Nurse Chapel is a beloved [Trek] character,” says Orci. “Even before the first movie came out, a lot of online chatter was, ‘Is Nurse Chapel gonna be there?!’”
Alas, although we hear Dr. McCoy (Karl Urban) say “Nurse Chapel” in 2009’s Star Trek, we never officially saw Christine Chapel — and she’s still MIA in Into Darkness. Instead, Carol Marcus tells Kirk that she learned of his reputation as a ladies man from her friend Christine Chapel, who has become a nurse since her romantic encounter with him — which he does not recall.
“We just figured that would be a great reference, and we loved that Kirk didn’t remember her,” says Orci. “It’s an in-joke that also speaks volumes about his character when it comes to women. That’s why we used it.”
So will Nurse Chapel ever actually make a flesh-and-blood appearance on the Enterprise? Orci just laughs. “That’s certainly possible! —
Bob Orci talks to BuzzFeed about fan references in Star Trek Into Darkness. [x]
All I have to say about this is:
#the misogyny is so fucking palpable im going 2 throw up #you had the opportinity to introduce another female character #(having more than 2 is too much for you maybe???????) #but nooo #you had to be gross and write her off as just another conquest in kirk’s book #HILARIOUS AM I RIGHT!!!! #women are dispensable!!!!! #and not only the fucking blatant misogyny you also seem to not understand kirk’s character #like apparently for these dudes sleeping around = being a sleazy douchebag #which???? no?????????#people who have a lot of sex maybe do b/c…they enjoy sex??????? #wow revolutionary i know #anyway god im just so angry about this
i thought this was an anime great gatstby cover
the sugoi gatsby
“In my younger and more kawaii years my sempai gave me some advice that I’ve been turning over in my mind ever since.”
(Source: cameos, via genufa)
Let’s go back to 1945…
Let’s not… Let’s play a game called “Context Matters!”
That picture on the left, so iconic and romantic? Yeah, that’s a sexual assault right there. That man was a stranger, a strong stranger who grabbed a random woman on the street, and “kissed” her. In her words:
Suddenly, I was grabbed by a sailor. It wasn’t that much of a kiss… “I felt that he was very strong. He was just holding me tight. I’m not sure about the kiss…it was just somebody celebrating. It wasn’t a romantic event.
That picture on the right, the one that looks like a man holding a woman down in the mists of a riot, her clothes disheveled as he kissed her hard? That man is her boyfriend. He’s comforting her. Her real attackers are the police. An eyewitness stated:
The girl who was knocked over landed head first on the pavement with her boyfriend landing partially on top of her. She was in visible pain, crying, but the two officers gave them a parting shove and moved on.
The left picture: an icon of sexism, male privilege, and female objectification.
The right: real love in the face of brutal state force.
(Source: naniithran, via thestreetballet)
Yes, false rape accusations happen. Run the protocol anyway. I’ve heard that perhaps the military has the highest number of ‘em. True or not, RUN THE PROTOCOL ANYWAY. Because in 15 years of investigating rape accusations, I can count those that panned out as false on one hand. Meanwhile, the one time I almost skipped the protocol, the one time I almost didn’t believe a petty officer, because I was naive as an investigator and a young woman, because her commanding officer described her as “a party girl, always late, always out drinking, don’t bother with this one”, she turned out to be the victim of one of the most brutal assaults I’ve ever investigated. She shouldn’t have still been -alive-, let alone up and making the accusation. So let me repeat: five false accounts in fifteen years. And one time I almost failed a woman ‘cause of the bullshit way it’s normal to talk about us. Take your shipmates’ word, and then run the protocol. Every. Single. Time. — - JAG lawyer, speaking to my husband’s plant during Sexual Assault Prevention Month. (via circusbones)
Reblogging this, for example, is more important important than tweeting it.
Don’t worry, Yahoo is on that.
(Source: stupiddmol, via thestreetballet)
Those who say the Black Widow’s fighting style is just movie bullshit can see the above. ^ Shit is terrifyingly real.
I think I’m in love.
She’s so tiny.
But she could kill me.
I will reblog this flying head scissors every time it comes on my dash because it’s so fucking awesome.
