this isn't how everyone actually sees me, right guys
he wasn't even looking at me and he found me

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@fablesaesops
this isn't how everyone actually sees me, right guys
every hatchetfield project has a background character named rollerskate guy with 2 lines of spoken dialogue and 3 total minutes of screentime comprised solely of him rollerskating across stage and flipping off the main characters, and then theyll announce a spin off called rollerama where rollerskate guy is eaten alive by an eldritch god as consequence for his hubristic desire to be the best skater in hatchetfield (his father left after he lost his first skating competition and he's been chasing his approval ever since). rollerskate guy is played by joey richter.
Poor Laika...
PHM/Bloodymary Comic Part 1 of ?
killing myself BACK ON
it's been said a million times, but it cannot be overstated just how devastating Beverly's death is (imo the most heartbreaking death in the show, and one of the best tableaus)
I LIVE FOR THIS‼️
This is such a cool way to market the film and I can feel all the passion coming from everyone involved. Here’s the link of the scenepack provided by Neon:
Box
I know I’m definitely gonna be making SO MANY edits omg
"Leviticus" is so brilliant for making the audience feel the same anxiety and paranoia as the characters. After the entity is introduced, every single tender and affectionate scene between Naim and Ryan has this deep sense of dread baked in, because no matter the circumstances, no matter how sure you are that it's really Ryan in a scene, there's always, ALWAYS that bit of doubt in your mind. And that will be the rest of their lives; yes, there will be love, and affection, and intimacy, but they will never be safe from the dread, from the "what if?". They will have to be on-guard forever, and the way the story is written makes you on-guard alongside them
okay but did anyone else just immediately start bawling at that scene like 10 minutes into Leviticus where the whole church is singing worship songs except for naim who is just standing there looking for someone who sees him and understands him and then there's ryan who is ALSO NOT SINGING. BC THAT SHIT HURTED.
picture this. you’re seventeen, new to town, wide-eyed and stumble-footed. you’re still waiting for the penny to drop. you dream that your mum wakes you with a packed suitcase and a smile bigger than she’s ever given you, a grinning and self-effacing never mind! april fools! get up, lazy bum, we’re going home!
it doesn’t come. days become weeks. at school, you were the shiny new toy long enough for the tiny year level of only twenty-six other kids to determine that you’re just as dull as everyone else in this town. you’re from a flyspeck nowhere just like here, but at least your nowhere had places you knew, faces you recognised, haunts you traced with bike tracks and footprints. your new pastor has a droning voice that is somehow impossible to let fade into background noise. your mum hangs desperately onto every word as if they’re spoken to her directly. you can’t remember the last time she looked at you like that.
there’s a boy at school called ryan. in class, he leans back in his chair until the front legs lift off the floor, balancing on two plastic points against ancient carpet. he throws ripped chunks of his rubber at his friends when they’re not looking. he never brings books or a pencil case to class, snickers in the back when the teachers are talking, mocks the girl with braces like all the other boys. when he smiles, you count his perfect white teeth. when he’s concentrating, he traces them with his tongue. you imagine how it might feel to replace his tongue with yours. it frightens you. at lunchtime, you sit on the edge of the oval alone watching fluffy clouds drift away, leaving you behind. ryan plays footy no matter the weather and ends most school days with dirt and grass stains on his uniform. in the change-rooms before phys ed, you watch him undress from the corner of your eye and pretend to be focused on tying up your shoes. all of him is golden, even the creamy skin of his stomach and thighs. you imagine how it would feel under your hands. it frightens you. sometimes you look up and find him already watching. and he doesn’t look away or pretend he wasn’t staring. your gazes lock and you can feel him peeling something away to look at a piece of you you’ve always worked to hide. it frightens you.
it happens almost by accident. your bike is next to his in the bike shed. you arrive at the same moment one afternoon. he sometimes has a milk crate lashed to the back for his schoolbag and the sight of it makes you smile. you can feel that searching gaze as you unlock your bike from the rack. he just looks at you, hands on the handlebars and both feet still firmly planted on the cement floor. come on, he eventually says, swinging a leg over the worn leather seat. i wanna show you something.
you ride behind him and watch sweat darken the back of his shirt under the empty blue sky. you imagine how it might taste and it frightens you. the bikes are abandoned beside a gumtree losing its bark and he leads you through yellow grass that gives his hair a golden cast. you’re watching him, entranced by the stiffness in his movement. that languid, cool confidence is replaced by a kind of mechanical swagger—a boy playing at casualness and failing terribly. you can’t imagine why he’s trying so hard to seem tough. you’re so hypnotised by his performance that you nearly step on the snake with the frog in its mouth. when you rear back, yelling in shock and fear, ryan’s delight is cruel and his high, mocking laughter makes you feel hot and bristly. he prods the snake with a stick. his jibes land, the jab about a fear of heights, the rolling eyes. they all sting and you try not to let it show.
the floor in the abandoned mill is soaked in sunlight. motes of dust spin in the air, kicked up by your feet and the bits of refuse you throw around the space together. you snap into stillness at his warning—funnel web, on your shoulder—and something ugly cracks inside you when it turns out to be another tease at your expense. you’re snarling fuck you, cunt before you can think and in another moment you’re both on that warm floor, twisting and wrestling and all you want is for him to cut to the fucking chase and tell you why you’re really here, and his body is hot on top of yours and his hands are tight around your wrists and that light-spun golden hair is falling in his eyes and he’s watching you glance at the place where he’s holding you down and your chest is tight and bursting and aching and his sudden kiss comes down so hard that you forget everything else that came before.
you wrench out of the kiss by instinct. his hands release your wrists. you’re panting now, staring up at him. he’s still. his face is open. you look at the softness of his parted lips and remember wanting to lick his perfect white teeth, wanting to taste his sweat, wanting to feel his body under your palms, and it puts a lightness in your belly that you’re convinced would have you floating away if not for his weight. you drag him down and try to kiss that lightness into his mouth.
the act melts away. he cups the back of your head as if you’re something fragile and runs his fingers through your hair. when you pull back to look at one another you find the lightness behind his eyes and something in you sings. he presses you down, all warmth and tenderness and a gentle hand moving low, a soft mouth against your neck. you turn your head to find yourselves reflected. you see the blurred shape of his hand moving over you, see how your head is tilted back in pleasure and your body presses up into his touch. you watch him peel it all away to reveal a piece of you you’ve worked all your life to hide. it frightens you. you jerk away as if burned.
