supernova049

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Lately been dealing with the realization that even after so many years of masking, my autism still has a huge influence on my life, even if I don't deal with raging meltdowns every single day anymore.

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All the edits with good luck babe that will be made once Wicked: For Good comes out are going to be insane

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I tried to watch 2001 space odyssey but i dropped it to rewatch Wicked

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My hottest take is that mischaracterizing characters is actually fine for meme purposes. You're right, he would not fucking say that, that just makes it funnier.

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having now seeing Memento and Interestellar in the same day, and based on what I've heard from his other work. I feel like Christopher Nolan would really like Umineko When They Cry

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my favorite trope is when someone believes they’re hard to love and someone who loves them like it’s breathing.

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I feel like I have some type of need to hate watch Emilia Perez. Like some type of study of how the academy perceives latin america, trans people, and other marginalized groups.

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I think nothing sums up better the problems with the academy than a movie directed by a cis man which is considered offensive by almost every trans person is sweeping the award season because of being "boundary pushing" but the film directed by a non-binary person which has actually been widely acclaimed by the trans community goes by completely ignored.

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Transitioning expectation vs reality

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i dont love everything moffat has written but i appreciate how he is like completely obsessed with having the villains be corporations

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the final sequence of nosferatu is everything. it's utterly and profoundly bittersweet. it's a multilayered metaphor. it's beautifully disturbing and disturbingly beautiful.

the agonizing tenderness of the kiss. ellen embracing orlok, the manifestation of her repressed identity that was shunned by society, binding her spirit and flesh to the desire that was seen as sinful and abhorred. a glimpse of something tragically human flickering momentarily in orlok's faltering gaze as ellen lies down for him. thomas' futile desperation to outrun the destiny of his beloved. orlok's desire to be one with ellen overcoming his parasitic predisposition to self-preservation. ellen and orlok being alive at least before accepting death as they unite eternally. her succumbing to his darkness and him burning by her light.

and the score accompanying it all...

the sequence forces you to feel the uncomfortable complexity of it all, and it gives you the relief as well.

god, what a movie.

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Spoilers: Eggers' Nosferatu

There's a lot of debate right now on if Count Orlok represents Ellen's shame/trauma/abuse, or if he represents her repressed erotic desires, and in turn there's debate on whether or not viewers who find the Ellen/Orlok dynamic alluring are "missing the point." Eggers and Lily-Rose Depp have both said in interviews that there's a mutual pull between Ellen and Orlok, and even that there's a love triangle element, but obviously the experience is terrifying for Ellen. How can we reconcile the sexual tension and the horror?

I think the broader theme is that Orlok represents everything in a woman's inner world that men refuse to acknowledge and accept - fear and shame and trauma, yes, but also our appetites . After the prologue, the story starts with Ellen begging Thomas to stay in bed with her; she says "the honeymoon was yet too short" and tries to pull him in and kiss him (obviously trying to start some nuptial bliss). But Thomas is anxious to meet with his boss and get his promotion, because he has a narrative he's going to fulfill: he's going to pay Friedrich back, buy a house, and then start having kids (he and Friedrich touch on this a bit later. Notably, Friedrich discloses Anna's pregnancy to Thomas before Anna has made it public.)

It's the start of Ellen and Thomas' married life and she just wants him to prioritize her sexual desire, but he chooses to focus on his ideal of success, which sets him on this path to confronting Orlok. We know Ellen doesn't care about having a house or fine things and she begs him not to go, but Thomas listens to Herr Knock and Friedrich, who tell him that as a husband he has to provide materially. He ignores Ellen's stated desires, and so fails to provide sexually and emotionally. When Thomas gaslights her about her nightmares and calls them childish fancies, he shuts down her vulnerability, which kills the intimacy she was enjoying in the literal honeymoon phase.

On a related note, there's a defence in here for Aaron Taylor Johnson's performance, which I've seen a few male critics call "over acting." In this story Friedrich represents the masculine ideal of the time, he's a rich business owner with a beautiful wife and kids. Thomas clearly looks up to him and wants to emulate him - he wants to give Ellen the life "she deserves." But Friedrich's elevated masculine status is why he refuses to listen to Ellen's "hysterical, sentimental" worries, he's too rational for all that of course. And his stubborn "rationality" leads to the death of his entire family. Friedrich IS the patriarchal ideal that crumbles when confronted with nuance and uncertainty. Some people see Friedrich and assume that a character like him is meant to come across as dignified, and that Aaron Taylor Johnson is messing up by making him look annoying, but really he is giving a great portrayal of a really common, annoying kind of guy. The kind of guy who melts down and has childish tantrums whenever they lose control of a situation, or their manly skills and values are shown to be irrelevant.

The men in the movie (excluding Professor von Franz) frame Ellen as childish for speaking about her dreams candidly, but their own childishness is revealed when her dreams manifest in the form of Orlok and become unavoidable. Ellen (partially? possessed in the moment by Orlok) tells Thomas how "foolish and like a child" he was in Orlok's castle. In the literal context that's cruel, and obviously that shit was scary as hell, but it hits on Thomas' failure in the metaphorical reading. He was a child playing house: 'I'll be the husband and make money, you be the wife and make babies.' When it came time to confront his wife's inner world and all the scary, traumatized, lustful complexity of it, he was completely inept. The message isn't that Orlok is what Ellen really needs, or that Thomas is a wimp, but he's not a perfect husband either. I think "the point" is that a real healthy marriage with sexual, emotional, and spiritual mutuality is impossible in that society with Thomas/Friedrich's ideals. In that kind of society, a spiritually and sexually potent woman like Ellen ("in heathen times you might have been a Priestess of Isis") will always be caught in a "love triangle" with her husband and her own inner world.

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throuple goals 🩸

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My curse is that every couple of months i get distracted from my passion for film because i get fixated on some dumb shit like shadow the hedgehog (2005) for the nintendo gamecube.

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My strategy to overcome a hyperfixiation is to literally try to check out everything about it that interest me until it burns me down and I no longer have any interest on it. Like playing a song you love over and over again until you get sick of it.

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I have developed a new hyperfixiation on sonic the hedgehog when I'm at a point of my life when I need more than ever to focus on being productive got fucking damn it