#a FILM THEORY!!

[thetombedspirit]

Others: Brooklyn is the new villain of JWCT

Me: Brooklyn is in deep cover, integrating herself into the bad guy organization to get closer to the Broker, so that she can shut them down from the inside, which will lead her to have to make some morally compromising decisions which makes her friends doubt she's on their side which just breaks her heart because in the end she's doing all of this to keep them and the dinosaurs safe.

[thelosercenter]

so the fnaf movie huh

[funeral]

The development of Lynch's body of work is informed by a realist's optimism that there is an exit from the linguistic labyrinth and that this exit is richly available to us [...] His use of language—and of cinematic vocabulary—suggests that, once we understand that we ourselves have created cultural forms and that they only have the meaning we give them, we are free to understand the forces in the universe that are truly larger than we are and how they connect us to a greater reality.

Martha Nochimson, The Passion of David Lynch

[sockiepuppetry]

The dark lore of transformers animated

[reunitedinterlude]

happy 15 years to the phex tape (1, 2)

[bookaddiction14]

Someone’s prob caught this long before me, but:

In Lord of the rings (fellowship) we see the ring leaving Gollum and bouncing and rolling down the rocks:

The ring wanted to leave Gollum and therefore did.

It’s then picked up by Bilbo unwillingly; has an ‘unexpected journey’; and stays with him.

But when Bilbo is leaving, he decides to leave the ring with Frodo. The ring however, wants to stay and keep wielding its power and influence over him.

And when, at Gandalf’s insistence, Bilbo drops the ring, it still doesn’t want to leave him:

Which is why it falls flat, no bouncing or rolling away. It thuds to the floor like a child might stomp its foot when not getting its way.

I dunno how i’ve never caught this b4, and I may just be stupid and ppl have spoken bout this b4 but i’m a nerd and can’t help but mention it unprompted.

[sarrf]

There’ll be happiness after you.. but there was happiness because of you🤧✨

[lorax-devito]

I like to imagine that Finn and Noah will exaggerate the Byler kiss soooooo much

like the duffers will make it big,I know they will because it’s so important but Finn and Noah will put their heart and soul into that kiss

they will make it the best kiss in cinematic history,even if the script was ‘soft peck on the lips/cheek’ you know they would full on snog each other

they know what the Bylers want and they will deliver

they will make it so dramatic and do whatever it takes to make it so Milkvans can’t say Will forced himself onto Mike,or that Mike didn’t enjoy it

basically Byler kiss will have so much effort and heart from everyone involved that it will more than satisfy the needs of Bylers everywhere whether or not it’s they way you would’ve wanted it to go (ie.some ppl want a rain kiss some want a church kiss/UD kiss)

[provenbeat]

I have cracked the code, it all makes sense now

[consuming-unhealthy-particles]

MatPat: The Final Theory

Lore Keeper Ending

(It's fucking Scott Cawthon in a tux holy shit)

[mychapel-004]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[funeral]

At his most direct, Lynch explained that, when he is directing, ninety percent of the time he doesn’t know, intellectually, what he is doing. However, there is nothing uncertain in him about the powerful rightness of his artistic choices. His insistence on letting things happen to him while he works is part of his faith that film is a place where reality enters when something other than willfully applied reason does the talking.

Martha Nochimson, The Passion of David Lynch

[kneehighrainbowsocks]

ok hear me out

in the movies logan is over 200 years old, which would place his birth around the 1810s 1820s. the greatest showman takes place in the 1850s 1860s, and pt barnum was born in the 1810s

im not saying logan is pt barnum but

im not not saying that either

the timeline adds up

just sayin ¯\_(ツ)_/¯

[reunitedinterlude]

called out (2015 // 2024)

[d0gtoothjones]

Interrupted continuity - the easiest way forward

[back-on-my-bucky-bs]

Totally serious Thunderbolts theory:

Sam's busy finding people to add to the Avengers roster while Bucky is being paired up with a team of delinquents, some who mean well more than others.

So in between that and running for fucking Congress, Bucky just calls Sam up like "babe I know you're busy and all but we're so not qualified for this shit pls help" and Sam's so unbothered, laughing over the phone, and is just "good luck babe, kiss kiss, bye." And hangs up.

And Bucky's like "fuck I can't be here" and full mentally checks out going Winter Soldier mode because between Alexei "Red Human Disaster" and John "Gaslight, Guilt Complex Agent" Walker, he hasn't had enough therapy to handle them let alone a bunch of traumatized feral super powered women.

But by the end he adopts them all anyway and then he comes home like "Sam we have kids now, no I know one of them is older than you and the other one is Walker, I don't care they're ours now" and Sam just has to except that they're parents now.

Then Joaquin shows up the next day in a cardboard box that has the words "free puppies" written on it, and Sam tells Bucky they have one more kid to add to their collection.