yeah ryan is not winning a single argument in that relationship
$LAYYYTER

ellievsbear
The Bowery Presents
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if i look back, i am lost
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@thelostpassenger
yeah ryan is not winning a single argument in that relationship
♫Pull me closer - full disclosure Let it out; let me in, yeah On your knees, confess to me Every doubt, every sin, yeah That's how love's supposed to be I wanna know what you're all about You're beautiful when you're broken down Let your walls crumble to the ground Let me love you from the inside out Every scar that you try to hide All the dark corners of your mind Show me yours, and I'll show you mine Let me love you from the inside out Let's discover one another Kiss me here; touch me there, yeah - Purest form of ecstasy Truth or dare, don't be scared, yeah Let me solve your mystery
Let's cross the line so far we won't come back Can't read your mind; I shouldn't have to ask Cynical smile - time to take off your mask I'm on your side, so let me love you; let me love you ...from the inside out...♫ 💜💚
Terrifier 3: The Official Novelization (Review)
As a huge Terrifier fan, I wish that I could say that I like this novelization, but I gave Tim Waggoner's novelization of Terrifier 2 a 2/5 and settle on the same score here. I went in with low expectations because of how I felt about the T2 novelization and was almost immediately put off when, right on the first page, it is stated that Timmy is Juliet's older brother and then, on page 5, that he is younger than her, and that is reflective of the biggest problem that I have with this novelization. It's clear to me that it was written, submitted, and published without an editor/proofreader looking it over. There are so many errors throughout this novelization. Gabbie is referred to as Abbie at one point, Cole as Zach at another point, and in the final chapter, Phil Falcone's bus driver character is first referred to as Tom, then Bob, and then Tom again. There are also inaccuracies. For example, the opening kill in the movie is treated as a flashback that takes place ten months prior to the events of T2 (or two months after T1). There is even a very minor character named Grace who is original to the novelization who, on the night of T2's events, reflects on it having happened last Christmas. I could be wrong, but I don't get the impression that this is just creative liberty taken by the writer either; I think that it's him misunderstanding the structure of T3 and thinking that everything happens on a linear timeline. Waggoner also keeps contradicting himself when describing the layout of the house where Art and the demon stay for five years. Another major problem that I have with this novelization is the fluff and excessive backstory around totally inconsequential characters. We, for example, absolutely do not need several pages describing Bag Lady's biography up to that point. She is in the movie for all of five seconds and doesn't even having a speaking line. If you're going to provide additional backstory for characters that we don't get in the film, maybe do that for characters like Cole and Mia, not characters we couldn't possibly care less about. The novelization also feels the need to explain things that don't need to be explained, such as how Art and the demon know where to find Sienna after she is released from the hospital (I won't give Waggoner's explanation away, but I will just say that it's utterly ridiculous). Vicky is possessed by a very powerful demonic force with supernatural abilities such as the ability to perfectly mimic someone else's voice and also to affect electricity, and that's really all that you need to know. I also didn't need a silly explanation as to how Art knows where Jonathan's dorm room is. Speaking of that, though, I will say that the only aspect of this novelization that I prefer to the movie is that Waggoner does fill in a couple of holes that are legitimate ones - ones that I even bring up in my podcast episode on Terrifier 3. Why no one recognizes Art at the mall when he's supposed to be a local legend is explained, but, for some reason, Waggoner only explains away that instance of it and not the various other instances of it such as at the bar and on the bus at the end. Also, when Art arrives on Jonathan's college campus in the film, he enters a frat house that is hosting a big holiday party, but then we never see anything happen in that house. The next time Art is seen on screen, he has moved to Mia's dorm room in a completely different building, and there is no explanation as to why he went to the frat party to begin with or why he is now lurking outside Mia's dorm room. Leone, feeling sensitive to the various people who complained about T2 being too long, cut about twenty minutes from T3, and this could have been an effect of that, but Waggoner does explain this which I do appreciate, but otherwise, I really didn't care much for this. I wish that I had nicer things to say, but this novelization is just a mess that was not given the care and the attention to detail that it deserved.
Leviticus is basically It Follows but with homophobia being the fear represented by the entity rather than sex.
"You know, you can't spell Pride Month without demon." Me:
Your Favorite Scary Movie: How the Scream Films Rewrote the Rules of Horror (Review)
When I saw this book out on the new shelves at the library where I work, I just had to check it out and read it immediately as a longtime horror fan and Scream fan. The book is a very detail-oriented and insightful account behind the making of all seven Scream movies, although because the book came out prior to Scream 7's premiere, that section of the book (obviously near the end) features the least amount of insight especially regarding its absolutely terrible Ghostface reveal. It features dialogue from interviews with so many members of the cast and crew and even with famous horror fans such as James and Chelsea of Dead Meat, and such people don't just go into how making the films was always sunshine and rainbows; they also get candid about the steep challenges along the way, including but not limited to interference from the Weinsteins when the franchise was still distributed by Dimension. Scream creator Kevin Williamson, especially, really opens up about how certain decisions and snubs really affected him emotionally. It also, of course, taps into controversies such as Neve Campbell deciding to sit Scream 6 out and Spyglass firing Melissa Barrera following Scream 6.
