’s a happily-ever-after ending for everyone (except Alan-a-dale, who only gets a happily-for-six-months ending).
But because even fun episodes need to be a little serious, the Doctor and Robin Hood share a moment about being heroes and the power of narrative. Both the Doctor and Robin Hood are legendary heroic figures, in their own way. Both of their stories have survived longer than anyone may have expected them to, in part because they are uniquely compelling stories about seeking out and fighting injustice. Robin Hood isn’t just a story about damsels in distress and pretty castles, it’s about fighting against abuse of power. Doctor Who isn’t just a story about time travel and aliens, it’s about rebelling against what is expected of us and fighting for justice.
And so the episode closes with a lovely moment of meta commentary, as Robin Hood leaves the Doctor with this final statement: “Perhaps others will be heroes in our name. Perhaps we will both be stories. And may those stories never end.”
So many people that attempt a gender-reversal in which to objectify men instead of women do it completely, totally wrong. Showing images of muscular men flexing their muscles is not sexual objectification. It doesn’t accomplish the objective of reversing the gender roles of men and women. And it fails to give men the slightest taste of what it’s like to be a woman surrounded by sexually objectified images of women.
The factors that make images of women sexually objectifying are the stripping away of human qualities and the removal of agency. Images of hyper-sexualised, objectified women affirm the sexual availability and violable status of women. In ads, they conflate the characteristics of the woman with the characteristics of the object being sold, thus relegating the woman to an object. Just a picture of a naked or partly naked attractive person does not an objectifying image make. Sweaty, hairy men fresh from the gym are subjects of their environments, not objects.
You don’t see fashion photographs of helpless, bruised men lying near garbage dumps that vividly suggest brutal victimisation. You don’t see used car ads depicting ~sexy~ men’s bodies with jokes about being able to enjoy the man even though you’re not the first to have him. You don’t see awareness campaigns about testicular cancer that focus on SAVE THE BALLS and lament the loss of manliness after orchiectomy.
If you want to do a proper gender swap to give men an idea of how sexual objectification affects women, you can’t just switch out feminine women and insert masculine men, as if femininity were not an inherent component of sexual objectification. What the fashion and advertising industries do to women, you have to do to men. Get rid of the fucking muscle men. Get a pretty face skinny boy and put him in makeup; impractical, feminine-coded clothing; and a pose that looks explicitly like he wants to get spanked. If men squirm in discomfort when they see it, you know you did it right.
for real though I’m 200% over the ‘exasperated mature girlfriend babysits/rolls her eyes at her childish male friends/teammates/etc’ trope and I will defend to the death Natasha Romanov’s right to be as fucking weird and lazy and silly and gross as the other Avengers
#Bruce Banner is the mature boyfriend who babysits immature teammates okay (via dana-cardinal) so much yeah
things life is too short for: - hating yourself - pretending to laugh at “jokes” that are actually just bigoted statements - not singing along to your favorite songs - waiting hours to text someone back just to look cool - bad coffee - bad books - mean people - body shaming - letting other people dictate your life
Friendly reminder that Dia de Los Muertos is pretty much a funeral, and the dead being represented in the holiday are actual dead people who had families and friends and hopes and dreams. So just as you wouldn’t throw on black clothes and join a group of mourners because they look so fashionable in black, you shouldn’t paint your face and put marigolds in your hair and make altars because it looks cool to you. Thank.
“The other reason for introducing Wilson so early in the film was that they wanted him to appear before any conspiracy elements started showing up, helping to show the character as trustworthy, allowing Rogers to seek his help in the middle of the movie.”
“There were debates about whether Rogers should have a romance with Romanoff, but they opted not to do it because it would sell out both characters. In particular, they felt that if that happened, it would appear that the only reason to have Black Widow in the film was as a love interest, and there was so much more her character could offer the story.”
out of all the marvel affiliates i only truly trust the russo brothers