#( thread: johnny. );;

[solradguy]

Pour one out for 5 of my favorite slutty men from my favorite Chinese gacha game that's at death's door

[dalekinapaintedparadise]

Stumbled upon a Reddit thread (don't ask) where people still whine and bitch about having to pick the "Nah, fucked that up too," dialogue option at the Oil fields to have a good relationship with Johnny. Saying that it needs to get fixed, calling it 'antagonizing' him, further proving that they don't understand him or his friendship with V at all. Sorry, but what's still not clicking? Holding him accountable for what he did and being honest with him is the only way you can have a good relationship with him for a reason.

It's not scolding him, it's not being mean, it's just V telling him 'No, what you did hurt me and I can't trust you anymore.' And he needs that, he needs someone who won't let him get away with the shit he does, he needs someone who is honest with him and won't just agree with everything he says so that he can grow and change. He knows he royally messed up, but he needs to hear that from V too. How do you expect V to have a true friendship with him if they just let him walk all over them and act like he did nothing wrong and everything's fine?

And it makes sense that the devs chose this as the secret ending unlocker because you can't have them storm Arasaka Tower together in full synergy when some parts of them are still at odds with each other.

Listen, I love Johnny as much as we all do here, but he needs to be called out when he messes up, and that's that.

[gomzdrawfr]

ok so I was doing fruit tier list after watching RTgames' video and decided to do cod ship tier list (something that was trending on the bird app before)

LINK HERE

Im tagging a few peeps to do it if you wanna!! if not its fine hehe

@justasmolbard @warenai @tapioca-milktea1978 @kaar-ne @tiggerriot @jgvfhl

reminder to all this is all for fun and people can have different opinions, don't be a prick :p

[tarmac-rat]

(Insp.)

Featuring @luvwich's text generator

[891movies]

Top 25 films (of the second 250 I watched for this project)

Around two years ago I posted a top 25 list of the first 250 films I watched for this project. Since I have now watched another 250 films and discovered many new favorites, the time has come for a second top 25!

Without further ado, I present them in chronological order (because if I actually had to rank them this list would never get out of the editing stage):

The Adventures of Robin Hood (1938, dir. Michael Curtiz, William Keighley)

This movie is a storybook adventure come to life, charming, entertaining and beautiful to look at (I miss you, technicolor!). Errol Flynn has an unmatched energy as the titular character and Olivia de Havilland is the picture perfect leading lady, with the exact right mixture of grace and fire. This is may not be a particularly complex or groundbreaking film but it does what it does perfectly and taps into that childlike sense of wonder that few films manage so well.

A Matter of Life and Death (1946, dir. Emeric Pressburger, Michael Powell)

One of my most delightful discoveries since starting this project have been the films of Powell and Pressburger - I'm not sure what other directors could boast releasing three of the greatest films of all time in three consecutive years (those being A Matter of Life and Death, Black Narcissus and The Red Shoes). This film mixes a deeply moving love story with a metaphysical court room drama to great success and this strange mixture is mirrored in the film's form, with some experimental but mostly conventional cinematography.

Ace in the Hole (1951, dir. Billy Wilder)

As grim and cynical as it is sharp, this movie plays out like a feverish nightmare. I was honestly shocked at how dark this movie got, considering the time and place in which it was made, but that is absolutely what the story needed and I'm glad Wilder got to tell it this way.

A Star Is Born (1954, dir. George Cukor)

Has there ever been another star to reach the heights of emotional intensity that Judy Garland did in her time? I was lucky enough to see this movie on the big screen and I can't imagine watching it at home, because Garland is so larger than life, I can't see how a smaller screen could contain her. That's not to take anything away from James Mason, who gives a tragic and intense performance for the ages.

Johnny Guitar (1954, dir. Nicholas Ray)

Joan Crawford in your butch black shirt save me! Save me, Joan Crawford in your butch black shirt!

Bigger Than Life (1956, dir. Nicholas Ray)

Surprise, it's another Nicholas Ray melodrama! Ray had this habit of creating highly emotional stories that hid some sharp social commentary, but the commentary is barely hidden this time and it is shockingly subversive. Mason gives another intense performance but here it tilts fully into unhinged territory and he is terrifying to watch. The ending feels a little slapped on but it also feels like the only way Ray could get away with everything that came before.

