Daniel: I will NEVER LO-
Armand: Walk in the sun with me, pwease *uwu eyes*?
Daniel: You son of a bitch, I'm in!
🩵 avery cochrane 🩵
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if i look back, i am lost
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#extradirty
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@jen-derless
Daniel: I will NEVER LO-
Armand: Walk in the sun with me, pwease *uwu eyes*?
Daniel: You son of a bitch, I'm in!
Watching Heartstopper Forever, I'm too aromantic for breakup stories.
They are like: I'm so sad we broke Up, I don't even actually want to break up.
And I'm like: Okay fine, then just … don't. 🤷‍♂️
"we cut the nobody scene from the odyssey" "we cut the religious trauma and parental abuse from carrie" i'm starting to think that studios barely funding original films is starting to have an effect where directors make up a story and then slap an IP on it in order to sell. or maybe some bitches just can't read anymore idk it's one or the other
everyone in the tags adding the fennell wuthering heights is correct btw
The weird thing for me in that part was that it felt building up to the Nobody. First the cyclops just grunts, then there is a moment where they explicitly note: Oh wait, he can actually speak human language. Why is that important; might He say something to us? Then when they are fleeing and the cyclops chases them, He stops, then Odysseus stops and looks back. Tension of anticipation. Something will happen. Will one say something and the other respond? Nah, He does something randomly different. It was so close to happening, so build up and then ... nevermind.
The Odyssey 2026 is a better Telemachy than Odyssey.
the straw hat crew + touch.
We're a crew, we gonna touch.
Yes, the ATLA cartoon is one of the best shows of all time; but cartoon purists are getting so effing exhausting. No, just because a scene in the live action is not exactly completely identical to the cartoon doesn't make it automatically bad. Different doesnt equal bad. Just because the order or reasonings are different doesnt automatically mean the way the order or reasonings are in the LA dont work in their own way. Changes are not automatically pointless just because the scenes are changed. The LA has done smart changes and combinations for economical production or for narrative reasons, and they are typically very obvious. You dont betray or diminish the cartoon for admitting the way it's done in the LA also makes sense.
The fucking wildest take I've seen on Obsession is when people all sincerely think "Bear should have killed Nikki" / was selfish not to kill her as If it's not the normal human condition not being able to go into kill mode just because someone asks you to. People criticize that he took her agency away and her selfness but then say he should have also taken her life?? People be like "she's fully the victim and he's fully the villain" and then plus additionally: "He (the villain) should kill her"????
He calls the company, he buys more wishes in attempts to end his wish in ways that she would survive and be herself again. How would ending her life better instead of If any reversal attempt would have worked giving her her life back?
P.s.: No of course Im Not excusing every other action of his or saying he's not selfish at all Just because i get specifically why He didn't particularly feel cool with killing someone else.
I think my problem with Obsession, where i disagree or it doesn't work for me, is that there is no seemingly positive phase lulling Bear and the viewers into a false sense of security that the wish works, and works positively functioning well.
Immediately after he wishes it, she behaves weird, creepy, freaky and his takeaway is literally "I'm scared", the second night she comes to apologize but does again weird scary shit. He thinks the wish works, but it doesn't give the wish works well and fine; he already feels something's wrong. Then we get a real quick montage of romantic things, dates, hanging out, smiling and being sweet — but a quick montage so we can Go from freaky quickly back to freaky again. But why, why couldnt we not linger there, why couldnt the romantic phase be an actual scene or even the start? Imagine once He makes the wish, she gets to the car, confesses she loves him, asks for a date, is excitedly giddy, the date goes sweetly - that it makes him think: "This Is great, this is exactly how I wanted it without cirsed side effects and without me being scared or intimidated." And then Slowly Bit by bit it gets darker, her lovebombing and giftshowering gets too clingy, too dependent, too paranoid and jealous. - These parts Happen, her hostility against the Friends later, the crashout "why do you Not Love me as much as I do you" are great. But there's no good buildip to them, No constantly increasing. After the Wish she's immediately freaky in the beginning, freaky in the middle and freaky at the end. There was no lull and pull him and the audience in, I personally was'nt pulled in.
