With the finale out now I think a central theme that I've recognized and really adore is "all of these characters are more complex than an audience would appreciate." They are all being squished into a child-friendly set of archetypes, be that by Caine, Jax, or metatextually, the fandom. Caine doesn't want them complaining, swearing or having sex, they just have to go on endless, mindless, youtube-monetizable adventures. He's the ringmaster, he puts them in a bright poppy's playtime ass stage and demands for funny to happen. Meanwhile, Jax doesn't want to address the dire reality of their situation and copes by playing along, treating himself and all the characters as flat archetypes with no internality, so that the elephants in the room can safely be ignored. The fandom, meanwhile, is quietly guilty of all the same things. "Why isn't my favorite character acting in accordance with my headcanon? Which characters are flatly evil so we can hate them? Will they achieve my perfect happy ending? Because if not I'll be mad about it."
It doesn't work. Because they're more complex than that. They're people, they need more, they have emotions and traumas and wants and needs. Ragatha isn't always cheerful, she's not just the mom friend, and she's not some manipulator either. She's a person, trying her best, and very often failing. Pomni isn't always anxious, she's a natural leader and she wants the best for everyone, but she's not perfect either. She's a person, trying her best, and very often failing. And Jax isn't just a villain, he's a very complicated ball of traumas whose consistent first instinct is to push everyone away, hurting others so that he won't get hurt himself. He's a person, trying his best, and very often failing. She might even be a girl. Zooble isn't just a grump, Gangle isn't just a wimp, Kinger isn't just crazy. They're humans. And humans aren't always good. They're messy, screwed up, complicated things. They're things that can't be flattened down to archetypes, no matter how much Caine, Jax, or the fandom wants it.
The fandom wanted a bunch of cookie cutter adventures with good guys and bad guys, but what we got is just a bunch of people, stuck together, their traumas rubbing up against eachother until something catches fire and explodes. And I think that's way more interesting. I'm glad the show is that. I understand not everyone feels that way, though. A lot of people wanted something less nuanced. But I don't think the show not matching your expectations is the show's fault. I think people just need to come at it with the right mindset. Meet the story where it's at.
People are always more complicated than an audience wants them to be.
Digital circus' biggest problem is that it was written to be a niche show aimed at weird analytical queers with actual media literacy and it accidentally blew tf up and hit the mainstream and a bunch of people who have never had a second thought about anything got into it
I feel like Tumblr should really appreciate Iron Lung even if not Markiplier fans whatsoever. It's got all the good stuff. A man being thrown around, going crazy, facing cosmic horrors all while being covered in blood. What's not to love
im also obsessed with the interpretation of the blood ocean not being inherently evil or malevolent, in fact, it starts off rather loving. or at least, what it perceives to be loving. it wants simon to become part of it. it could've absorbed the iron lung and mutated it so long ago - we saw how quickly things went to shit in the final act. but its slow, always there in the corner for simon to be constantly aware of it, like a friend letting you know theyre always in your corner. it keeps the oxygen supply going despite the fact it should've run out days ago. it throws him into the cave. it talks to him, tries to entice him to join in anyway it can. come see the truth, it could save you, it has the answers you've been looking for. if that doesn't work, maybe guilt tripping is the answer, reflect on filament station, simon. "i see you". an acknowledgement. simon runs out of tape so the blood mutates to hold the photograph button for him. but the more defiant simon becomes, the more focused on his own survival he is, the angrier the ocean becomes. the creature couldve swallowed him so many times. clearly the radiation isn't actually a threat to it, we see it being blasted so many times in the end, but it continues its chase after him once it kills ava. the creature backing off in the caves after the photograph was a conscious decision. it couldve lashed out right then and there, but it backed off. "hey, im not a threat, im just watching, im right here for when you're ready".
just like eden, just like the COI, the ocean tries to force simon into a life he never really wanted. because he never seems to get a choice.
i just can't stop thinking about an ocean that thinks itself benevolent, when really, its just as cruel as the rest of humanity. or maybe, its humanity that is as cruel as nature. or is it a God? does it even matter?
