Bleats

Margot Robbie's New Harley Quinn Look In Birds Of Prey Finally Gives Representation To Fans With A Janitor Fetish

Harley's about to kick arse and fix your toilet.

We haven’t been treated to much in the way of info regarding the upcoming Birds of Prey movie, but what little we have seen confirms one thing: Harley Quinn is going to be rocking a heap of interesting outfits.

Someone with enviable connections has leaked a new image of one of Harley’s new looks and it seems like Birds of Prey will finally be catering to fans who have a lowkey janitor fetish.

After raiding P. Diddy’s wardrobe between films, Harley’s skimpy Suicide Squad outfit has been replaced with golden overalls (tastefully unzipped), a pink tank top and slightly shorter pigtails, though she’s decided to keep her trusty hammer around.

She looks like she’s ready to kick arse and fix your toilet at the same time, and I’ll all for it.

Margot Robbie has previously said that she and the filmmakers behind Birds of Prey are actively trying to make Harley “less male gaze-y“. Based on what we’ve seen so far with the character’s basic festival chick look and her new janitor outfit, it appears that they’ve managed to do just that while retaining everything that makes the character so oddly charming.

Here’s hoping we see more info about Birds of Prey and Harley’s other outfits soon because February 7, 2020 is a long time to wait for the film to drop and we need our Harley Quinn fix now.

Parasite's Social Commentary Is Brilliant But Its Portrayal Of Savvy Young People Is Even Better

It's no surprise that Parasite is arguably 2019's best film.

POTENTIAL SPOILERS AHEAD!

Parasite is a strange film, though that can be said about all of Bong Joon Ho’s filmography. Much like his previous works, Parasite doesn’t fit into any established genre. Instead, it blends a domestic thriller, socially conscious commentary, dark comedy, tense heist, and bloody horror into some odd mutant hybrid.

This isn’t a criticism in any way. In fact it’s the complete opposite as not only is Parasite arguably 2019’s greatest film, it is the latest example of how Bong Joon Ho is his own genre and he is able to convey so much with his unorthodox approach.

The film tells the story of a zero-income family – middle-aged parents Kim Ki-taek and Choong-sook, and their 20 something children Kim Ki-woo and Kim Ki-jung – who are so far below the poverty line that they need to scab Wi-fi from the cafe next door just to check their phone messages.

Things take a turn when Ki-woo’s college friend offers him a lucrative gig as a tutor for a rich high school student. As he takes up his new job at the mansion of the upper-class Park family – Mr Park, his wife Yeon-kyo, their teenage daughter Da-hye, and their hyper-energetic son Da-song – Ki-woo sees his employers as a way to elevate his family’s social standing (hence Parasite, geddit?).

Parasite offers up a biting critique on the broken social system but without sacrificing the sympathy of any of the characters, and Bong’s seemingly unusual creative choices remain utterly brilliant. Some peaceful scenes are shot like a thriller to impart a sense of dread while others are cleverly limited in its framing to really hammer home themes like hierarchy and class.

But perhaps the aspect that stood out most to me was how Bong characterised the younger main characters in Parasite as savvy, competent people rather than their parents.

At a time when younger voices are being stymied by older generations who stubbornly refuse to cede power or listen to legitimate concerns, it is refreshing to see the older characters in Parasite take on more reactive roles.

The plan to infiltrate the Park family is the brainchild of Ki-woo and Ki-jung, both of whom carefully figure out every step of the ruse. Their parents on the other hand are nothing more than pawns in the whole thing and willingly go along with the plan without any questions.

When Ki-woo’s plan goes sideways due to the interference of an unexpected third party, Ki-taek claims to have his own plan to fix everything only to later reveal his “plan” was to basically wing it. It’s almost like Bong is telling the older generation to make way for younger folk because they have the answers to the problems being faced today.

As great of a commentary Parasite offers on themes like class, greed, and twisted social hierarchies, it is the subtle exploration into young people and the amount of stuff they can accomplish if they be given the power to do so that really stands out.

Bong has no problem showing people the ugly sides of life in his work, all of which is tinged with drips of cynicism. But the emphasis on Parasite‘s younger characters seemingly tells us that while Bong views the present as being messed up right now, he has a surprising amount of hope that the next generation can fix it.

The Notebook's Noah Is A Manipulative Fuccboi And It's Time We Called Him Out

Just because he looks like Ryan Gosling doesn't mean he gets a pass.

Here’s a fact that’ll make you feel old: The Notebook was released in 2004 and that puts it worrying close to being able to legally drink.

For a decade and a half, the story of Noah and Allie’s relationship has caused many tears to be shed, unrealistic expectations of how romance should play out, and how Ryan Gosling’s portrayal of Noah set the bar when it comes to loving someone wholeheartedly.

But once you take off the rose-tinted glasses for a second and look at Noah with objective eyes, it’s quickly clear that he’s nothing but a manipulative fuccboi.

Creeper alert.

Let’s go back to when Noah first meets Allie at the county fair and asks her for a dance within 60 seconds of seeing her. Not only is that something incredibly weird to ask a complete stranger, he’s immediately giving off creeper vibes when he gets right up in Allie’s personal space, something that she mentions to her friend afterwards.

But things get cranked up to 11 when Noah then crashes Allie and her date’s Ferris wheel ride just to ask her out. When she repeatedly says no, he decides to hang off the Ferris wheel and basically implies that he’ll kill himself unless she goes out with him.

That’s not romantic, that’s just manipulative. Emotionally blackmailing a woman into a date is just twisted on so many levels, regardless of whether Noah looks like Ryan Gosling or how everyone laughs it all off as a joke afterwards.

In the real world, Allie would’ve needed some serious therapy for the emotional damage inflicted upon her by a stranger she just met. But since that wouldn’t make for a very romantic movie, Allie instead succumbs to Noah’s “charm” and the two have an unrealistically healthy relationship.

It’s perhaps for the best that The Notebook was released back in 2004 because if someone did what Noah did today, they would be locked up in a cell with the key thrown away instead of being put on a pedestal as a romantic heartthrob.

You should’ve stuck with Lon Hammond, Jr., Allie.

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