lovely cage.

Paul. 34. Wandering around the world (AKA my bedroom) trying to figure out what I'm doing here. My ask box is always open. :)

[michaun]

TV APPRECIATION WEEK Day Four: Underrated TV Show/Arc ↳ The Way Home

[lopeirce]

I say my power should be our power.

[buffysummers]

Buffy the Vampire Slayer Alphabet ↳ S ✫ Slayer

[buffysummers]

There's a little witch in all of us. Practical Magic (1998) dir. Griffin Dunne

[relax-its-only-magic]

Fairuza Balk, Robin Tunney, Neve Campbell, and Rachel True behind the scenes of The Craft (1996)

[comradesummers]

when buffy summers said “you have a choice. you don’t have a good choice, but you have a choice!” I felt that

[comradesummers]

No, but fr, that line is so important to understanding Buffy’s character. It’s not just about making the right choice, it’s about owning your choices. Ford tells Buffy that he doesn’t have a choice, that the deaths of the people in the vampire club are beyond his control. But Buffy doesn’t buy that shit. Ford chooses to let these people die, and as much as Buffy is trying to convince him to change his mind, I think she’s also repulsed by the idea that he’s trying to justify himself by minimizing his responsibility to these people. Because Buffy is someone who often has extremely limited choices, and is also hyper-aware of her responsibility to others. She constantly has to make decisions that can and have resulted in people’s deaths, and the only way that she knows how to handle that is to take full responsibility for every single choice she makes. She rarely allows herself to opt out of responsibility, to diminish her role in any given situation (even when that’s often the healthy thing to do) because in her mind, to do that would be to relinquish all control and all morality, just like Ford is doing in this scene.

That’s why Buffy is so insistent on taking responsibility for Allan Finch’s death, even though it causes irreparable harm to her and Faith’s relationship. It’s why she admits to having killed Ted to the police, even when Joyce is making excuses for her. It’s why she is so horrified with her choices in season 6, why she begs Tara to please tell her that she’s wrong. It’s what she means by her “I am the law speech” in season 7. Buffy simply can’t make excuses for herself, can’t give herself the easy way out. She always considers herself present in whatever situation she’s in, and always responsible for the choices she makes, no matter the mitigating circumstances. There’s no such thing as not having a choice, in her eyes. There’s always a choice, even if it’s not a good one. And this one singular line just captures so much about who Buffy is and how she sees the world and herself within it.

[allisonrw96]

Every now and again I think of this Sarah tweet and just stare into the middle distance.

[ettadunham]

✨ 2023 monster girl + tv tropes of the week 2/52

faith lehane

“Who said I had a plan? I don’t know how many’s down there, but I wanna find out. And I’ll know when I land. If you don’t come in after me, I might die!”

[spyderfyngers]

[destruct0slinky]

I keep watching clips of Andrew Garfield catch MJ in No Way Home, and it makes me think a bit about Spike saying to Buffy in early season 6 “Every night I saved you” as I’m sure every night Andrew’s Peter has dreams where he did it differently, and was able to save Gwen. 

[ethanhunt-deactivated20230911]

That’s right, I’m back. Hang onto your husbands, girls! Nicole Kidman as Gillian Owens in Practical Magic (1998) dir. Griffin Dunne

[depsidase]

[dailybtvs]

“I think this scene is not just about Xander. I think Willow has been feeling lonely this entire episode. Let’s look back at the beginning of the episode. Willow’s not feeling great. And that’s before she even knew Xander was with Faith. So, I think that she’s feeling left out. I think she’s feeling like Faith is taking all of her people away from her. I think that she’s probably felt left out her entire life until she met the Scooby Gang and they felt like her people, people she can trust. And so I think that watching Buffy hang out with Faith and not wanting to include her, and now hearing Xander’s been with Faith, it’s just the icing on the cake. And so, I think what she’s feeling right here is just absolute loneliness and hurt. And this just tipped it over the edge. […] There’s probably a little bit of Willow maybe feeling left out in the sense that now she knows Buffy has had sex, and Xander has had sex, and she hasn’t. And she’s not completely sure where her and Oz’s relationship stands. She feels like she has no one. And so, I think there’s a little more sympathy to be had for Willow in this scene because the situation just feels compounded by loneliness.” - @becomingbuffypodcast

[tatersgonnatate]

... Y'know what, sure. why not

[destruct0slinky]

The Tony Awards are tonight. There is a piece of this night that is related to artistry. Part of it is a competition. But honestly? I want the commercialism to come out tonight most of all. I want people all across America to be introduced to a show tonight they've never heard of, and become intrigued by it enough to buy tickets so that this industry can thrive so shows can continue to be produced in the future. All kinds. Weird, artsy things that most don't understand, huge popular successes with tv stars, revivals of golden ages shows and something that came out 10 years ago, based on movies or some singer's catalogue. I just want Broadway to still be here.  

[playsthetics]

Brian Johnson: [closing narration] Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. But we think you’re crazy to make us write an essay telling you who we think we are. You see us as you want to see us - in the simplest terms, in the most convenient definitions. But what we found out is that each one of us is a brain… Andrew Clark: …and an athlete… Allison Reynolds: …and a basket case… Claire Standish: …a princess… John Bender: …and a criminal… Brian Johnson: Does that answer your question? Sincerely yours, the Breakfast Club.

Claire Standish (Princess) John Bender (Criminal) Allison Reynolds (Basket Case) Andrew Clark (Athlete) Brian Johnson (Brain) Film: The Breakfast Club

[goryhorroor]

movie sub-genres • coming of age

coming of age focuses on the growth of a protagonist from childhood to adulthood, or “coming of age”. coming-of-age stories tend to emphasize dialogue or internal monologue over action, and are often set in the past.