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Jun 9, 2007

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Looking forward to five years of "every strength of the movie was Whedon/Snyder, every flaw of the movie was Snyder/Whedon."

I look forward to this South Park response being deployed even more frequently, as a distraction from the the question of whether the quips* are actually good in context.**

*"wind-up exploding penguins"

**'good' having nothing to do with taste and everything to do with, like, whether the communist Superman is going to be born again as a pragmatic liberal ghoul (e.g. what happened to Captain America).

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You don't need to invent zany new terms to call him a fraud.

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The scene confuses people because it actually is incredibly traumatic to them - hence the recourse to memes and cynicism (“they did it as a plot device... to make money....”) to explain the scene away even as they keep circling back to it. Forever.

“Lol they have the same name!” No, the point is that Superman and Daddy Wayne have the same dying word. The word itself is unimportant except that it triggers a PTSD flashback and confronts Bruce with the truth: that he never grew up. That he is still standing there, impotent, letting his mother die. Because he was weak, and scared.

It’s repeatedly established earlier in the film that Bruce perceives his costume - The Bat - as the avenging spirit of his dead mother and the source of his power. This is why he goes into a blind rage when told by God that “The Bat is dead”, but snaps out of it when confronted with the truth that fuck for cash porn he is still - every day - letting his mother die.

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Jun 9, 2007

Again: proof that comic book fans are traumatized by these films. We circle back to the NECK SNAP, endlessly. Forever. Despite various attempts, the scene remains impossible to comprehend.

Even though Josh04 accomplishes the impossible and explains precisely what is going on, fans cannot accept the truth that Christ is just a man.

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I have no qualms with the neck-snapping personally, nor did Celtic Predator. Who is this mythical comic-book fan you speak of? Where are they?

NECK SNAP is shorthand for the violence of the ending.

What’s clear is that cinematic violence is not onscreen gore or whatever, but specifically violence against worldviews, ideologies. Man Of Steel is a relentlessly optimistic film about a guy who literally gets his power from love and sunshine and puppydogs... It also says that God died with Christ and He cannot intervene to stop capitalism from killing the planet. Spooky stuff.

The film is so realistic in this respect that dozens of different 9/11-style conspiracy theories have emerged, to resurrect God in the form of various Jewish plots.

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Exactly right.

Nerds claim to be terrified of Superman’s potential secret objectivism, when over a dozen MCU films are overtly objectivist and are met without complaint. (Not to mention Ghostbusters, and so-on.)

This proves, irrefutably, that Man Of Steel and BVS are simply terrifying. The fear seems to be that Snyder actually believes in something - something incomprehensible.

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Jun 9, 2007

I kinda like that Justice League blows, because now all the meta-corporate ‘universe-building’ in BVS is even more ominous.

Superman came back wrong. Luthor won.

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Jun 9, 2007

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In all seriousness: how is it possible to criticize, say, the piss jar scene, without talking at all about any discrepancy between my reaction to the scene and others taking it as an example of Luthor's wit and mercilessness?

In all seriousness:

You believe that reading (or listening) is a process of reverse-engineering text (or speech) in order to sense the thoughts ‘behind’ the words, in a process that approximates direct psychic communication.

This is why you are confused when people say you are fantasizing. You do not perceive this as a fantasy; you really do believe that you are sensing others’ ‘reactions’ and then simply comparing these ‘reactions’ to your own raw experience.

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Jun 9, 2007

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They say the MCU is producer-driven whereas the DCEU is director-driven. I know we movie fans tend to favor the artists over the suits, but after seeing the results I think producer-driven is the best approach.

That’s obviously wrong in two big ways.

First, what you describe as “producer-driven” filmmaking is only the best approach if you prioritize creating a ‘universe’ over creating an actual series of movies. There is effectively no narrative continuity between MCU films. If there were, we’d have gotten Incredible Hulk 2: Iron Man Versus Hulk, teased back in 2008. (Instead, the concept was shelved for seven years before being recycled for a random action scene in Avengers 2 where Hulk turns temporarily evil because of mind control.) People don’t care that the individual films don’t work together and that there is no narrative progression because the universe takes priority over the narrative and the films are banal. A universe literally contains everything, so I could do a remake of Barbershop 3 with Dane Cook in the lead as Ant-Man, and it would fit perfectly into the universe.

