A stew with chunks of savory mind-meat.
#i have a lot of feelings about the fact that natasha thinks her mistakes are her own when she wasn’t in control for a lot of them #she can see that other people aren’t at fault when brainwashing or someone else making the decisions causes them to do things #but she’s so much less able to see it with herself#she has a lot of guilt#and maybe she does need to accept that she did bad things but that doesn’t necessarily mean that she should blame herself for doing them#she doesn’t think bucky is at fault either and it’s essentially the same deal#natasha romanoff: seeing the good in other people but being unable to see it in herself #not trusting that she can be a good person even though the decisions she’s made (when she’s fully been in control) have proven otherwise #she lives in moral greys; she can make the hard calls; she can be cold #but she’s not a robot #she was once: used and moulded and raised never to question #but she’s not now #it wasn’t her fault #but i don’t think even steve’s belief in her - or clint’s because he wouldn’t have made the different call if he’d not seen something - will #be enough for her to wipe away that guilt; that red ledger #she’s always going to beat herself up #but she doesn’t deserve that (tyrelled)
Sympathy for the Devil's lyrics focus on atrocities in the history of mankind from Lucifer's point of view, including the trial and death of Jesus Christ (“Made damn sure that Pilate washed his hands and sealed his fate”), European wars of religion (“I watched with glee while your kings and queens fought for ten decades for the Gods they made”), the violence of the Russian Revolution of 1917 and the 1918 massacre of the Romanov family (“I stuck around St. Petersburg when I saw it was a time for a change/Killed the Tsar and his ministers/Anastasia screamed in vain”), and World War II (“I rode a tank, held a general’s rank when the blitzkrieg raged, and the bodies stank”). The song goes right to the present time of 1968 with the lines: “I shouted out, ‘Who Killed the Kennedys?’/When after all it was you and me”. Rolling Stone magazine placed it at No. 32 in their list of The 500 Greatest Songs of All Time. x
Inspired by Bulgakov’s The Master and Margarita.
"Don’t wait. Writers are the only artists I know of who expect to get somewhere by waiting. Everyone knows you have to dance to be a dancer, you have to sing to be a singer, you have to act to be an actor, but far too many people seem to believe that you. don’t have to write to be a writer. So, instead of writing, they wait. Isaac Asimov said it beautifully in just six words: “It’s the writing that teaches you.” Writing is what teaches you. Writing is what leads to “inspiration.” Writing is what generates ideas. Nothing else-and nothing less. Don’t meditate, don’t do yoga, don’t do drugs. Just write."
DANIEL QUINN (via booksandpublishing)
REBLOGGING TIMES TEN!
"Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through."
Ira Glass (via nefffy)
As an unknown actor in the early ’50s, Paul Newman fought to play Hal Carter, the lead role in William Inge’s Pulitzer Prize–winning play Picnic. But the director wasn’t convinced Newman’s physique was fit enough for Hal, who appears naked from the waist up in most of his scenes. Eventually, Newman worked his way up to the from a supporting role, garnering critical acclaim and jump-starting his legendary acting career. Fast forward sixty years later to another relatively unknown actor, Sebastian Stan, a Romanian import best known for stint as Sigourney Weaver’s son in Political Animals and his supporting role in Captain America: The First Avenger. Like Newman, Stan was gunning for the lead in Captain America, but he was offered the role of the hero’s comparatively less-buff sidekick instead. Judging from the current state of his six-pack abs, however, he clearly didn’t have any trouble convincing director Sam Gold that he was ripped enough for Picnic’s Hal. x