full time clown

|21|any pronouns are fine c: | I'm just reblogging what I'm hyperfixating on at the moment c: | lwj kin | beyond evil has my heart and soul |

[bucksbabybelly]

Schrödinger’s buddie: not canon but also canon enough to get hate crimed in small towns

[comradesummers]

madney are so so so great because they're such a silly goofy almost sitcom-y couple who get extended comedy sequences where they commit accidental tax fraud or are hiding in the bathroom from the nanny that they hired because they're too afraid to tell her to stop cleaning their apartment etc. that is until one or both of them are in danger in which case they both immediately become the most intense and devoted motherfuckers ever to grace our television screens.

[baratheonpilled]

A Knight of the Seven Kingdoms 1.04

[gem1ny]

I should be working on my portfolio

[greensbeanspotatoestomatoes]

I may not have a brain gentlemen (no drawing skills), but I have an idea

[kingmakings]

Guinevere Appreciation Week

Day 4: The Queen of Hearts

[princessdave]

Hopper accidentally becomes the biggest ally in Hawkins out of hatred for Mike Wheeler. El wants to date Max? Perfect, Mike is terrified of Max. El wants to date Max and Lucas? Even better, more people to keep Mike away. Will comes out to Joyce and Hop? Hopper is immediately studying up on gay culture and flagging so he can find him a Hop ApprovedTM boyfriend. He sees that nice boy Gareth cuff his jeans one time and starts inviting him to family dinner. Mike seems annoyed that Steve is spending more time with Munson? A pamphlet titled “Accepting your Bisexuality” finds its way into Steve’s jacket pocket. Hopper has never seen Mike as furious as the day Steve and Munson arrive at dinner holding hands. It’s a good day. Hopper isn’t sure how Nancy dating the Buckley girl will annoy Mike, but he’s willing to give it a shot.

[drunkmusichistorian]

hello fmab nation

is this anything

[greelin]

the “the colonel calls me riza when we’re alone” scene is/was.. lifechanging tbh

[greelin]

lest anyone forget this iconique moment

[cat-fandom]

here it is in video too-

[goldenvulpine]

We did it gang

[kitsuzoro]

emily is so real for this

[raepliica]

i think they should take turns cuddling for healing purposes

[ghastlycrew]

FRIEND: You smile. You smile and I cannot recognise the monster which hides behind your teeth. You have altered beyond belief.

Steven Berkoff, The Fall of the House of Usher

[sonyason7]

I'm LITERALLY addicted to Bromance Kdramas that give off that bl vibe and I think I've finished most of them

I've searched for other Kdramas but couldn't find anything I feel like I'll cry I'll settle for crumbs as long as it's good one PLS (More dramas will be added to this list constantly based on what I watched)

[girltwinkabigail]

beyond evil (2021) / the elektra complex, joan tierney

[tinylightningfics]

Underrated moment

[renshengs]

beyond evil (2021) occupies a very interesting space in the larger expanse of crime shows. like, it is a Cop Show. it is undeniably a Cop Show even if the two main characters, who are both cops for very different reasons, are handled with significantly greater awareness and intention than usual.

it is also, impressively, a show that pierces the real ugly rot of 1) police corruption and its overlap with capitalism 2) atrocious real-life lawmaking 3) the poor handling of femicide in stories. i cannot express how abruptly shocked i was to discover that i did not hate the way this show was carrying itself, despite its crime drama genre, narrative about two homoerotic cops, and its murder mystery premise featuring a plot about a serial killer with solely female victims. here is a story that understands its purpose and is so clear-eyed about it that i did in fact tentatively suspend all my wariness about Cop Shows to watch it—and what i got was a scathing response to every serial killer and true crime documentary out there. a narrative that said: enough. enough. look at the way grief rots people from the inside out. look at the way loss ruins lives. do not forget the sufferings of the innocent.

far too many crime dramas possess an incredibly dehumanizing analytical tone to them that goes, “what if these poor women died in brutal gruesome tragic ways? anyway, look at these men and their heroic journey for justice!” it’s why i can’t fucking stand to watch them for the sake of my blood pressure. while beyond evil is not exempt from using such gruesomeness as a part of its horror aspect, the women in this show, particularly the women who were murdered, occupy such a heavy weight over the narrative that it is impossible to reduce them to what they’re usually reduced to: numbers in files, or cold cases. and because the purpose of beyond evil is to examine the ways grief and loss bring about destruction to people’s lives and communities, these women cannot be seen as numbers. they need to be vivid and real; the audience needs to feel their loss as deeply and gnawingly as the townspeople do. as we would in real life.

personally i’m still surprised at myself for liking a Cop Show this much—because the law enforcement sympathy is unavoidable in a cop show—but then i’m also shocked at how immediately this show establishes its awareness of police power. i don’t mean it gives a passing nod, like a brief disclaimer. i mean that you watch until the end and you’re like: oh! the entire fucking show is about police power and its consequences! this entire goddamn show is about cops’ potential for harm and how it destroys lives! the main character only ever became a cop out of desperation because he realized it would protect him from suffering further at the hands of the police. because he realized it was the only way for him to get access to both the information and the legal power needed to take his own steps to solve his sister’s murder. it’s not radical—it’s a cop show. but it is novel. a cop whose relationship with his own occupation is bitterly resigned at best and traumatic at worst.

this is far from an original thought, but truly i think what makes beyond evil worth watching is that it is so incredibly careful with itself. its meta awareness of its own genre heightens it to a tier above other crime dramas—it knows and rejects voyeuristic perspectives into the lives of people who’ve suffered real loss and tragedy, and so it makes the loss inescapable. every direction you look, someone’s life has been irrevocably altered by the murders you learn about in the story. it gives you no space to push away the murder—no, you need to sit directly in its field of impact. all the fucking time. you are not watching the town suffer, you’re suffering with the town. the story sucks you in and makes you live alongside the rest of them; it's why the first watch hurts so raw. because the story refuses to let you take a true-crime approach. because it refuses to prioritize the narratives of perpetrators over human lives. you are there, and you are hurting.

man. really, if you're going to watch anything, watch this.