Mon Oncle (1958, dir. Jacques Tati)

This movie feels like a precursor to Playtime, one of my all-time favorite films (incredibly novel opinion, I know). The sets are meticulously designed and a delight to behold, and Tati's performance as Monsieur Hulot (the titular uncle) is charming as always. I especially adore the contrast between the traditional and modern Paris, as well as the unconventional sound mixing that refuses to privilege dialogue, leaning into cinema's strengths as a visual medium.

Jules and Jim (1962, dir. François Truffaut)

This is by far my most recent watch on this list and it's still kind of percolating in my head but I loved it when I watched it and my fondness for it has been growing daily. It has that charming, youthful irreverence that the French New Wave is so known for, as well as one of the most complex depictions of a female character I've seen in french cinema.

What Ever Happened to Baby Jane? (1962, dir. Robert Aldrich)

Bette Davis is one of my all time favorite actresses and this is one of my all time favorite performances. She puts everything into this role and the rest of the film compliments her perfectly; it's funny and dark, tragic and absolutely unhinged. And Joan Crawford is good too, I guess.

Tokyo Olympiad (1965, dir. Kon Ichikawa)

This blew my mind when I first watched it, seeing what incredible feats documentary filmmakers were capable of so early on in the genre's history. It is also the perfect counterpoint to Riefenstahl's earlier documentaries about the Olympic games; where she emphasized nationalism and feats of strength, Tokyo Olympiad focuses on the humanity of it and the power this event has to bring us together. Probably my favorite section of the film focuses on an athlete who was the sole representative of his newly independent country and who did not qualify for the finals in his field (unfortunately I don't remember the country or the sport). But just the fact that he made it to the Olympics, that he got to represent his country on the world stage, is an incredible feat in and of itself, and the film recognizes this.

The Wild Bunch (1969, dir. Sam Peckinpah)

This movie is everything a western should be - exciting, violent, and deeply critical of the ugly history it is depicting. The characters are not good people but they are compelling and incredibly fun to watch.

Woodstock (1970, dir. Michael Wadleigh)

Another mindblowing documentary that pushes the ability of the medium to its limits. It captures a unique moment in time, a spirit of rebellion and hope for the future that unfortunately feels worlds away from our current cultural landscape. It is also an incredible display of the emotional power of music. I cried during Janis Joplin's performance and it felt impossible to match, but then it is immediately followed by Jimi Hendrix and I could feel my soul descend to a higher plane of existence. It is my life's goal to see this film in the theater.

In the Realm of the Senses (1976, dir. Nagisa Ōshima)

Everything is sex, except sex, which is love and beauty and death all intertwined and impossible to separate.

Atlantic City (1980, dir. Louis Malle)

Rarely has a setting felt so integral to a film. Everything from the story, to themes, to the characters revolves around and is subservient to the setting of a declining Atlantic City whose glory days are far behind it. It is also a microcosm of American society at large, at least as people were experiencing it in 1980 (although it's pretty relevant today, I would say).

Gallipoli (1981, dir. Peter Weir)

This is the movie that definitively convinced me that anti-war films are indeed possible to make, just not in Hollywood (Come and See had me thinking this, but Gallipoli proved to me that it wasn't a unique feat of just one film). We barely see the war in this movie but it is all about the incredible tragedy of it.

Koyaanisqatsi (1982, dir. Godfrey Reggio)

I was completely expecting this movie to put me to sleep and instead, it was one of the most viscerally intense and haunting viewing experiences of my life. It is hypnotic in the very best way and somehow captures the ennui of modern life without a single word being spoken.

Paris, Texas (1984, dir. Wim Wenders)

This film is an intoxicating mixture of tenderness and brutality, and a deeply moving depiction of our longing to reach out and connect to one another. This is the other film on the list I got to see in the theater and the cinematography was absolutely breathtaking on the big screen.

Trust (1990, dir. Hal Hartley)

This is such a delightfully strange film, almost but not quite set in our reality. The strangeness makes the gentleness of the love story all the more touching; this is one of those movies that makes me happy to be alive.

Safe (1995, dir. Todd Haynes)

I have been kind of obsessed with this movie since I saw it, so much so that it will actually be a focal point in my master's thesis. Everything in the film, from the cinematography to the soundtrack to, especially, Julianne Moore's performance, builds to this overwhelming sense of anxiety and dread, and Haynes' refusal to give an easy answer (or any answers at all) makes it all the more unsettling.