Second, you honestly have to be pretty dumb to think Suicide Squad, Justice League and (to a lesser extent) Wonder Woman were these pure auteur films and not a product of executive meddling. The DC films are currently far more “producer-driven” than the marvel films, but the marvel films haven’t ‘needed’ re-editing because their filmmakers don’t do anything particularly risky or controversial.

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Jun 9, 2007

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To be blunt, there's really no way to know -- at this time -- which of these two are more responsible for the current state of the film, and any claims thereof are going to be fueled by confirmation bias more than anything else.

Actually, it’s very easy to say that Superman being itchy and Flash motorboating Wonderwoman are garbage concepts - free farm porn videos even in a magical alternate universe where Whedon is a master cinematographer.

Whedon is not a master cinematographer.

But you can also contrast their no-budget ‘home movies’, to see what these directors can do with limited time and resources.

Whedon’s Much Ado About Nothing what’s shot over the course of 12 days on a RED Epic. It’s hideous.

Snyder shot Snow Steam Iron over the course of ‘a few days’, on an iphone, and it looks dope.

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The "Do you Bleed" callback is a good example of this; with some more workshopping it could have been a smarmy "Did you bleed?" from Superman after seeing the heroes, with a grim "Yes." from Batman. two short lines, plenty of characterization, good balance of seriousness and humor.

You’re doing the faneditor thing where you ‘workshop’ a piece of dialogue or whatever to make it more banal (in your case, “balanced”) without first understanding why it was there in the first place. So you unwittingly scrub the film of its purpose.

To recap:

Snyder’s thesis in Man Of Steel and Dawn Of Justice is that capitalism is reaching an apocalyptic endpoint, and superheroes are big breast sex videos ethical heroes who overcome their human limitations and fight to redeem the sinful world by promoting true universal democracy, emancipation, egalitarian justice, etc.

Nerds refer to the view that capitalism is bad as “Grimdarkness”.

At the end of Dawn Of Justice, it is still ambiguous as to whether Bruce Wayne and the ‘metahumans’ fully understand the lesson of Superman’s sacrifice. That’s the distinction between ‘a person with magic powers’ and a superhero. Despite the plethora of ‘metahumans’, Superman is the only known superhero.

Whedon’s Justice League re-edit presents a counter-thesis that ludivine sagnier sex scenes Superman was infected by Grimdarkness, meaning Grimdarkness is located inside the body of Superman. Grimdarkness is now to be understood as a moral failing. Superman died of excess Grimdarkness, and when resurrected and purified of it, he is suddenly lifting entire buildings effortlessly, with a smile on his face. Superman is white dragon sex move given therapy, so that he learns to stop worrying and love the capitalist system. Now a superhero is anyone with magic powers who fights to defend liberal capitalism against inhuman Others.

So, the joke is that Batman has become immune to Grimdark phrases like “do you bleed?” because he has learned ironic quipping as a countermeasure.

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Jun 9, 2007

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Audiences want to see comic book characters brought to the screen and thats the most important thing imo.

Nobody reads comic books. Full stop.

You’re doing that thing where you refer to yourself in the third person, and pluralized. Try this:

“I want to see comic book characters brought to the screen and thats the most important thing to me.”

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Jun 9, 2007

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I didn't say anything about people reading comics. I don't either. You don't need to to know that you're seeing something authentic from the comics instead of a dull version made because some executives were scared of people making fun of the movie.

After almost all of these movies I've seen people appreciating that they actually drew from the source material and didn't shy away from depicting them as is. Thor gambled that people would accept that Asgard asthetic and they did. A big excuse for not making a WW movie for years was the idea that audiences wouldn't accept a magical greek lady with a glowing lasso. Yet they did. Superhero movies are (I think) the biggest market in film right now and thats in part because they actually made unironic superhero mpvies.

Note how, the more you explain yourself, the weirder your argument becomes.

It’s now clear that you are not actually talking about aesthetics; “Greek lady with a lasso” is not an aesthetic. You are also not actually talking about fidelity to the stories you’ve never read, or about what ‘audiences’ demand.

What you are preoccupied with is the notion of comics as a ‘source’ from which halle berry nude free real media springs. As others have noted, there is a deficiency in comics that makes them inadequate in their own. The artwork of a comic is perceived deficient, incomplete, unrealized. Therefore they are to serve as a mere template for superior live-action.

Of course this means that the ‘source’ is not the comics themselves. It is something sandy summers sex videos beyond the comics, that you fantasize about unlocking. It is a dimension where the pleasure is stored.

