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ehrammm

"A beautiful obsession"

shisasan

Blue Valentine [2010], dir. Derek Cianfrance

shisasan

Blue Valentine [2010], dir. Derek Cianfrance

forpiscesmoved-deactivated20200

adicttive

frenchublog

bubbl3solution

call me crazy but there is actually no platonic reason to be listening to a voice clip of your partner saying “love you” over and over and over again to the point that even your neighbors are sick of hearing it

pawpsiclesncarrots

Someone on twitter pointed this out & I thought it was absolutely worth sharing here! Great attention to detail! ♥

After the two of them are mistaken for a couple during the ferry ride, Judy sneaks a glance at Nick, then quickly looks away when she sees that he looks upset. Her smile appears a bit strained, as if she's trying to suppress her feelings being hurt. She probably interprets Nick's discomfort as him not wanting to be seen as a couple— she feels like his discomfort is her fault because she said "Happy anniversary" & it was taken the wrong way. Note that after this scene, she doesn't bring up their anniversary again.

literaphobe

the fact that nick and judy are constantly viewed as a romantic couple in zootopia 2 but almost deliberately do not discuss this is such a delicious detail, especially since they’ve managed to so therapeutically confess so many other important things…

many of these moments are caused by their own doing too. we have the undercover scene, where nick convinces judy to dress up as a family with a baby—when the customs inspector spots them, he mainly observes and commentates on nick and judy being in a relationship. but it gets brushed over by nick himself, who says, “yes, but proud parents first.” FIRST. like. he is bringing attention to the whole cute baby aspect of the hustle. he’s USED to running the cute dad and a baby hustle. it’s what comes to mind when he needs a good swindle. but… in bringing judy into the fold, their relationship then moves to the forefront, examined in the limelight. which i think is slightly hard for nick to think about, because he did not suggest to judy that they go undercover as parents because he wanted an excuse to hold her hand and play mommy and daddy

rather, he suggested it because it always works for him. but that’s the keyword. HIM. their partnership hits a slight snag because they keep trying to do things their own way, just together. and it keeps convincing people that their quarrels must be lovers’ spats, that their milestones together are that of a relationship, headed the way of marriage

and it’s uncomfortable. it’s so uncomfortable, because he isn’t trying to give off that impression at all. because he wants her, but that desire is something he’s keeping under wraps—so the fact that they keep getting observed and clocked in such a way is… stifling. so he keeps quiet about it, pinches his annoyance behind pursed lips. but he’s not the only one who’s causing these ‘misunderstandings’ about their relationship status

judy, who loves so loudly and wholeheartedly, with so much excitement that unleashes from her in big taps and unpulled punches, is not helping matters in the slightest. from her incessant declarations of their one WEEK anniversary, to how it gets mistaken for a couple on holiday, and them having to sit under romantic lighting and soothing tunes—she certainly isn’t HELPING their perception

and she sees what it does to nick. his quiet irritation. and so she lets that get to her. and it makes her suppress a certain discomfort about the matter. because neither of them talk about the idea of them being a couple. it’s not something they laugh off or dismiss. it just gets very… sullen. fearful. avoidant. (also, after marsh market, judy stops bringing their anniversary up)

a lot of the tension between nick and judy stems from them struggling to go from a me to a we, their unspoken struggles, and their inability to properly communicate

but… not all of their tension has gone spoken. and despite how happy they are to be together as a better team and well-connected partners against crime—their silent neglect of some other aspects of their love for each other will come back to bite them in the ass sooner or later

iwasbored777

The way he's looking at her during a normal conversation lol, bro isn't even trying to hide it

frosting-surfeit

What gets me is that the smirk comes after judy pleads him to follow her to make sure they stay partners. He is clearly enjoying every confirmation that judy feels the same way as he does

lawbreaker13

“Where is she?”

“She…she didn’t make it.”

Is actually so chilling. Everything Pawbert says to Nick is deeply terrifying.

“But with snake bites you…go fast. You’ll see.”

“She’s gone Nick, just get it over with.”

“You’re done. Know when to quit.”

And finally,

“Leave it! You’re gonna kill us both. It’s not worth dying for.”

The ONLY thing Nick does through this narration is fight. The ONLY words he says are “Where is she?” “JUDY!” and “Agree to disagree.” That is the entirety of everything Nick had to say to Pawbert. At no point does he try to converse, talk him out of anything, question, trick, bargain, rationalize, nothing. And all Pawbert knows Nick as is That Fox Whose Entire Reason For Living Is Judy Hopps.

It’s chilling because Pawbert knows that telling Nick that Judy is dead is going to destroy him, and he believes that it’s enough to let him cave and give into death entirely. He sincerely believes that Nick’s entire purpose for self-preservation is to keep Judy alive and if she’s gone, he might as well be, too. And he’s not even entirely wrong. Pawbert’s final plea, the complete 180° turn, “it’s not worth dying for,” isn’t “keeping her alive isn’t worth dying for,” it’s “YOU CANNOT SAVE HER, STOP FIGHTING, YOU HAVE NO REASON TO LIVE, SHE IS DEAD.”

But Nick saw her lifeless body. He heard she was dead and he SAW she was gone. And all he could think was, “If there’s even a fraction of a chance she’ll be okay, I can die knowing I did everything I possibly could to protect her.” The pure desperation in his eyes as he fights for that pen, not even sure if it’ll work, but fighting to do EVERYTHING he POSSIBLY can to save her. Even if he’s already SEEN that she’s dead. Which he has.

And then suddenly he’s looking her in the eyes and crying.

The slow-mo and pacing make it hard to grasp how fast it all happened, but he saw her, DEAD, and within sixty seconds he thought he was dead too, and then suddenly he was staring her in the eyes and panting. And all he could hear in his head was

“She didn’t make it.”

“She’s gone, Nick.”

“Know when to quit.”

But she’s right there. Alive.