Okay military meta time friends. I’ve been meaning to take this one on for a while but I’m in the field at 2337 after a crazy long day on my best behavior around high ranking brass because my CO/BFF sent me on a cherry assignment so I am warn out, and I’m gonna make this short.
When this gif set first came out it simply said predator mode engaged. Then it was changed to hunting module. I reblogged both because I love this fucking gif: both are prime examples of a nonfiring actor correctly emulating behavior of a firer. Seb has played a soldier before and he is good at correctly emulating the distinct way we move when constantly carrying a deadly weapon. Chris evans, btw, is baaaad at that.
However the more recent reblogs of this gif set come with the additional commentary about similarities between the way Bucky moves and the way Winter moves. And from a professional standpoint I can instinctually bit emphatically tell you that the similarities are few and the differences are astronomical. Other than basic weapons and tactical proficiency, Bucky and Winter could not move more differently if they tried.
For one, Bucky lacks the thousand mile stare, whereas that’s all Winter has. Bucky is very focused on the moment, the present, the target right in front of him—the one posing a threat. Its why he gets caught by surprise several times in close combat in that scene. Buck is a sniper. He devotes everything to one point of a focus at a time. He pivots as such. His face shows microreactions as he takes in details of his surroundings one by one. He’s still very situationlly aware, but not simultaneously.
Winter /hunts/. His eyea don’t flicker everywhere and his body language and firing posture doesn’t shift a hundred times minutely like Bucky’s does because rather than focus with a sniper’s POV he sees the whole picture. He’s taking everything in at once. Hence the rhousand mile stare.They could not be more different.
Plus that fact that Bucky has good trigger discipline (you can see it in other gifs) and the WS has his finger clamped down over the trigger. He is ready to shoot to kill at ANY GIVEN SECOND, which Bucky is not.
Reblogging again for the new commentary
I would dearly love to see this gifset and meta updated after Infinity War—to see how Sebstan’s most recent performances hold up.
I’ll do an update for Infinity Wars. Thanks for the follow!
We’ve all seen that Gothel makes Rapunzel come to her for hugs, but today I realized it goes deeper than that. Gothel doesn’t want Rapunzel showing physical affection unless she has been given specific permission. Opening her arms is that unspoken permission.
For example, towards the beginning, when she’s reminding Gothel that it’s her birthday tomorrow, she grabs her arm in exuberance. Gothel is put out and then pries Rapunzel’s hands off her arm, all the while pretending she doesn’t remember (or care) that her birthday – something Rapunzel is extremely excited about – is fast approaching.
She also uses Rapunzel’s need for physical affection, deliberately taunting and “teaching” her with it by pretending to offer it, then taking it away immediately.
The first bazzilionty times I saw this movie, I always assumed Rapunzel was relieved to see Gothel towards the end of Mother Knows Best just because she was scared.
But now I realize it’s not only because she’s scared, but because Gothel is now giving Rapunzel permission to seek the creature comfort of physical contact that she so desperately needs after the gamut of fear she’s run.
Eugene, on the other hand, starts showing physical affection as soon as he starts feeling any affection for Rapunzel at all. He uses it as a comfort. Yet Rapunzel keeps her hands to herself.
It continues when he gives her the little flag, touching the small of her back in an affectionate way. But her hands (and attention) are full at this moment.
In fact, the first time she realizes she’s touching him, and he’s touching her, and there’s affection and enjoyment buzzing between them, she’s the first to pull away.
She’s alarmed at first, then apologetic and sheepish. Sorry I was touching you, Eugene. And he politely takes a step back, tuned in to her discomfort and giving her a little more space.
But that is why the moment on the boat is so important, and why Rapunzel has the reaction she does.
In taking Rapunzel’s hand, out of the blue (as far as she can tell), it’s sending her a clear message that he feels the same about her that she does about him, and that physical affection is both alright and wanted. That he will seek out her attention in a way Gothel never has. And from this moment on, she touches him often, holding hands for the rest of the song, brushing his hair from his face as he lay dying, and never letting go of his head, even after he’d died in her arms. Not to mention kissing him when he lives again, holding hands on the balcony while they wait for her parents and end-of-movie smooching.
Avelera 