Scream (1996, dir. Wes Craven)

I do like scary movies, yes. I especially like movies that are scary, funny, and feature a bloody final girl and (more than) a touch of homoeroticism.

The Blair Witch Project (1999, dir. Daniel Myrick, Eduardo Sánchez)

Look at that, another scary movie! I am probably more susceptible to this movie's attempts at scares than most viewers, because I've only very recently started to build any kind of tolerance for horror, but it got me so good. The simplicity just makes it better; it may only do one thing but it does it very, very well.

Dancer in the Dark (2000, dir. Lars von Trier)

I'm always kind of hoping when I watch a new Lars von Trier movie that maybe I won't like this one, because I don't know what it says about me that I enjoy his films so much but I know that it can't be good. But this movie belongs just as much to Björk, who gives an incredible acting performance and an all-time great vocal performance. I was left a sobbing wreck; to this day, just humming 'The next to last song' to myself brings a tear to my eye.

Volver (2006, dir. Pedro Almodóvar)

Penélope Cruz is a revolution in this movie, my god. She brings the emotional sincerity that the film needs to keep its elaborate plot grounded. As always, I appreciate Almodóvar's clear love for strong and complicated women, as well as the often messy relationships between them.

Phantom Thread (2017, dir. Paul Thomas Anderson)

I love a good twisted love story and it is beautifully told here. Form also compliments function to a tee; a story about an obsessive compulsion to create perfect art is mirrored in the absolutely meticulous cinematography and costuming. Daniel Day-Lewis gives the performance of a lifetime here and while I do miss seeing him in the theater, what a film to end on!

Roma (2018, dir. Alfonso Cuarón)

This is one of those movies where nothing happens, in that there isn't a traditional plot (events still take place, obviously), because it's about life, man. It's a type of film that needs a deft hand and a filmmaker with something to say, and Cuarón has both in spades. Funnily enough, this movie reminds me a lot of Paris, Texas; it has that same mix of tenderness and harshness that compliment each other.

[vaperarmand]

Since we're talking Devil's Minion feeding stuff; that one 'You look thirsty' scene from Phantom Thread but it's Armand acknowledging Vamp!Daniel's fledgling-thirst. (But also, it being already canon via the 'I ordered everything they had' scene from the book where Armand laughs at Daniel so gets super into it and starts getting drunk as fast as he can, anyway)

daniel finding this attached to the neck of 1/3 unconscious bodies left in the entrance of his apartment building

[terminally-outsiders-obsessed]

every once in a while the outsiders rp accounts I follow show up on my dash, and It feels like I just woke up in the middle of the night to see my hamster doing weird shit in its cage every time. it’s so fascinating /vvpos

[johnnyxwagner]

starter for @steviexwagner

location: kinsellas vineyard

"Our tour is at one," he looked down at his watch that he sported on his wrist," which is in about an hour," he smiled at his wife. "I told dad we would meet up with them afterwards, figured the kids could try their hand at the grape squishing." At least, Logan and Zoe could. They could help Naomi with it, but he wasn't so sure that their youngest would be the biggest of fans of the squished grape feeling. "Are you feeling okay?" Johnny questioned, rubbing his hand against his back, "I know you mentioned you weren't feeling well this morning, we can cancel the tour if you want."

[merge-conflict]

thread-safe: shapeshifter blues

Valentine relies on Johnny for a little comfort

>>read on ao3<<

“So, how was it?” he asks, nuzzling his cheek into her shoulder before pressing a kiss into the bloody teeth marks he'd left behind. The answering grind of her hips is tempting, but neither of them are in a hurry. “Everything you dreamed it would be?”

She lets out a little choked laugh. “Better, even. Until it was over.”

He runs his hands over her thighs and she grumbles, adjusting slightly to extend her left leg. V still won't tell him much of anything about her second stint at Arasaka, but that glint in her eye means she wants to tell him about this. And he knows it makes him as bad as any pathetic superfan but he wants to hear it.

“What’d you let him do to you?” Johnny asks, fingers skating over the tender and inflamed scar on her left thigh. She squirms at the touch but he can feel her getting excited– whether from thinking about Takemura or from being interrogated he’s not sure. Both, probably. She’s an incorrigible horndog. “Besides nearly choke you to death.”

“Pin me against a wall,” V answers, the little indicator for her typing slowly pulsing in the corner of his eye. “I think he wanted an excuse. He was very eager. And jealous of you, of all things.”