And of course shadowy people are denying you access to this pleasure.

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Jun 9, 2007

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I think Sin City comes the closest out of all those movies.

Even then, not really.

The ultimate example of ‘fidelity to the source material’ is Watchmen: The Motion Comic, and it’s straight garbage.

The trouble is that we aren’t actually talking about fidelity to a source material. Nephythis is working backwards from the fact that he likes Wonder Woman and Thor, and is creating these essentially pseudoscientific theories to explain his likes.

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The whole mythological Greek warrior women, magic and gods stuff was what I was alluding to.

That is not an aesthetic. That’s not even a concept.

If you actually read the comics, the original Asgard drawn by Jack Kirby looks somewhere between Disneyland and an oil refinery made out of Christmas ornaments, sitting precariously on the edge of a rock suspended in a strangely glowing void. The character Don Blake travels there on vision quests, into his childhood memories of learning norse mythology.

Thor was a proto-Matrix narrative - a new-agey inner journey where, through meditation, John Anderson realizes that he was always Neo. In other words, it’s about a dude who goes completely bonkers. (It’s been long-forgotten that what triggered Don Blake’s ‘past-life regression’ was naked slip n slide an invasion of saucer-men from Saturn.)

(The film version of Asgard is a combination of Naboo and Alderan, as depicted in the Star Wars prequels. Thor is merely an ‘ancient alien’.)

In the film adaptation of Wonder Woman, we get a sort of reversal of this - the point that, as Hegel put it, ‘the mysteries of the Egyptians were mysteries for the Egyptians themselves.’ There is a lot of bullshit about her being a goddess and a daughter of Zeus, but nobody actually knows where Diana’s powers come from. The Zeus explanation is retroactive.

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Jun 9, 2007

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Most die-hard comic superfans basically have wikipedia knowledge of a character to be honest.

It’s more accurate to say that Wikipedia’s plot summaries are absolutely devoid of characterization, so fans are left to flounder when tasked with actually explaining a narrative.

Wikipedia will not tell you that the first Thor comics were about a dude having some kind of mental breakdown and constructing this elaborate fantasy to put his reality back together. It will just tell you that Don Blake started seeing flying saucers and then chased them away with a magic stick he found. You can then read a 10,000-word article on the history and properties of the magic stick - which is like reading an incredibly detailed biography of That Kid’s Uncle At Nintendo.

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Jun 9, 2007

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Starting with Fantastic Four actually, the conceit of a team that was actually a family and would bitch at each other and not be peppy shitheads all the time was loving revolutionary

This is a good example of how things get distorted. Fantastic 4 is the story of an rear end in a top hat, his wife, and the friend who really latina milf porn videos really wants to gently caress the rear end in a top hat’s wife. (Guest-starting the rear end in a top hat’s brother in law.) Somehow this got mixed up with The Jetsons.

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Jun 9, 2007

Fishburne's characterization is specifically constructed so that he simultaneously knows and does not know.

The point is that he remains safely 'ignorant' on an official level, while secretly imploring Kal-El to stop wasting his time trying to court populist sentiment with this newspaper gig and just car fast naked woman do something: assassinate Batman, blow up Gotham PD, whatever.

Paraphrasing Zizek: Perry treats Clark Kent as just man for the big Other, the order of public appearance, but treats him as Kal-El for our dirty fantasmatic imagination - this is the structure of inherent transgression at its purest. To put it in terms of the discourse theory elaborated by Oswald Ducrot, we have here the opposition between presupposition and surmise: the presupposition of a statement is directly endorsed by the big Other, we are not responsible for it, while the responsibility for the surmise of a statement rests entirely on the Superman's shoulders - Perry can always claim 'It's not my responsibility if Superman drew those dirty conclusions from the texture of my statements!'.

It's no accident that, when hinting at these fantasies, Perry tosses in the reference to Wizard Of Oz.

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Jun 9, 2007

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Because CD isn't actually able to grasp that merely holding a contrarian opinion doesn't require people to agree with your arguments and there are a number of prolific and extremely bad posters who poison the well for contrarian arguments by making it mostly about making snide, insulting or offensive accusations about people based off their own readings of a film.

There are plenty of examples of posters who make effort-filled and genuine posts defending popularly bad films or pointing out the flaws in popular ones who don't have any trouble here or elsewhere I see them posting on the internet. There are however a handful of posters whose primary goal is to make the conversation about them and who don't get the idea that merely arguing a point doesn't mean people have to believe your argument.