Iron Lung Movie Review (Spoilers will be listed under read more)
I had the pleasure of seeing the newly released film Iron Lung, directed by Markiplier. This ambitious project is especially impressive because it was entirely self funded, with Mark Fischbach stepping into the dual roles of director and lead actor. From the very beginning, it is clear that this film is a labor of passion, care, and deep respect for the source material.
Visually, Iron Lung is nothing short of stunning. The cinematography is breathtaking, making exceptional use of confined spaces, reflective surfaces, and shadowed compositions to create a constant sense of tension and unease. Every shot feels intentional. The camera work is meticulous and immersive, drawing the audience into the claustrophobic nightmare of the story. The way light and reflection are used enhances both the horror and the beauty of the environment, creating an atmosphere that feels oppressive yet mesmerizing.
The makeup and practical effects deserve special praise as well. Rather than relying on excess spectacle, the effects are grounded, detailed, and unsettling in a way that serves the story perfectly. They add layers of realism and dread, reinforcing the emotional weight of the film and elevating its horror. You can feel the care and craftsmanship behind every detail, which makes the experience all the more impactful.
The story itself is deeply compelling. For those who have played the original game or watched it being played, there is a deeper understanding of the themes at work beneath the surface. Isolation, guilt, fear, and curiosity all intertwine in a way that lingers long after the film ends. The narrative invites you to imagine what lies beyond what is shown, and that lingering uncertainty is where much of the horror truly lives.
Mark Fischbach’s performance is a standout achievement. Carrying a film of this nature is no small feat, and he delivers a performance that feels raw, vulnerable, and intensely human. It is a phenomenal acting accomplishment and a powerful demonstration of his growth as a storyteller and filmmaker.
Overall, Iron Lung is a cinematic experience that exceeds expectations. It is haunting, beautiful, and deeply immersive, proving that independent passion projects can rival large studio productions when guided by vision and dedication. This film is an absolute must watch for fans of Markiplier, fans of the original game, and anyone who appreciates thoughtful, atmospheric horror done with care and artistry.
Now for the spoilers.
This film stands as an acting achievement in its own right. The performances, both from the supporting cast and the disembodied voices that haunt the narrative, are remarkably strong. Each vocal delivery feels deliberate and unsettling, contributing to an atmosphere of relentless anxiety. Even without a traditional ensemble on screen, the performances never feel lacking. Instead, they amplify the psychological intensity, making the experience deeply immersive and emotionally exhausting in the most effective way.
One of the most striking creative choices is the film’s complete commitment to its setting. The story never truly leaves the metal tube in which the protagonist is trapped. The audience is confined alongside him, sharing in the suffocating sense of isolation and helplessness. This unbroken spatial limitation becomes a powerful storytelling tool, forcing viewers to confront the same mental and emotional pressure as the character. The environment itself becomes an antagonist, a constant reminder that escape is not guaranteed.
Throughout the film, we witness the protagonist reliving his trauma and confronting his inner demons. The psychological warfare he endures is relentless, blurring the line between memory, hallucination, and reality. His past mistakes, guilt, and fears surface repeatedly, each time eroding his sense of stability. By the final act, the narrative reaches a devastating clarity when he realizes that he has spent his entire existence placing others above himself, even those who sent him into this nightmare without knowing his name or valuing his life. This realization is deeply cathartic and painful, marking a turning point where survival becomes an act of self worth rather than obedience.
The use of the mysterious voice is particularly effective. For much of the second half, the audience is left uncertain whether the voice is real or a product of his deteriorating mind. The discovery of the broken wire intensifies this uncertainty, planting doubt that lingers even as the story progresses. When the wire later appears intact, the confusion becomes even more disturbing. At this point, the film forces the viewer to question the true cause of his unraveling. Is he losing his sanity due to prolonged isolation, or is carbon dioxide poisoning slowly taking hold, altering his perception of reality? This ambiguity is handled with precision, never offering easy answers and instead allowing fear to grow in the unknown.