(Source: zkarl, via zen-ish)
Iron Man 3 Link Round-Up
Clearing out all of these very good pieces from my Instapaper queue:
The Twisted Career of Hollywood Bad Boy Shane Black, by Alex Pappademas
But there’s a moment when Black starts talking about the action movie — a form whose precepts he codified and arguably perfected with Lethal Weapon — as something he barely recognizes anymore:
The worst of the action films are the ones where everything is one shout from beginning to finish. And there’s no differentiation between beats, like small or big, or quiet or expansive. It’s all just one loud shout. And by the end, the audience has been beaten in the face so many times, you could blow up the Taj Mahal and they’d go, “O.K., that’s nice.” Because they’ve seen so much. They’re just dead. We’re in a culture where people want to be deafened, apparently. And there’s an elegance, which is somehow missing. It used to be that when people talked, they talked in a very communicative way. They varied their tone, they varied their pitch. Now they just yell at you until you fall down. And that’s what I don’t like.
Iron Man 3: A Different Kind of Suit by Chris Laverty for Clothes on Film
Shane Black and the modern action blockbuster, which he helped create, duke it out in Iron Man 3 by Matt Prigge:
It’s odd for a filmmaker to try defeating the very cliches he once helped create. But then, times have changed: Hollywood product is more impersonal; personality is discouraged. Black, once the architect of blockbusters, is now an iconoclast. His “Iron Man 3” doesn’t have a heart (as though that’s a bad thing) but it does have a genuine sense of fun — even the noisiest, nonsense-iest parts are delivered with a smile. This isn’t “Kiss Kiss Bang Bang” redux, but it’s closer to it than we deserve.
‘Iron Man 3’ does WHAT? — a behind the scenes look by Anthony Breznican on one of the more amusing & original plot twists in a comic book film.
Iron Man 3 Movie Review, by Matt Zoller Seitz
From his breakthrough as a screenwriter in “Lethal Weapon” to his directorial debut with 2005’s “Kiss Kiss, Bang Bang,” Black has carved out a niche as a borderline parodist of crash-and-burn action, serving up moldy macho clichés while making fun of himself (and the audience) for loving them so much. The prototypical Shane Black hero shambles around presenting himself as a soul-dead cynic who’s tired of the same old same old, but within an hour or so, he’s rescuing people, swearing vengeance against evildoers, and sailing through the air unloading handguns. His stories straddle the midpoint of of the kidding/not kidding scale like a little kid standing atop a seesaw on the playground, shifting his weight around to make the opposing ends rise or fall.
5 Scripts That Made Shane Black Hollywood’s Hottest Writer In The 1990s, by Drew Taylor
‘Iron Man 3’ Takes On Drone Strikes, Media Manipulation, And The War On Terror, by Alyssa Rosenberg:
But Iron Man‘s extensive critique of the war on terror—a major subject of the film, along with eighties movie tropes, domestic harmony, and fan culture—takes a different and more radical tack, suggesting that the threat of violence by terrorist actors may be real, but the War on Terror is an invention that both terrorists and terrorized participate in.
Iron Man 3: more suits to play with, By Ian Failes, on how all the visual effects work was accomplished.
Townsend and Shane Black wanted to ensure that the Extremis look was, however possible, still grounded in reality. “How do make a guy who glows orange and explodes look real?,” Townsend jokes. The answer lay in referencing actual phenomena such as the aurora borealis, x-rays and how things looked photographically when you seen inside the body. “We wanted to steer clear of the medical look and keep a bit of mystery,” says Townsend. “We looked at time lapse photography of decaying fruit and vegetables and played it back to see if this organic process of re-growth and rebuilding. We looked at time lapse of cars driving through the dessert and there would be streaks of light flashing through the desert – they were very reminiscent and inspired these energy ribbons that were very organic with pulses of energy.”
Iron Man: A Terrible Privilege, a fun little piece by Dr. Andrea Letamendi aligning the mental condition of Tony Stark in this universe with real life parrallels
Changing Suits: How ‘Iron Man 3’ Finally Fixes Superhero Movies, by Calum Marsh
One of the most striking things about “Iron Man 3” is its central visual motif, one very much in keeping with its major themes: breakdown and failure hang over everything, disrupting plans, wiping out public spaces, making it impossible to get from point A to point B. Director Shane Black—who’s written these kinds of film-wide conceptual girders before, to similar effect—charts a course not from breakdown to perfection but from breakdown to nothing, its arc building not so much to an improved model as to a rejection of the model altogether. This plays out a bit like Brad Bird’s “Mission Impossible 4”, which also used technical failures as a motif; but where Bird employed malfunction as a kind of running gag, played always for laughs, “Iron Man 3” takes its constant defects much more seriously, viewing them as much a manifestation of internal crisis as a lack of care or maintenance. The point of the film is that Stark has to cope without: he has to overcome his foes without relying on the invincibility of his suit, but he also, more importantly, has to understand that the suit itself has been a crutch.
Bonus round: From 2009, in an article related to a movie he didn’t even remotely work on, Shane Black’s 10 Lessons on How to Make an Action Movie