#death was a real possibility

[bigfatbreak]

dad villain au: did emilie just. not consider at all that adrien was literally dying at the time. wow

she's in the habit of deciding when Adrien's suffering is acceptable, and if it is, she'll just fix it later.

[endless-nightshift]

There's something so sad to me about the fact Lan Xichen goes from happily encouraging Lan Wangji to befriend Wei Wuxian to Considering Wei Wuxian to be Lan Wangjis 'only mistake'

Like... Imaging getting a miracle second chance not only at life but to have be loved by the man you've always admired only to find out that his family detests you because during the worst time in your life, physically and mentally you didn't take into account the idea that a man who'd always treated with cool acquaintance at best, active distaste at worst actually cared about you and that his constant reproach and effort get you do give up the one method you have to protect yourself while everyone was literally actually out for your head was honestly because he was badly wording his concern and not because he hated you and the methods you used to survive.

[spicyvampire]

PRIDE MONTH WITH : MANNER OF DEATH (2020 - 2021)

TanBunn meeting on Tinder [insp.]

+ Bonus : Inspector M still needs to catch up

[houseswife]

wilson saying “I need to do this. for you.” is fucking insane actually. in the same episode where house is deciding whether or not he should commit suicide as a result of wilson’s dying. They are each other’s lines between life and death. humans have a biological instinct to preserve their survival at all costs; house has an addiction that governs his life. but they were willing to forgo all of it for one another, because they couldn’t fathom it being any other way. IM SICK

[tls12lessthan3]

thinking about orvs metatextual engagement with its genre and specifically how that interacts with its women again. kim dokja is a self insert for the reader - what he thinks is largely meant to represent what we think, especially in the beginning before sing shong really fleshes out his character. kim dokja sees the world through tropes, directly acknowledging the genre around him and the cliches we expect e.g. the overpowered mc, the scheming villain, the beautiful heroine.

but a major part of his arc is deconstructing this reductionist view of the world in a way that parallels the author's deconstruction of the genre, and that plays really well with the way orv writes women. yoo sangah is perhaps the best exanple - shes introduced as the heroine, a one-dimensional pretty girl who in any other novel would become kim dokja's love interest. but the authors allow her to be her own character, directly challenging the stereotype of the heroine and calling attention to the genre's typical lack of depth for such a character. i think this undercurrent plays in the background often but really comes to the forefront when yoo sangah reminds kim dokja of her putting pepper in their bosses' coffee, a memory kim dokja had supressed because it didn't fit with the pretty girl persona he made for her.

i interpret that moment as yoo sangah pushing her way out of the mold of heroine often found in these stories, demanding a depth be added to her character, asking kim dokja - and thus the reader - to see her in her entirety, to see the heroine archetype for what she could be. orv is at all times in conversation with its genre, and its simultaneous writing of female characters with agency and depth and acknowledgement of the tropes these women are expected to fulfill is undeniably a part of that. and its a part i enjoy. most of the time.

[fairycosmos]

i just can’t believe everyone ive ever met is going to die

[edwinisms]

it’s actually so wild to me that this fairly quirky YA type show gave both of its main characters deaths that can, in one way or another, solidly be considered hate crimes. they were both flat out murdered as a result of being A) gay and effeminate or B) brown (south asian, specifically) and you could argue whether or not those kids thought of it that way in the moment or whatever but the bottom line is that they would not have been in the situations that killed them if they weren’t of their respective minorities. like legitimately that is a ballsy choice for this kind of netflix show, let alone for the two Main Characters, and i respect it big time

[dancing-lex]

Thinking about lawlight movie night crack fic. When they haven't had leads for days, the team makes them watch a movie for "stress relief" (maybe they'll stop fighting for a couple hours). They took away their laptops and phones so they have no choice. Both of them hate the movie but they had to choose from Matsuda's collection because he's the only one who leaves headquarters. Anyway they constantly talk over the TV, judging the poor story quality and plot holes and generally being haters. Light tries to limit L's snack consumption by keeping everything on "his" side of the couch but L just reaches all the way over him bc he doesn't give a shit about Light's personal space. And L constantly changes the position he's in, sometimes hanging his head upside down off the couch, sometimes putting his cold feet up against Light, etc. Needless to say this bugs the hell out of Light. They start getting into arguments about trivial details in the movie, and at one point they decide to bet on how the movie ends, with the loser having to get naked (duh). Both of them are confident that they'll win (L is cheating bc he's seen this movie before) but Light's predictions are off by a hair. L obviously takes this and runs with it, insisting that Light technically lost the bet and it wouldn't be fair if he didn't get undressed now—

[poobletoods]

"Your turn, big guy. Promise you'll take your time, okay?"

[aardvaark]

im so glad that we never get a clear picture of sophie’s background in leverage & i hope we never do. however i also really like making up various, often conflicting backstories for her in my head. perhaps they’re all backstories for an alias of hers, ones she laid to rest back in season two.

[xuxudio]

the voices won

[kitsune-kira]

the fact einstein just straight up said this to welt actually drives me Insane

did she talk to a young 8 year old newly joachim-turned-welt like this

im just saying that welt's insane problems probably did not get bad as they are in a vacuum-

[cipheramnesia]

The "movie about a movie that kills you" is a surprisingly robust genre of horror. There's a wide range of approaches, but one key factor is the question of how good the deadly film in a film is, on its own. Some approaches are keeping the faux film entirely unseen, use brief clips, or make it real short.

Antrum: The Deadliest Film Ever Made goes in for a high risk approach and delivers a complete finished film, ostensibly made in the 70s and never released, framed by brief opening and closing info bites to set the stage of it.

