I don’t understand people who have a favorite superhero that’s NOT Captain America (no, I lie, I do understand it, I just think they’re totally wrong)...moreI don’t understand people who have a favorite superhero that’s NOT Captain America (no, I lie, I do understand it, I just think they’re totally wrong).
I mean, how can he not be your favorite? He’s a downright good man (not just man, human) in a world that rewards goodness with disdain and scorn. Do you know how difficult that is? How much shit you have to put up with? How does one look at the world and find it worth saving day after day? That’s a power worth having.
Anyway, that is a debate for another day. If you’ve seen the latest Captain America that might be why you’re reading this, it’s certainly why I came about finding it. It’s the main story ark the movie is based on (I suppose, I didn’t research it), and I must say they’ve done a pretty good job adapting it to the big screen. There are changes, of course, but the core plot between Cap and the Winter Soldier remains largely the same, and then who the hell cares what else is going on?
I didn’t care much for the overall plot involving Hydra and the cube, but the Winter Soldier fascinates me and that part was at least well written.
I would’ve given it 4 stars if it hadn’t been for the art. I can’t explain why, it just irks me so much. Some panels were very nice, but often they felt too polished for my taste, and sometimes the faces just looked ridiculous. The only time I really liked it was in the interlude story about Jack Monroe. That artist did a good job, the others just managed to make Steve look, I’m sorry to say, like a prettier Arnold Schwarzenegger, it was awful. I couldn’t take him seriously at all, absolutely hated the way they drew him. They did alright with everyone else, but Steve was consistently a disaster.
I don't think that is a real expression at all.
What happened to his head? Could it happen to mine too? And look at all those ~emotions~ on his face.
Other than that, it’s a pretty decent read. (I like the movie better, but maybe that’s because Sebastian Stan and Chris Evans actually portrayed FEELINGS with their FACES, but I'm only guessing).(less)
Seeing this play performed is one of the brightest memories I have of going to the theater. I can recall, with near-perfect clarity, the very last sce...moreSeeing this play performed is one of the brightest memories I have of going to the theater. I can recall, with near-perfect clarity, the very last scene, and how much it made my heart ache with sorrow. It was made all the more heartbreaking by my wanting nothing more than to mount that stage and hug Tom, to tell him it would be alright, but knowing I was stuck, helpless to merely watch from my seat. Theater will toy with you like that, forcing you to watch when you desperately want to do something.
It’s one of the things movies could never replicate. It belongs to the stage.
However, watching something falling apart for any long period of time, without taking action, will drive you crazy with yearning to do something, anything.
Tennesse Williams deftly captures the atmosphere of the thirties, with its social deterioration spurred on by the fall of the economy, and the quiet desperation of a people who know the world is rapidly changing and not for the better.
And here’s a family, on the edge of ruin in the midst of it.
There is Amanda, a middle-class housewife, abandoned with her two children by her husband. There’s Tom, son, brother, full of wanderlust and poetic dreams, sick of living a mediocre life. There’s Laura, daughter, sister, delicate and crippled.
Here are three distinct personalities, who, in their separate desperations, have become blind to one another. Amanda stubbornly holds on to outdated ideals, while Tom longs for complete freedom, and Laura quietly collects her glass animals and stays ever passive.
Their blindness is caused by their inactivity. Amanda and Tom lash out, mostly at one another, because there is no other outlet for their frustrations, while Laura hides deeper and deeper within herself. Physical conditions force them into learned patterns and dictate their mental responses and thus their behavior.
Amanda, when abandoned, automatically lays the financial responsibility on Tom and works on finding a husband for Laura, because it’s what she thinks she ought to do. She reverts to standard gender roles and pushes them on her children as well, making them resent her, because she fails to see that they don’t fit.
Tom spends more and more time away from his family, unwilling to take on the role given to him by his mother.
Laura is the tragedy of the play. Had Tom and Amanda been less absorbed by their own worries and desires, they might have realized (as Jim does) that she is more crippled by her mental insecurities, than by her actual physical disability. Laura is the limp of Amanda and Tom, without her they’d have little to worry about, and in turn their worrying means Laura has had time to develop her inferiority complex and insecurities to the point where little can be done for her.
Their unwitting blindness about one another has led them to a breaking point. Jim is their possible salvation, described by Tom in the beginning,
“But since I have a poet’s weakness for symbols, I am using this character also as a symbol; he is the long-delayed but always expected something that we live for.”
Jim becomes more than just a gentleman caller, he is their only hope for Laura, if he marries her so many of their troubles will be gone. It is that one night that decides the fate of the family. But of course, putting all your hopes of the future on one person, first Tom, then Jim, is reckless and eventually the dream falls apart, having nothing to support it. The unicorn is just a horse, not so different from the others, but forced to live with the knowledge that it’s broken, broken because someone was careless with their affection.
So blow out those candles, Laura. There’s nothing left to see. (less)