#Movie Lounge

[spockvarietyhour]

TNG sets that were rebuilt from scratch or - in the conference lounge's case - restored to their previous condition for Enterprise's "These Are the Voyages..." (2005)

[atomic-chronoscaph]

Isabella Rossellini - Blue Velvet (1986)

[for-hunger]

[iloveyoudie]

[aesthetic--mood]

Oswald Cobblepot Aesthetic Purple

[girlstevebuscemi]

Steve Buscemi & Peter Stormare at the 15th Annual IFP/West Independent Spirit Awards, 2000

[iamnotthere-idonotdie]

i think we should talk more about the sound design in the batman (2022)

specifically in this scene

[vampyrekorkie]

A relative of mine was gifted this atrocious outfit set and I knew who I had to put in it immediately. Only guy who could pull this look off.

[bumblingbabooshka]

[TUVOKTOBER: Day 17] Little Things Grown with Care.

[cyanide-sippy-cup]

The Batman (2022) isn't perfect by any means, but it is still a phenomenal film and one of the best pieces of Bat-media in recent memory.

Firstly, the aesthetic. Seemingly small but an incredibly important part. BTAS was broody, '89 was gothic, Forever was campy, TDK was... bad. And TB I think finds a real sweet spot in between vibes. It's dark, serious, it's got a technological noir, and yet still has vibrancy and color and (the key to my heart) neon.

One scene, you'll be sitting in an abandoned tunnel with shadows and muddy colors, the next you'll be surrounded by police under white lights, and the next you'll be in a night club with LEDs of every color you can think.

The fights. This film has some of the best Batman fights I've ever seen period. Really just action in general. The night club, the hallway, the finale. It's not like TDK where every fight is slow, precise, methodical, and honestly boring. Each fight or chase here is energetic and entertaining. The choreography is excellent, the stakes are legitimately high, and the settings are always unique.

The night club is crowded and overwhelming, with people swinging, shouting, and grabbing at Bats who aren't even apart of the fight. His skills and equipment save his life multiple times, whether it's block a bullet with a precise pipe throw or survive a shotgun blast with his armor. When he finally grabs Penguin you feel as overwhelmed and animalistic as he does.

The precinct escape is tight and tense. From the punch to the jump, every second makes you feel the absolute abominable stress of trying to escape a building like this. Officers pouring out of every room, bullets whizzing by and beaming off his suit. Merely seconds to get the flight suit on before they come pouring out to the roof. We experience the fall with him as his nerves spike, all culminating in a quick second decision that ends with him crashing into the side of the road.

Gotham. The beloved city feels full here. Subways are crowded, streets are packed. The crime feels real. Vandals, gang violence, thieves, assassins, crime families. It's not just militants and killers. We see the systemic issues in place that cause these. We see the feelings and social strains that make people do this. It's like you're taking a peak into another world with context and history you don't know but understand. It feels right.

The characterizations. I'm not a huge fan of the whole "Bruce Wayne is the mask, Batman is the real you" thing inflamed by TDK. And I really don't like "the Waynes were corrupt and did bad things, even for good reasons".

I think there's so much more to say about the two very different, very real sides to Bruce's personality. The one that comes out as billionaire playboy philanthropist, and the one that comes out as a violent and vengeful demon. Both who are willing to suffer for their causes. And I think there's so much more when the Waynes die from a mugging. That the crime is so bad it took the highest. That it could take anyone at any time, even the beloved elite.

However it does something right that most other Bat-media fails at. It makes Batman a symbol of hope. It demonstrates a growth in himself. That he can do more good to inspire the people than to instill fear in them.

Pandaredd made a good video on this, but in Crisis On Two Earths, Bats' opposite is represented as the ultimate nihilist. This means that at his core, Batman is really the ultimate optimist. And that makes sense. You don't put on a suit and fight crime, you don't try to create resources to help people, you don't befriend and reform your own Rogues gallery unless you believe you can change something. That all the work you do, all the suffering you experience will be worth it when you get to know the world healed.

And that's something The Batman understands. Batman started as a symbol of fear. So that every criminal hesitates at an alley. Panics at a shadow. But he became something else. A symbol of optimism. So that people can walk the streets at night. That they can get the help they need. That they can look into the sky with hope.

[tau1tvec]

Every Starfield POI has two vibes.

[calkale]

guys im ngl i should not have watched brokeback mountain today

[broke-on-books]

Need to watch my favorite movie again sometime soon

[iloveyoudie]

[dirtytransmasc]

soft concept for ATSV:

its after the events of the movie, things have smoothed out, the teens are for the most part living their best lives, Miguel is working on... it... and getting his relationships with the kids to at least how they were before he decided to try and fight a 15-year-old, things aren't perfect, but its better.

movie night. kids are piled up on the floor, Peter B. and Miguel have somehow been dragged into it (read: peters happy to be there, per usual, and Miguel is more than happy to be involved, even if he would never admit that, not even to himself). the movie's long been over, credits rolling, all the kids are fast asleep, and both of the older spiders know they can't just leave them on the floor.

que Peter and Miguel doing what every tired parent has done after a movie night, carrying their kids to their beds, or in this case, back to their own dimensions.

the tentative "we should get them home" comment from Miguel breaking the quiet that had settled over the group. the near silent argument over who's taking who where between Miguel and Peter. the awkward manner of picking each one up, each of them tall or lanky or otherwise awkward to hold, seeing as none of them are little kids, some are barely even teens anymore.

Miguel having to suck it up and take Hobie cause he's too tall and too much for Peter to manage, complaining even as his heart melts ever so slightly at the peaceful look on the kid's face. Peter taking Gwen so they don't have to portal twice, barely holding back a smile when he watched Miguel soften hopelessly. Miguel offering to take Miles home, looking almost... ashamed for asking, but Peter just gives him the go ahead, and watches as the older spider picked up the much smaller kid like he was nothing, tucking him close to his chest and portaling off to leave him in his bunk, hushing him as he flutters in and out of sleep.

the two tucking them in, peter with much more pep and giddiness, and admittedly, more picture taking, but surprisingly, Miguel being much more tender and careful, making sure blankets were pulled all the way over and pillows were fluffed and that he didn't accidentally wake any of them up. gentle parting goodbyes in the form of tussling hair, double checking windows and doors are locked, and wishing them sweet dreams.

after Peter takes Pavitr home, completing the task of putting the kids where they ought to be, Miguel has to sit through all of Peter's gushing and photos, murmuring something about him looking like a creep with photos of random kids sleeping in his phone, before lurking off to his office to reflect on the night and the ruckus he just went through for kids he was hell-bent on convincing himself he didn't care about. Peter going home to MJ and his daughter, contented and tuckered out, already plotting how to use the photos like crypotnite. Miguel cherishing the memories of the night.

thats it. thats the idea. the mental image is better then the idea on paper, but you get the jist.

inspired by this fic

[girlstevebuscemi]

Steve Buscemi, 2004