"If at the bare minimum we are not telling stories to make the world an easier, more fun, slightly more bearable place for all of us to live in, then why the hell are we telling stories? At the bare minimum, if you don’t view storytelling, regardless of what the story is, as an act that fundamentally makes someone’s day a little better, then why are you telling stories?
And if, at bare minimum, stories make the world a better place, then if you’re telling a story that literally can’t have real representations of the world around us in them, then the story that you’re telling is flawed. Fundamentally flawed. Because a story that limits itself to only being applicable to white people is a story that excludes when it should include, a story that alienates when it should connect. And that’s not a story worth telling. And a story that puts forth the idea that some stories are only good if white people are in them is not a story worth telling. And if you find yourself arguing that a story shouldn’t have a non-white person in it, then you’re debasing yourself for a story that’s not worth telling.
Because what the fuck are we doing if we are not telling stories that allow us all to connect to each other and to connect to universal truths and snippets of joy and love and understanding. Storytelling isn’t cheap. Storytelling is one of the single most powerful ways we have to advance the human condition. If we are not, fundamentally, constantly trying to find better ways to connect to each other through stories, better ways to tell better, more universal stories, then what the fuck are we doing?
Ultiimately my response to anybody who starts in with the “this story can’t have POC in it” line of rhetoric is simply: then that story is not worth telling. And you should think long and hard about why you’re so hellbent on telling it.”
relogging this (which is quoting me) to add the original context :)
"Scott, you don’t understand," Derek grabs Scott’s arm, runs a hand through his hair looking more distressed than Scott’s seen him in years.
Scott frowns at him. “Tell me again.”
"I can hear what Stiles is thinking.”
"He’s not exactly subtle, dude, I get it."
"No," Derek says frustratedly, as Stiles crosses in front of them and into the living room, absently wondering if he should get his hair cut, or if keeping it long means there’s more chance Derek would like pulling on it if they were to ever have sex. Derek makes a strangled noise, looks at Scott hysterically. "Like, things in his head.”
Scott stares, then blinks and shakes his head. “Ok, so what’s he thinking now?”
"That you’re an idiot," Derek snaps.
"Nah, he’d never think that," Scott says brightly, clapping him on the shoulder. "Maybe you should get some sleep."
"I don’t need sleep!"
"Then, talk to Stiles? Tell him, so that you can fix whatever’s happened, and we can get back to normal."
"I can’t tell him," Derek cries. "He’ll know I’ve been hearing things."
"Why would he care?" Scott’s eyes go wide. "Oh, oh have you been uh… hearing anything bad?" He steps a little close. "Did he scratch my bike and not tell me?"
"No!" Derek rolls his eyes, "Christ, I’m sure he doesn’t have any secrets from you, Scott."
"I thought not," Scott nods self assuredly, then frowns again. "But, secrets from you?"
"Maybe," Derek feels himself start to flush. "Things I’d rather not talk about. It feels like a violation of his privacy."
"I pretty much hear about it on a daily basis," Scott shrugs. "I’m surprised you haven’t picked up on the fact he wants to bone you before you could," Scott makes inverted comments with his fingers, "Hear his thoughts."
for my darling Amy's birthday. shine on and i'm sorry this was so late!
Stiles throws open the passenger door. “Come on. I don’t drive across state lines for people who dillydally.” He says the last word like it’s a remnant of modern day casual parlens, a word that he heard growing up spoken by older relatives who also said things like whippersnapper and ne’erdowell. Stiles mentally kicks himself immediately for using the word, because it makes him sound like his great aunt, and there’s nothing less attractive than trying to impersonate a ninety year old woman with emphysema. Stiles resists the urge to facepalm while Derek raises a single eyebrow. “Just—just get the fuck in the car.”
The husk of Derek’s rental car is smoking from the hood on the side of the road, and well, there’s Derek, leaning against the truck like the epitome of some kind of goddamn James Dean Rebel Without a Cause type shit. His leather jacket is slung over his shoulder like he knows it looks good. Stiles thinks darkly that if Derek’s car had broken down in a more populated area, some nefarious people might have mistaken him for some kind of streetwalker. That’s how ridiculously good he looked. Leaner, somehow, than when he left Beacon Hills weeks ago, but still ridiculously fit; more fit than Stiles will ever be in this lifetime or the next. Derek lets his sunglasses fall down his nose slightly to look Stiles in the eye.
“Took your sweet time getting here,” Derek says, shrugging his jacket on. He throws a duffle bag in the back seat of Stiles’ car while Stiles make a noise of what he hopes comes off as pure outrage but what in fact probably sounds like an unhappy cat.
'X-Men: Days of Future Past' will focus on James McAvoy's younger version of Charles Xavier as he strives to become his older, wiser self played by Patrick Stewart in earlier films.
Screenwriter Simon Kinberg said: ”One of the things we talked about a lot was, ‘Whose movie is it?’ Because as much as any ensemble movie is about all the main characters, there is a primary point of view or primary arc that you’re tracking over the span of the film…
”For us, very early on, we made the decision that it was young Charles’ arc and that, really, the emotional story of the movie is watching him go from the guy who’s lost his legs, lost his best friend, lost his sister, and in some ways lost his mind, to a guy who will become the all powerful, benevolent Professor Xavier.”
The character is expected to be in a very dark place at the start of the new movie following the events of the 2011 movie.
Kinberg added: ”When you start the movie, McAvoy is really about as far as one can be from the Patrick Stewart that we know from ‘X-Men’. We’re really watching him take the first big step towards owning that chair and becoming a leader.”