It appears that I have an immense psychological power over you. I do not want this power.

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The go to argument is usually something like "well Superman and Batman are automatic box office gold whereas guys like Iron Man and Thor and Ant-Man are C-listers" but the previous non-Snyder Superman tanked at the box office. Ironically, it was also exactly what people who disliked Man of Steel said they wanted: a Donner-esque "hopeful" Superman saving people and fighting a perfectly fan casted Lex Luthor.

Likewise, Batman Begins only made 370 million but on a much lower budget than Superman Returns and with better reviews so it was considered a success. But even if you assume the take from SR (390 btw) and Begins are the absolute big dick hot pussy floor of Batman and Superman fandom, and if you assume there is hot sex porn pictures zero crossover between Batman and Superman fans, BvS still made about 100 million more than both of those movies sex with a chair combined.

The argument is literally that Superman is the strongest character in the universe, therefore Superman should earn the most money in the universe. Same with Batman and intelligence.

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Jun 9, 2007

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What about Wonder Woman?

“If even a ‘C-List’ character like Wonderwoman can make a billion, Superman and Batman should make eight billion. Each.”

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Jun 9, 2007

Or they could have done no changes whatsoever and made a billion dollars, like the last one did.

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From the letters page of melissa jone heart naked Batman and the Outsiders #35 (July 1986)

Time and time again, even a cursory look at the comics shows that fans are constantly just straight-up lying about the contents.

It’s like fandom is this massive hoax that has been going on for decades because nobody cared enough to actually read comics and check the citations. Fans used the fact that comics are a niche market as a shroud of deception: the secret teachings about Batman and whoever were always said to be hidden in the original comics.

But then you actually read the books, and Bruce Wayne is straight-up murdering people, only starting to hide it because he wants to protect young Robin from seeing (too much) blood. Every time.

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Jun 9, 2007

That’s extremely bad ‘rewrite the press release’ journalism. Why would you post it?

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Because is from Variety, one of the few Hollywood trades I still find reliable.

Reliable at what?

It seems that they are reliably transcribing spin. Like no, Justice League did not effectively introduce Flash and Aquaman. The writer very carefully worded the article to create a narrative, and “people are still hyped for Flash, thanks to Joss Whedon!” is the ending they went with.

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What is Marvel Studios doing right that Warner Brothers is not?

I’d say your main accomplishment is to get you thinking exclusively in terms of Marvel films - and how the Marvel films compare to other Marvel films and the anti-Marvel films that specifically comment on Marvel, etc. - until you are so blinkered to all cultural and artistic context that a basic concept like comparing Captain America Civil War to a vastly superior movie like War For The Planet Of The Apes is utterly baffling to you. Because the latter isn’t named after a comic book.

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You say all this stuff with authority but it's only the narrative you made in your own mind. Your opinions aren't a credible source, but I fully support you spending hours of your days thinking up elaborate poo poo for Superman.

No, the formal qualities of the film are such that Perry has absolute plausible deniability. In his official capacity as Clark’s boss, he officially knows nothing. That’s just objective fact.

The stupid debate concerns what Perry knows ‘deep inside’, beneath his actions. But no such thing exists; he is a fictional character.

The truth about Perry is not in his secret inner depth but in his actions. Despite his vocal cynicism, free sex wap sites Perry keeps working at this unprofitable newspaper - and this more than anything is what expresses his secret conviction that selena gomez nude cartoon someone might be inspired to do something.

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If some crazy jacked guy with a radioactive spear was about to kill me and I still had the mental wherewithal to do anything other than plead for mercy while making GBS threads myself, I'd try to get out the most pertinent information as expediently as possible.

Except for the making GBS threads part, Clark is doing both.

What fans don’t actually pay attention to is performances. When Cavill says all that ‘save Martha’ stuff, he’s saying it streaming mature porn movies as Superman. He’s saying it angrily, using all his remaining strength just to say it. Once the words are out, his face relaxes into this desperate, pleading look. That’s Clark Kent saying ‘mom’ -but vida guerra showing pussy Clark Kent can’t talk.

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Might have been a good idea to start with that rather than going on a loving macho tizzy, throwing batman around and talking about how he could kill him anytime he wants.

