“he and karen understand each other at a level that’s cosmic”
nothing in the world makes me more evil than just being kind of annoyed
When Scarlett Johansson joined the Marvel universe all the way back in 2010, she did not have the ability that current actresses in the franchise have now and that is the ability to be seen as a valuable member of the team as opposed to an accessory.
My girl was being sexualised at every single interview, being asked if she wore underwear under her black widow suit and even being groped by interviewers. Natasha’s background was only slightly explored and her fighting style consisted of wrapping her legs around men’s heads in order to further appeal the male audience.
Yelena has the story arc she has and the ability to grow as a character because Scarlett fought for her to when she was producing the Black Widow movie. It makes me so upset that she knew she would never get the superhero experience that the men around her had, so she put aside her own spotlight in order to give Florence the standing that she couldn’t have.
I will not accept Natasha slander because Scarlett put everything she had into that character for a decade and had to go through so much just to be a part of that franchise.
Kastle have a CRAZY amount of non explicit love confessions. They're so embarrassingly incapable of hiding it. Incapable of being normal about each other ever.
It is genuinely embarrassing that they cannot contain themselves, at all. Like, absolutely zero control of removing the love from their faces. Mortifying behavior lolol
absolutely agree—it should be Frank. their whole dynamic in ddba s1 had shifted (i love it) into something else, and Karen deserves to be chosen, period. and yeah, it’s absolutely hilarious (and probably true) that Frank would be a disaster leading up to it—like a skittish, emotionally repressed kitten debating whether to bolt or stay. but when it comes to the ✨ kiss ✨, when he actually gets to that moment, it’d be far from tps1 when he barely kissed her on the cheek and basically professing he sees Karen as someone important, as family. no. Frank’s gotta grab her with both hands.
scenario-wise, i want the kiss to happen either 1) after a forehead touch first or 2) after an adrenaline high, something awful happens, but they’re safe, bruised, and Frank just decides, say, fuck it and goes for it.
even tho imo kastle is one of those ships where they don’t have to kiss on screen to be devastatingly powerful, if it does happen, good lord. that’s just a bonus for all of us emotionally invested fools.
I have a big IF question.
IF (please let it happen superior power) we get the Kastle ✨kiss✨ in s2, who do you want initiating the kiss and why ?
imo ig it should be Frank but what's yours..
(yes im living in their fantasy right now, no don't pull me out)
Not to be a High School English teacher on main but:
His heart beat faster as Daisy’s white face came up to his own. He knew that when he kissed this girl, and forever wed his unutterable visions to her perishable breath, his mind would never romp again like the mind of God. So he waited, listening for a moment longer to the tuning fork that had been struck upon a star. Then he kissed her. At his lips’ touch she blossomed for him like a flower and the incarnation was complete.
And I think it describes at least one of the reasons that Frank keeps pulling back right where Karen is ready to kiss him. We know that he feels like he’s dangerous to be around and he wants her to be safe and believes that means being not anywhere near him. We know that he feels like he is supposed to be dead, shouldn’t move on from his family’s murder and specifically from still seeing himself as married to his dead wife. But I also think that he’s terrified to kiss Karen because he knows that it will change him if he lets her in.
Right now his grief is effectively a super power: he’s driven, reckless, accepts no rules but those of his own heart/internal compass. No one can stop him because he’s a dead man walking. But if he lets Karen in, lets her breath new life into him, he will be a living breathing man again with something to lose. He is terrified to be human like that again.
(Not that he’s not already being impacted by this: he does care what she thinks, he does experience the panic of impending loss when she’s threatened. But he’s trying, so hard, not to let that transform him.)
As a bonus, we know that Frank and Karen both read that book (every high school student in the United States was assigned it in 11th grade at the time they were teenagers and there is evidence that both of them actually did their English class readings).
So it’s entirely possible that Frank might even make that connection for himself. They could even argue about it (I don’t think Karen would appreciate being compared to Daisy, even if that’s not actually the point Frank was trying to make).
He got a shave and a haircut because he knew Karen was gonna be back in sight soon and he didn't want her pulling that ol' hipster joke from her back pocket in front of Matt.
In this essay -
THE ACCOUNTANT (2016) Dir. Gavin O'Connor
Daredevil: Born Again Straight to Hell | 1.09
Someone was saying that the whole triangle scene was the writers showing Frank as a third wheel in Karedevil, but I completely disagree. There is a huge difference between that scene and the one in which Karen and Frank are talking:
When Karen and Matt are talking, Frank is the focus and the topic, HE is the elephant in the room.
When Karen and Frank are talking they are the ONLY ones in the room. Matt is...just there. On the side... not even on the same frame. He is the third wheel not Frank.
The two very different framings speak for themselves:
Matt and Karen become more and more out of focus and then you can't even see them. And they don't talk about anything else other than....*cough* frank *cough*
And here Matt is all alone and looking uncomfortable hahaha. Not even on center frame. He is not in their world. Frank is the one that lets him in after excruciating silence and Karen's rejection of the coffee. And only does it to break the tension.