This is the same man.
This works quite nicely at debunking the “beefcake guys in comics are objectified for women just like women in comics are for men!”, imo. On the left: a magazine tailored for a male audience, showing him in full beefcake-type mode with headlines about how you, too, can look like this. On the right: a magazine tailored for a female audience, which has a headline about romance and shows him looking more or less like a normal dude.
Tell me again how comic book guys are designed for female sexual enjoyment, completely equivalent to anatomically-improbable spines and giant tits with their own individual centers of gravity, and totes aren’t just male power fantasies.
i noticed this too. the worst part is that in both scenes, they’re having to argue with their captain to do their job. A+ characterization of kirk right there ugh
How nice that you all are ignoring context. Wonderful.
Uhura is asking this after they’ve been shot at multiple times by Klingons who are clearly bent on killing the lot of them, and have just been cornered by them. Kirk is afraid that they are going to kill her on sight without letting her have the chance to do her job. Before this point, he had every intention of letting her do her job (“Lieutenant, how’s your Klingon?” “It’s rusty, but it’s good.” “Good, you’re coming too.”). He does not want to risk her life on the off-chance that the Klingons will listen. He is doing his duty as captain and attempting to keep everyone safe, as well as being his usual stubborn protective self (which he does for EVERYONE he cares about). He is being very Jim Kirk in this scene.
You are also ignoring the context of the conversation itself.
Uhura: They are ordering us to land. Captain, they’re gonna wanna know why we’re here. And they’re gonna torture us, question us, and they’re gonna kill us.
Kirk: So we come out shooting.
[Uhura rises from her seat and goes over to Kirk]
Uhura: We are outnumbered, outgunned. There’s no way we survive if we attack first. You brought me here because I speak Klingon, then let me speak Klingon.
You are deliberately manipulating us into believing that Kirk is shutting down Uhura’s agency and that she is pleading with him to regain it. This is not true. Jim does not want to risk the life of a valued crew-member and one of his dear friends on the off-chance that the Klingons won’t kill them on sight. This has nothing to do with sexism, and cutting out the context of this scene is a shitty and manipulative thing to do.
As for Carol’s scene, she is not actually addressing Kirk directly, but Bones. This is the scene where Bones’ arm got stuck in that torpedo. Kirk is not even physically there.
Kirk: Dr. Marcus, can you disarm it?Carol: I’m trying. I’m trying.
Bones: Jim, get her the hell out of here!
Carol: No. If you beam me back, he dies! Just let me do it!
[Carol quickly works to deactivate the torpedo]
Kirk is in no way trying to keep Carol from doing her job. She is attempting to save Bones’ life, and Kirk is very willing to let her do it. He is trusting that she will be able to deactivate the rocket. He is placing his best friend’s life into her hands: if that’s not agency, I don’t know what is.
So shut the hell up and stop being deliberately manipulative and trying to force victimization and a lack of agency on two very talented, very capable women who were not belittled or looked down on, and by no means did either occur at the hands of Jim Kirk.
felina more like felinope
fucking buffy look at her furrowed brows like she cant braid hair and theres fucking xander not even fucking looking at the hair — just whippin out french braids like it aint nothin what the frick this show man seriously
Like me, Logan was filled with rage and distrust. He wanted to make someone pay. It’s likely those qualities are what drew us together — they’re absolutely what tore us apart.
Photography by Christopher Morris
Rare photos of New York City’s gritty subway conditions in 1981.
The Finnish Saviour: Tuukka Rask
Requested by the perfection that is Ken.
SORRY THIS TOOK FOREVER
Physically conjoined by separately sold upon construction, the lives of paired buildings (ones that share a common wall) can diverge dramatically as this photo series poignantly illustrates. In various cases, one half is occupied by squatters, filled with trash, burned out by a fire, boarded up, simply deserted or even entirely demolished.
This approach epitomizes a theme common to his work, which frequently focuses on showing change over time. Like twins separated at birth, these dual buildings (once mirror images of each other) are uniquely illustrative of change. They are found particularly often in Camden, a place with a long history of struggling against decline.
Camilo José Vergara is simply one of the greatest ever. Period. No need to debate.