The makeup work is nothing short of horrifying in the most effective way possible. As the protagonist deteriorates, we see his body and face reflect his mental decay, appearing almost as though he is rotting from the inside out. His gradual transformation into something that feels fused with the blood filled ocean around him is deeply unsettling. The makeup does not exist for shock alone. It visually reinforces the themes of decay, sacrifice, and loss of identity. Makeup artist Anna Fugate Downs deserves immense recognition for bringing this level of visceral horror to life. Without this work, the film’s impact would be significantly diminished.
The cinematography further elevates the experience. The director of photography, Philip Roy, delivers exceptional visual storytelling, particularly in scenes where the protagonist uncovers truths that were deliberately hidden from him. The revelation that he was not the first person sent into this abyss is framed with chilling restraint, allowing the weight of that knowledge to sink in slowly. The use of X ray imagery to shape lighting choices is especially inspired, creating harsh, invasive visuals that mirror the character’s psychological exposure. Near the climax, the camera movements through the thick, blood filled environment are both disorienting and mesmerizing, capturing the chaos and desperation of the final moments with haunting clarity.
Overall, this portion of the film solidifies its status as a deeply studied and thoughtfully constructed work of psychological horror. Every creative decision, from performance and makeup to sound design and cinematography, serves the central themes of isolation, exploitation, and self realization. It is a film that demands attention, challenges its audience, and lingers long after it ends.
I've read a lot of dystopian fiction as a teen, and they do usually discuss how the future becomes a dystopia. My "favorite" is the Unwind series. Favorite in quotes because it's a really good series, but I feel like claiming a favorite dystopia will have me misquoted as claiming a favorite dystopia.
The Unwind series is categorically fucked up as it's an extremely dark series, but I think that's what makes it is of the best dystopian fiction series. The plausibility. It goes into the history of how we went from here to there and you're like "no... I can't actually totally see that happening"
It starts with a small "issue" that is "dividing the nation". In the Unwind series the issue is abortion rights, which I think is categorically less fucked up then nationalism, but.... whatever...
Then they start to reframe the nation's mindset slowly to normalize what they want to do.
In the Unwind series, they have this idea of the soul. So if your 13 year old child is sent to be unwound, their body is deconstructed, and every part is reused in organ donations, so no part really dies. And they plant this idea that because every part of this child is still alive, the soul never dies, it's just... spread out among all of their parts that are living everywhere because the child never died, every piece of them is still living.
"Oh, but that's so clearly fucked up, I wouldn't fall for just blatant propaganda. The child is clearly dead." YES. That's what makes this dystopian novel fucked up, because our main characters we follow are kids that are supposed to be unwound and they know they're gonna die, but society is all like "You'll still be alive, your soul will be spread out."
But I'm sharing it because people are buying equally absurd bits of propaganda in 2025. The Native Americans just gave us their land? The slaves wanted to be slaves? Immigrants are stealing our jobs but also mooching off our welfare? How is ANY of this less absurd than the propaganda in the Unwind series? TELL ME. Maga sounds just as absurd as the people in the Unwind series.
And the thing that the Unwind series does that other dystopian series don't do as well is it shows this shift from like... normal to like... dystopia. Hunger Games shows the first hunger games and it was like "Everyone is just okay with kids killing each other".
The Unwind series shows how the government uses propaganda to normalize shit that sounds fucking absurd. And it drives me crazy because I can't explain this to anyone because they immediately shut me down like "WELL I'D IMMEDIATELY THINK THAT'S CRAZY SO YOUR BOOK SUCKS".
Meanwhile I'm like 👀 Yall really gonna fucking tell me people enjoyed being slaves then in the next breath tell me the idea that the government brainwashing us to believe child murder is fine as long as we keep all the parts alive is just absurd? Uhuh...
Oh and the Unwind series goes into how this effects like Native Americans being kidnapped, religious extremists with tithing, and even kids marked to be unwound becoming suicide bombers. It's fucking dark as shit, but they don't just go into like a realistic history of how this could come to be, they also go into real world implications of such a fucked up system and it's dark as shit, but I honestly praise it for the raw honesty.
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