For as stupid as that Martha scene is (and holy gently caress is it stupid) the start of the fight is loving unforgivable.

Before you can UNFORGIVE, you must first actually read the text.

The entire point of the film, up to that point, is that Clark genuinely hates this miserable, idiotic badguy and considers just squishing him to be totally a valid option. In fact, Superman is transparently using his ‘non lethal’ approach as a halfassed substitute for what he came in my pussy really wants to do.

The fight scene, in part, externalizes the inner debate over whether Batman deserves to live.

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Jun 9, 2007

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"I'm not saying he's a Nazi, but he's a Nazi"

That's a piping hot take right there

Last few years in a nutshell:

In a comic book movie, Superman punched unambiguously fascist villain Zod in the face so hard that Zod died. Liberal/libertarian nerds were instantly terrified and upset because that makes Superman ‘just as bad’.

They’ve declared the entire universe to be politically incorrect, and now unironically support actual fascism as tolerable free speech against the fictional Illuminati commu-fascism of Disney villains Hydra and Snoke. Zack Snyder is perceived as part of this conspiracy.

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Jun 9, 2007

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Well, the one naturally follows from the other because no one other than a Randroid person wants to adapt Ayn Rand's works. They are absolute aesthetic garbage; if you don't buy into the core philosophy, there's nothing of value there.

EDIT: like, whatever, I've never actually seen Zack Snyder talk politics, but I do know that any time anyone has ever said "Hey, have you read this really interesting Ayn Rand novel?" everything immediately goes straight to hell on a rocket.

“I must say I appreciate Ayn Rand. Of course I totally disagree with her - but what I like about her is what I call ‘over-orthodoxy’. Every ruling ideology can only function if it doesn't say it all. Like, no capitalist today will openly say: ‘egotism is good’. They try to cover up the position as ethical, for the good of community, but Ayn Rand goes to the end. She plays the same role with regard to capitalism as, for example, Malebranche does with regard to Catholicism, or Kleist does with regard to German militarism. They are all an embarrassment for the ruling ideology, precisely by bringing out its secret perverse core.”
-Slavoj Zizek

russian girls nude photos Snyder: I think Watchmen is a very self-aware movie. 300. Dawn of the Dead definitely. That’s really where I’ve ended up. I’ve ended up as a filmmaker who really loves the movie part of movies. ...

john kennedy jr nude Interviewer: What did you mean by self-aware?

black teen girls ass Snyder: ... I really do like movies that ride that fine line, the razor’s edge between parody and supporting the fake movie part of the movie.

“What makes 300 notable is that, in it (not for the first time, of course, but in a way which is artistically much more interesting than, say, that of Warren Beatty's Dick Tracy), a technically more developed art (digitalized cinema) refers to a less developed one (comics). The effect produced is that of ‘true reality’ losing its innocence, appearing as part of a closed artificial universe, which is a perfect figuration of our socio-ideological predicament. ... The universe we see on the screen is traversed by a profound antagonism and inconsistency, but it is this very antagonism which is an indication of truth.”
-Slavoj Zizek

free bisexual porn tube Interviewer: Like an inside joke with the audience?

crissy moran nude pics Snyder: More like a deeper comment about how pop culture reacts to fads (or superheroes, in this case), or movies, or ideas. [...] Why do you think you’re on a fun ride? Suddenly you’re like “how am I supposed to feel about that?”

“The ultimate expedient of Snyder is his deft manipulation of transference: his public (especially intellectuals) is obsessed with the “desire of the Other” – what is Snyder‘s actual position, is he truly totalitarian or not? – i.e., they address Snyder with a question and expect from him an answer, failing to notice that Snyder himself does not function as an answer but a question. By means of the elusive character of his desire, of the indecidability as to ‘where he actually stands’, Snyder compels us to take up our position and decide upon our desire. Snyder here actually accomplishes the reversal that defines the end of psychoanalytical cure.”
-Slavoj Zizek, paraphrased

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Jun 9, 2007

It’s not complex stuff. Snyder’s stated goal is to parody the superhero movie fad - not by presenting it in an ironically detached way, but by taking the concepts to their logical extreme and then refusing to tell the audience what they’re supposed to think.

In other words, Snyder doesn’t bother to say “fascism is bad”, or “liberalism is bad”, or “communism is good”, or “Joss Whedon sucks”. He just presents audiences with extreme fascist characters in a fascist propaganda hell-universe (300), extreme liberal characters in a liberal propaganda hell-universe (Watchmen), extreme Whedon characters in Sucker Punch, etc. He even made a straightforwardly communist Superman film.