I would say that my only complaint is that I do wish that it were slightly better edited. You can tell that it was not likely written in the same order that it's presented in the book (which, given the nature of the book, is understandable), because, for example, there are times when a crew member's name is dropped, but it isn't clarified until a chapter or two later who that is and what their role is/was. Other than that, this is a must-read for any Scream fan, especially since it is such a love letter to Wes Craven. There is even an entire chapter just titled "Wes" that is essentially a brief biography, and Cullins makes it clear via consistent and unanimous testimony provided by the various people she interviewed how kind and wonderful of a human being that he was and how sorely missed that he is. I would also recommend it to a Scream fan because unlike many other well known horror franchises such as The Texas Chainsaw Massacre, Friday the 13th, A Nightmare on Elm Street, Child's Play, and even Terrifier, there is no behind-the-scenes or making-of documentary for the Scream franchise, so it's not likely you're going to get the insightful information overload anywhere else other than this book.
I don’t know about all my friends, but I definitely feel like this movie hates me. I don’t know why it is even partially categorized as horr
I give New Fears Eve a 2.5/5 which honestly feels overly generous to me, but I bet that it would lower on a rewatch. On first watch, I didn’
Vanessa Fisk is kind of being fridged, but I also kind of don't care because I have honestly never liked her.
It is kind of wild to me that I am actually watching a new Malcolm in the Middle episode right now. Perhaps even more wild to me is the fact that it can now be said that Finn Wolfhard was on Malcolm in the Middle.
Y'all are never going to believe what just decided to make a return appearance to my iTunes Library. That goddamn U2 album.
I am so, so happy for Amy Madigan's Oscar win for Weapons! SO WELL DESERVED!
Random thought, but...
I think that it says something that, generally speaking, women are better able to convincingly write queer men (Alice Oseman's Heartstopper series, Sally Green's Smoke Thieves trilogy, Patricia Neil Warren's The Front Runner, incredible gay fanfic I've read written by women) than men (and I, of course, generally mean Men with a capital M) are able to convincingly write any woman.
I saw an ad today for a daily injectable that you put in your lower abdomen for weight loss.
I feel like all y’all need to watch The Substance.
Wind-Up Records circa 2002: Yeah, this song is cool, but see, we're a rock label, and we want to initially bill you guys as Linkin Park siblings. We're going to need more cowbell white guy rapping. How about this guy from another one of our bands... uh... 12 Stones. Sound good? Amy Lee: Well, I mean - Wind-Up Records: Great! That'll be the lead single! See, the thing is, Amy kind of hates those rap parts. They were shoehorned in by Wind-Up because Wind-Up was scared to death of trying to sell a rock/metal band fronted by a woman. The male rapping in the lead single was one of the compromises that the band agreed to make and, according to Amy, reluctantly so. It's why it's removed from the Synthesis version. However, for some reason that I will never understand, this is what culturally happened (one of many, many reasons why I no longer have any faith in who popular opinion and top 40 claims is especially talented because, at the end of the day, it's really only measuring who's popular which is absolutely not the same thing): General culture after Fallen: Oh, Evanessence? Yeah, I love her! She's great! 'Wake Me Up Inside' with Linkin Park is so good, and what's that sad one she did? 'My Immortal'? Yeah, I love her. General culture after The Open Door (even though it is, in my personal opinion, even better than Fallen): Oh, Evanessence? Yeah, I love her! She's great! 'Wake Me Up Inside' with Linkin Park is so good, and what's that sad one she did? 'My Immortal'? Yeah, I love her. I heard she has a new one out? 'Don't Cry to Me' I think it's called? General culture after Evanescence (and pretty much since): Oh, Evanessence? Yeah, I love her! She's great! 'Wake Me Up Inside' with Linkin Park is so good, and what's that sad one she did? 'My Immortal'? Yeah, I love her. Like, I don't mean to come off as gatekeepery; I really don't, but Evanescence is such a phenomenal band with truly incredible talent and artistry behind its heart (Amy Lee is a treasure), and Wind-Up Records truly did them dirty just like they did Megan McCauley. "Call Me When You're Sober" is the ONLY single (of FOUR) from The Open Door that got any radio play in my area, even on ROCK radio, and that tells me that Wind-Up simply didn't spend much money on putting those singles out there. It would be consistent with what Amy has said (and even written a song) about them. They were all so good and deserved just as much attention as "CMWYS" got if not more so. Evanescence never went away. The sheeps who follow trends just lost interest in them, even though every single album has been incredible and always worth the wait.
Today has been really awful.
BLACK PHONE 2 2025, dir. Scott Derrickson