The moment the queer kid runs away from their unaccepting family is always portrayed as a big adrenaline fuelled escape, a screaming match, a hastily packed bag. Because it's only when your throat is raw and your face is wet and your parents yell and condemn that it's deserved, right? But what if it's just another day? You and your mother are having a conversation you've already had before, and you don't know why you think you can convince her. Nothing has changed between yesterday and today. She didn't listen in the hospital as a nurse wiped blood from your face and you coughed up sticky black, but now as you walk with her, twigs and bark cracking underfoot, you try again. The crowd of never-missed-a-Sunday churchgoers move around you as they comb dry bushland for the boy they faithfully watched seize on the floor. Sulphur-crested cockatoos screech above twisted eucalyptus trees. The sky is dusky-brown, polluted with lingering smoke. You talk to her, voice shaking but true, because this time, this time she'll meet your eyes and understanding will smooth the pinch in her brow. She'll pull you into a hug and say that she believes you and she loves you and she's sorry. You wait. But someone announces they're moving on—no sign of him here—and all she does is smile. She doesn't yell, but you almost wish she would. She's never hurt you with her own hands, but you almost wish she would. We need fear Naim, she tells you, fear is how we survive. And you get in the car because you always get in the car, the day it took you away from the house your father died in and every Sunday morning since.
But then your mother pulls into the station to fill the tank, and when she walks out to pay, you open the passenger door and climb out with the banality of a dead leaf tearing free from its branch. You have nothing but the clothes on your back and a lighter in your pocket, but you head to the bus stop with no detours. You're in the wind now, and a dead leaf can't reattach to its tree. Bus brakes screech and hiss. The boy you thought they would find bloody and cold in the never-ending dry grass is standing there. He sees you. Relief is not a big enough word. He's the first you ever shared this feeling with, the feeling you've been scared of since you were too young to even know what it was. And when you see him standing at the bus stop you think he might also be your last. He has his roots in you, this boy, he follows you into your dreams and is your waking nightmare. You reached for the demon that wore his face believing it might be your final act, and even now, when you still can't be sure it's really him, your throat still bruised and cuts still healing, you cross the road.
There is no dramatic kiss, once he confirms it's you, no loud proclamation of love for everyone to overhear. The two of you are quiet, when you step onto the bus and find a seat. As the bus begins its journey, you see his mirror image outside on the grass watching you leave. But when you turn to your right, he's soundlessly resting, finally able to. The ending feels undeserved because it's not the ending. You smile, rest your head in the crook of his neck, and let the music play.
on my first watch i was so in naim's head that i didn't fully understand that from ryan's perspective he is experiencing the entity in a completely different way than naim. he doesn't share in naim's guilt at being the reason the entity was introduced to their lives, and in my opinion i think he's a lot less caught up in the "wrongness" of being queer than naim is. even when he and hunter are waiting for the deliverance healer to do the ritual, he's unfazed, making fun of the church goers for being gullible, snickering at the priest, outwardly unaffected. it's not until the ritual has real consequences that he starts to show genuine fear, and avoid naim if only because he knows the town will do the same ritual to him if they suspect why they're talking. even when he's attacked by the entity, and they learn more about what exactly it is that has been done to them, ryan's relationship with the entity remains so much less damning. when jessica tells them that it comes when they're alone, that it will never leave them, that it will only get worse, ryan just goes. ok fine. we'll figure this out together. he's so much more willing to try than naim, so much less shackled by the guilt and fear that naim struggles with throughout the entire film. not to say that he isn't scared, of course he is. but ryan continually pushes back on naim's defeatist attitude. I know it's scary but I want to try. I don't want it to look like some other dickhead, I want it to look like you. and at the end, naim leaving his mother behind and seeing ryan at the bus stop is him finally letting go of the strong hold the guilt and the fear has on him and meeting ryan where he's at. I can live with the fear, if it's with you. If it's with you, I'm willing to try.
going from “it’ll never be me.” to “please tell me it’s really you.” was crazy work and I don't think I'll ever recover
what i fucking love about this scene is that we know it's not really ryan, naim knows it’s not really ryan. there's no part about this that is naim being lulled, being seduced, being tricked, being gotcha!'d. it's not him but it wears his face; it talks like him, it caresses like him, it comes close and smiles and laughs like he would. naim is leaning in despite the danger, moth to flame, knowing full well what's in front of him and craving it anyway.
this is queerness as fantasy—what we could be if not for circumstance. it's queer desire in a world determined to treat us as aliens. more than any other moment in the film, this scene exemplifies leviticus thematically in one brutal, efficient stroke. they want us separate and alone and scared, but we don't have to be. loving hurts, and we love anyway.
someone said "ryan wanting to do cute shit with naim like take photobooth pics" and i'm now realising that the interaction ryan had with the entity that naim witnessed was ryan just thinking his crush wanted to take him out to a cute date. someone will see us. are you sure? even though everybody knows about me? you want to go anyway? ok :) FUCKING KILL ME
something has taken over my brain and it rhymes with leshmiticus
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