Johnny tries to picture eager. With V it usually means handsy. Jealous, though, now that's worth considering. One of those nights he'd been out with V on Jig-Jig, the old man had come out of nowhere. Thrown his weight around judging her for having a little fun, like he hadn't been out on the prowl himself. Like he hadn't turned her down twice and still expected her to come when he called. He'd been awfully motivated to get his hands on Johnny, even when he thought he was just some doll V was playing with.

“He was pretty steamed that one night, wasn’t he? Kind of territorial considering all the times he turned you down.”

V sighs, although he knows she’s secretly pleased. “He brought that up.”

“Course he did. Then what? He choked you a little? Fucked you up against that wall?” Johnny grinds his hips and V responds in kind, before moving one of his hands down to her cunt. She’s truly slick now, and he slips in two fingers, nice and slow. They're finally starting to get somewhere.

[workingforitallthetime]

really, really outstanding journalism

[variousqueerthings]

yes I have lowered expectations considerably for s6, yes I am aware that we're going to be getting something so incredibly silly that we may struggle to call it a plot (and if we do get anything resembling plot in the sense of "this follows on from previous development and makes sense to go here," I will cheer) but I have put on the clown everything, and I have acknowledged that about... 75% of my enjoyment of cobra kai at this point actually relates to the actors doing their fun little character-actor blur performances, and knowing that they all had a lot of fun doing this weird fanfiction.

will johnny ever acknowledge that he gave the trophy to daniel because he was happy that he won? will sam and tory get to interact once in the new season in a way not related to their badly-written boyfriend storylines? will robby ever get to have another complex emotion related to his father's abandonment and alcoholism, especially now that there's a (uuuurgh) do-over kid on the way? will carmen ever... will carmen? will terry silver ever get to say that he is gay and so are the rest of them?

honestly at this point I don't even care anymore I have found the peace needed to watch it, and I'm just in it for the vibes of a bunch of friends having a good time.

[dallasgallant]

The amount of holes in Johnnys converse…

[thestoriesincoffeestains]

Cherry Loves Johnny [Katyrina/Darcy]

[ Previously On ... ]

@aquamanandfriends​

Katyrina stepped out of the Uber and looked up at the precinct doors, lip caught between her teeth. She was dressed as Cherry, in a bright red top revealing enough to show a hint of black lace around her breasts, a tight, black leather skirt, and knee-high boots. She texted Darcy that she was outside, a little wary about heading in after last night. 

[liljamjarisbrain]

neo got my back - nct 127 slay; a thread 🧵 (hyung line)

( i could not think of a good title for the life of me.)

 Johnny (쟈니)

Taeyong (태용)

Yuta (유타)

Doyoung (도영)

(maknae line edit)

[shortkingalpacino]

OH MY GOSH???

From this moviechat discussion post on the women in The Sting.

[psielapki]

@thehollyverse's   holly   &   johnny   soap   mactavish   /   unprompted

“We’re gonna play the shut the fuck up game, you go first. Your turn!”

                    𝘴𝘪𝘭𝘭𝘪𝘯𝘦𝘴𝘴   𝘪𝘴   𝘢   𝘧𝘳𝘰𝘯𝘵   𝘫𝘰𝘩𝘯𝘯𝘺   𝘱𝘶𝘵𝘴   𝘰𝘯   𝘲𝘶𝘪𝘵𝘦   𝘰𝘧𝘵𝘦𝘯   —   it's   somewhat   expected   from   the   youngest   to   be   a   little   stupid.   he's   chosen   to   be   the   comedic   relief,   to   be   the   golden   retriever,   to   be   the   chaotic   one   everybody   expects   to   cause   trouble.

                    141   needed   someone   like   this   :   soap   is   sure   price   took   candidates'   personalities   into   consideration,   knowing   they'll   complement   each   other.

                    because,   in   all   seriousness,   mactavish   isn't   stupid.   he's   one   of   the   best   snipers,   a   genius   demolitionist,   the   youngest   to   join   SAS.

                    and   yet,   holly   sees   him   as   yapper   with   head   empty   of   any   thoughts.   and   maybe   that's   better   —   she   needs   that   kinda   distraction,   and   so,   he   furrows   his   brows   almost   conedically,   feigning   offense.

                    ❝   hey!   that's   unfair!   ❞

                    soap   protests,   because   he   doesn't   like   this   game.   façade   or   not,   he   really   likes   to   yap.