#Look At Me Films

[novakiart]

spideypool but it's a comedy of errors

[chloesimaginationthings]

"They call it the MANGLE" - FNAF 2 phone guy

[chittychittyyangyang]

Listen, you should never film strangers in public without their consent, but I swear there need to be fines or something for people who do that shit in some spaces. For example: I had to go to the ER last night, and some jerk filmed a woman who just came in and was clearly having an asthma attack. She immediately got to go back, and he was unhappy about that. Believe me, I get that it sucks having to wait when you're in pain, but you don't get to pick who deserves care when. The medical system in the US is a nightmare, and the ER could be the worst moment of someone's life. No one deserves to be recorded because some jack ass believes someone doesn't look like they need care.

This is fine to reblog. People who film strangers should be shamed if nothing else.

[chubbychiquita]

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[bixels]

Posting a sneak-peak of this now because I'm about to be In The Shit school workload-wise, so this'll take me a while to finish.

Doing some character design exploration/expression sheets for Celestia and Luna. Figuring out Celestia's weird ass anatomy while I'm at it.

[w-e-b-h-e-a-d]

put your head on my shoulder

just two guys being dudes. knocked out and tied up.

sequel

[mienar]

close-ups of a commission i did a while back! 🌱

instagram | shop | commission info

[k-wame]

JACOB ELORDI Saltburn (2023) dir. Emerald Fennell

[goblins-riddles-or-frocks]

forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.

[kaizsche]

"tyler, how'd you come to do this work?" / "well, when you love something, you'll spend your whole life trying to understand it." TWISTERS (2024)

[tectco]

Guys omg I’m back l with more fanart :33

[xxplastic-cubexx]

anyone else get cuteness aggression whenever they see james mcavoys charles….. like i have to pace around the room everytime i see him (your art is not helping. /pos)

i can think of one (1) mate who also gets cuteness aggression

[wavesoutbeingtossed]

Obviously we have to wait for the video to know the story, but for anyone who’s studied any kind of social history/psychology/sociology/etc. And knows a little about the diagnosis of hysteria, Victorian mores, the use of lobotomies/shock therapy/etc to treat women who failed to live up to patriarchal ideals and the minimizing of women’s physical and mental health issues historically in the medical and psychiatric fields plus the old Hollywood of it all… the imagery is Telling The Story. I am fucking SEATED.

[madisoncounty]

She swallowed past a lump in her throat, looked up into her son’s eyes. "Paul…I want you to do something for me: choose the course of happiness. Your desert woman, marry her if that’s your wish. Defy everyone and everything to do this. But choose your own course. I…."

LADY JESSICA & CHANI KYNES IN DUNE: PART TWO (2024)

[possession1981-moving]

POSSESSION dir. Andrzej Żuławski, 1981