How good of Ser Luthor to not fight Rhaenyra and Daemon after Alicent asked him to not fight them. Very loyal and obedient to his Queen.
aggressively arospec week: arospec headcanons
Barbie from Barbie (2023) as aroace
You say that the Ribbit scene basically confirmed "Jax is a trans woman" in all except for actually explicitly confirming words. And I wonder: why not? Why has the character not deserved to have their identity confirmed/acknowledged/recognized explicitly in words? What would have been wrong with that?
After the reveal scene, comes the slide show where we hear Jax's human male name and what the human does described with "he/him". Even after supposedly revealing that a character is a trans woman, the creators didn't give the character she/her pronouns or any single scene where a character acknowledgingly calls the character woman/girl. The supposed reveal had literally no effect of treating the character then more like a woman, and every reference to the character after was still phrased the same as if the character was a cis guy. People who saw Jax already as a trans woman will say it is obvious; people who dont think about trans identities can completely ignore any implications of the relevation and still treat the character as a he/him guy, for the show does, too.
EDIT: As I express with "I Wonder" these are just thoughts I ponder, I was left with after watching and felt conflicted about. I get there are explanations and what happened in the show makes sense and maybe it couldn't have been done better. That I have to accept. I liked the finale but would have just liked it one point more if there were one explicit reference.
This take is definitely too hot for a lot of fans but I’m gonna say it anyway: Sherlock Holmes is a canonically queer character. What type of queer he is is up to interpretation, but he is canonically, explicitly Not Straight, and people who write him as an allosexual hetero man are the ones who are actually projecting their own headcanon onto him.
I’m 100% serious. Here are the canonical facts we have about his feelings on sex/romance:
- He says multiple times that he is not interested in women. When Watson comments on the attractiveness of a woman, Holmes responds that he “didn’t notice”.
- He is uninterested in marriage and remains a bachelor his entire life, and never expresses any regret or sadness over this.
- He states that he has “never loved” (in this context it is implied that he is specifically talking about romantic love.) He repeatedly expresses disdain for romance in general.
That’s IT. That is ALL the canonical information we have about his sexuality. We know that he is capable of love in some sense, and Watson even explicitly says that Holmes loves him. But we never see any evidence that he has romantic feelings for women.
Any interpretation of Holmes as a heterosexual man directly contradicts all of the evidence we have about his sexuality. It assumes that everything he or Watson have ever said about his feelings on romance is a lie. The only interpretations of him that actually fit with all the facts are if he’s aroace, gay, or some combination thereof.
Anyway I’m going to start referring to straight interpretations of Holmes as “straight headcanons” now. Holmes is canonically queer.
Sounds aro to me
Bloopers are movie aftercare and it’s fucked up that we got rid of them
Bloopers should be the post-credit-material as a reward for staying while not being a punishment for going because you don't miss an actual scene.
I would say I get the premise and the starting cause and its logic in Obsession, but there are certain plot points and actions where I don't understand why or don't agree that the premise or starting cause would cause her to do these, in the way that I critic some doesnt make sense per its logic. Does the movie do those instances wrong or do I just not get them? And that makes me feel like I dont fully catch the movie.
i'm very tired
Argh
Scary Movie 6 seems to have forgotten the literary structure of jokes that is a) building up expectation by either a beginning of a joke or playing a parodied scene straight and b) subverting the expectation in a punchline. Have one (1) reaction to the funny/absurd/gross, then move on to the next joke or next scene.
In SM6, often they begin a joke and then turn the scene into chatter where the characters/actors just keep talking with each other. Instead of ending with a punch, someone else still has to say something, and what they say becomes explanatory commenting on the scene or cultural thing in the way that they are spelling out "This is supposed to be a joke/offensive BECAUSE ..." instead of just letting it happen or letting you get it. And over that, they forget to actually stay funny and land the scene.
Grace shows Rocky the Rocky movies.
Rocky: Why Rocky human let himself get hurt question
Grace tries to explain Sport.
Rocky: Stupid reason Statement
Later:
Grace: Rocky, you hurt yourself to save me!
Rocky: Good reason Statement