These films are ‘beyond good and evil’; they simply exist, in an amoral way, and their mere existence is incredibly uncomfortable - even traumatic.

A Rand adaptation is right in Snyder’s wheelhouse because she already is this ideological extremist - the closest thing to a philosopher of capitalism, as Zizek says. In her shamelessness, she is able to express what other capitalists are afraid to say - and, consequently, she is this shameful truth that they try to cover up.

But Snyder‘s no objectivist. When his artwork was compromised, he didn’t blow up an orphanage - he blew up the ‘DCU’ franchise and a chunk of WB’s corporate structure by hand-picking Joss Whedon as his successor. Whedon was a time bomb.

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And iced his own daughter, presumably.

That’s a stupid post.

The timeline of events begins with Snyder working extra hard on the film in an attempt to deal with his grief. As he gradually lost control of the production, he then quit and appointed arch-nemesis Whedon his successor - stating, bluntly, that “it’s only a movie.”

I believe this was a deliberate - and successful - act of destruction.

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You usually don't indulge in this kind of weird fanboy fantasy. You're better than this

Explain why Snyder chose Whedon to do the reshoots after two (arguably three) feature-length parodies of Whedon films, and quit Justice League specifically because it was getting too Whedon-ish.

There are multiple possibilities:

-Snyder had no actual choice, and his statement was contractually mandated or something.
-Snyder actually is a big fan of Whedon’s visual style (lol).
-Snyder chose Whedon because Whedon is one of the most prominent and vocal ideologists of liberalism, and would certainly turn the film into Lex Luthor’s Capitalist Justice League - the evil foreshadowed in BVS.

I choose the last option because it’s both the funniest and most plausible.

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Wow, pages upon pages of box office discusso, and the only interesting factoid is that Dr. Strange made exactly as much as Justice League did.

So underneath all these elaborate piles of horseshit theorycrafting, there is ultimately no difference in box office between a ‘good’ movie and an free nude black amateur objectively terrible movie. The exact same amount of people will watch them. There is no correlation whatsoever,

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The spear is also blatantly a lightsaber, with some kind of mechanism in the handle that intensifies its power and causes it to glow. Wayne is wielding it like a torch/beacon. It’s also the same spear from 300, used to cut Xerxes’ cheek.

The design of the weapon is characterization for its designer. Wayne perceives himself as a Jedi, and as Leonidas. The truth is that he’s Longinus.

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i don't think it glows because of a mechanism, i think it glows when it's close to a kryptonian. I think the body of the spear is just designed to hold the kryptonite in place.

That’s a comics canon thing.

In the movie, the spear uses the same technology as Lex’s Kryptonite scalpel. Both have an elaborate electronic design, which makes it obvious that they are not merely handles. The scalpel scene exists partly to establish the logic behind the spear. Kryptonite is post your ex naked harmful to superman, but it can’t kill him without being hooked up to a power source.

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Jun 9, 2007

Comics fans get confused by Lex because the character is a legitimate supergenius mad scientist. It’s very rare in these kind of movies.

Like in Avengers, the villain Loki is free porn movie japanese described as ‘a full-tilt diva’ who’s ‘crazier than a bag of cats’ - but he doesn’t actually do or say anything particularly crazy. His genius plan is to use brute force to become king of Earth.

Eisenberg plays Lex like his overclocked brain is starting to melt. He’s ranting about the Trix rabbit while the UFO he hosed gives birth to a nightmare version of his abusive father, which he hopes will literally kill God. And there actually is a perverse logic to it.

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Lol "we never kill WITH WEAPONS"

Right: even cursory research into the comics reveals that this “cornerstone of the Batman mythos for ca 70 years ... arguably The most important aspect about Batman” is total horseshit.

The ‘no killing rule’ never existed; it is actually just an elaborate and ever-shifting system of sub-rules that cover use of lethal force.

Batman never carries a gun, but he will use guns he finds. He will kill, but only if Robin isn’t looking (i.e. “WE never kill with weapons!”). Sometimes it is necessary to kill, even if Robin is looking, but only so long as it’s not a gruesome death. It goes on like this.

It’s like fantasizing that cops have a ‘no killing rule’. They don’t. They have a generalized and largely subjective ‘force continuum.’

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