Somehow this thing was completely off my radar, which means I was taken fully off guard as an ominous warning about the content in white text on black appeared on screen, giving a thirty second count down to leave if I wanted.

Wonderful showmanship and canny filmmaking that got me right in the mood to enjoy what followed. While I wouldn't call it a scary movie, I found it almost delightful in the atmospheric dread and devotion to its aesthetic of low budget 70s films. Nothing in it feels like a curse on its own, but it does feel like the sort of movie that could easily prompt psychological distress for anyone under psychotropic influences, pre-existing emotional vulnerability, or prone to delusional states. Not through anything supernatural, more because it works hard to keep the viewer in constant doubt over what is and is not real for the characters in the film. Combined with the framing device of it being a movie somehow able to influence the real world of the viewer, and the use of fractionally visible flashes of occult symbols on the screen, it generates an intense feeling of unreality which for me was an almost drug-like high and an immersive pleasure.

The premise of Antrum is simply a brother and sister decide to dig a hole to hell, and the movie plays out around this event by surrounding it with disturbing sounds and imagery, as well as real world dangers that weave the protagonists between the supernatural and mundane while keeping them in a state of terror and madness that grows until it becomes unrelenting.

In a certain sense it also feels cursed, like the kind of film where there are elements that feel very transgressive - in particular the opening scene which to my mind evoked Un Chien Andalou - not the infamous eyeball slicing scene, but the use of rotting animals. The few and very basic visual effects remind me as well of the early Survival Research Laboratory devices engineered by Mark Pauline.

However, the core question for me is also always what is the movie about besides the plot. If I had to identify some rough themes, I would say it's trying to explore the idea of understanding death and violence through the eyes of children who do not yet have the psychological tools for processing such matters, but who have been left on their own to do so regardless.

Many of the unusual elements in the movie can relate to death rituals poorly understood, starting from the very premise of digging a hole into the earth. And the same act is surrounded by strange rituals unclear in their origin, ideas which might be logical drawn from watching words recited over a grave without having a connection of purpose. Their encounters with other people are fully without possibility of communication as none of them speak the same language, and these mundane threats feel at times akin to a satanic Alice in Wonderland, rituals and violence whose meaning cannot be understood by the protagonists.

Likewise the supernatural is full of unprocessed images of death. Demons with black skin who look like mummified corpses. River crossings and empty chains dragging through leaves. It's as if death itself has manifested through the ambient world, surrounding the two children and refusing to let them leave its circle.

In combination with the intriguing use of sigils inscribed throughout, it creates a movie that is for me a joy to watch. An absolutely perfect Halloween spook for next year, but your mileage may vary between finding it full of pretentious nonsense or maybe the scariest film you'll ever watch. It can really come off either way, and I'm honestly not quite sure why my reaction was actual joy in the watching. Not to undercut the severity of the subject matter, but I just can't stop thinking about how happy I was to watch the movie at work mechanically, to enjoy the well oiled pieces fitting together, and then all topped off with the delicious extra treat of the framing device. Surely worth 90 minutes of your life.

[moxie-girl]

DRDT SPOILERS

all the theories/evidence/etc I still want answered before we wrap up this trial:

- what was the ball of clothes for? why/how were they starchy?? (and how did the culprit know about the old clothes)

- how and when did the culprit get the fish w/out Nico noticing

- what did Nico tell Hu to get the wire from her

- did the culprit use turpentine? if so, how did they get it, and if not, how did they knock Arei out?

- is the origin of anything else in the crime scene in any way important (where and when did the culprit get the rope, empty jugs, something to cut the rope with, etc.)

- how on earth did Nico come up with that crazy murder method???

- why the hell was MonoTV so urgent and insistent on cleaning up Nico’s crime scene so fast (I don’t think we’re actually gonna get an answer to that but why?????)

- what’s up with the scuffs on the ground + the broken light

- what’s up with Arei’s missing glove!!

- was someone actually following Eden in that scene where she thought she was being followed?

- how did the culprit figure out how Nico’s hanging attempt worked without seeing it in action (5 secs while actively being murdered shouldn’t count!)

- why did the person who took the tape think to do so (and do so without anyone else noticing) considering the circumstances

- why hasn’t anyone brought up that someone could’ve easily stolen the tape from whoever took it? (or even just asked to borrow it??) we just recently addressed how dangerous it is to narrow down the suspect pool without solid proof but I don’t think Teruko will make another ‘mistake’ this trial??

- why and how did the culprit listen in on the Eden/Arturo/Arei scene

- why did the culprit target Arei specifically?

- the fact that the culprit misspelled a bunch of stuff in their letter has to be relevant right

- why and how did the culprit move Arei’s body to the swingset?

- why hasn’t anyone brought up that Arei theoretically could’ve been murdered at night and then moved in the morning!!

- why haven’t we addressed that the murderer could’ve had an accomplice, rendering many alibis useless??

like I dunno, it just feels like David just brought up that we need to consider every possibility when looking at suspects and yet we narrowed down the suspects to two people when theoretically it could still be someone else even with the evidence? i don’t think I’m wording this well but… (like it doesn’t have to be likely or even plausible, it just has to be possible for it to be something Teruko should consider? or maybe I’m reading to deeply into David’s latest monologue idk)

[iwasbored777]

They were looking for an actor who looks like Aubrey Plaza on purpose, Rio was Nicky's father confirmed 😭😭😭

[iero]

I think I'd be more jealous of WWWY festival go-ers if My Chem was doing Three Cheers in full and, you know, the whole "This festival is a giant cash grab set on millennials and Gen-Z's nostalgia for emo music and what they think the 'emo' subculture is." thing leaves a sour taste in my mouth.