#fantasy vs reality fr

[glorfindelssword]

Answering disagree on all the petplay questions on the bdsm test as if half the fanfic I read isn't hybrid stuff and ignoring all the nsfw pup posts I've reblogged on here

[howifeltabouthim]

'Although I should warn you that she really only seems to get romantically excited about books.'

Jenn Lyons, from The Ruin of Kings

[thatonegayship]

Am I fr making a Dippy Fresh AU? 

Dipper loses in the trial of Fantasy vs Reality and is kicked out of Mabel’s bubble, where he subsequently dies in the midst of Weirdmaggedon. Instead of laying to rest, his ghost haunts Mabel’s world, stripping away its fantastical layers by force, revealing the nightmares underneath in a second (bitter) attempt to drive his sister into the real world. He eventually earns a second chance at life by possessing the body of Mabel’s “Back-up Brother” and piloting it as his own. 

(Maybe Mabel loses her mind in the process, who knows.)

[addie4ddie2005]

Hi hello once again- NEW CHAPTER ANNOUNCEMENTAAAAAAAAAAAAAA

ANYWAYS I HAVE A CHOPPY ANIMATION JUST FOR THISS OCCASION:

Choppyanimationhere

(ps: Sorry in advance for the end- It's really rushed cause I was desperate to get it done before the chapter came outttt. ANYHOW PS OVER RAAAAAAAAAAAAAAAAHHH💥💥💥💥)

DUDE.

This is so good I actually cried. I knew you had an animation in the works but I was NOT expecting that /pos I’m actually going through it frame-by-frame just. drinking it in. You went above and BEYOND for this and I’m so happy I was able to inspire you and I can only hope the next chapters can do you some justice 🫶😭 Trust me when I say YOU got the ball rolling on CH3 cuz I was like What?? Somebody likes this?? I better get to work!!

This kind of hype is foreign to me I’m unlocking new emotions rn TYSM this video is getting implanted in my brain as we speak 🫶🫶🫶🥹

-Okay now I’m gonna talk abt it LOL literally the first scene with Reader waking up to Digital Life??? Cold harsh reality VS deceptive inescapable fantasy??? Freaking EPIC

-AND AAA HI KINITO!! HE LOOKS SO HAPPY!! He said ^-^ ^-^ He has NO IDEA

-Reader going through all their avatar phases… they can be anything they want all the time… Not Good.

-AND DUDE THOSE TRANSITIONS?? I SEE EVERYTHING YOU SNUCK IN THERE!! RAHHH THOSE ARE SO COOL!!

-AND WHEN THE CAMERA IS GOING AROUND THE READER??? DUDE YOU ARE SO GOOD AT IMAGINING 3D FIGURES!!!

-OKAY BACK TO THOSE BETWEEN-FRAMES HERE ARE SOME THAT I LIKED

-THEY ARE SO COOL AND SOME I ONLY SAW WHEN I PAUSED EVERY SECOND… UR SO WILD FOR THAT!! IT’S LIKE I’M TREASURE HUNTING FR

-Kinito looks so sweet and innocent how… like :(((

-I do like the little flashes of EVIL KINITO like. You get it.

-HUMANITY JUMPSCARE 💥💥💥

Once again I cannot articulate the words in my brain for the appreciation I have for The Things You Make. My heart is crawling out of my chest to get 2 you we are bonded together like wolves now. Can I mention you in the notes of the next chapter?? You have earned a spot in the credits trust meee 🫶 Cool if not tho!!

TLDR: YOU MADE ME CRY. Sorry if I’m getting WEIRD but I AM GENUINELY SO ‼️‼️‼️💥💥💥🎉🎉🎉🎉💙💙💙🫶🫶🫶💯💯💯🗣️🗣️🐛🐛🐛

[shrinkthisviolet]

What, if anything, would drive your ocs to becoming a villain?

Oooh I love this question!

So for Morgan, I actually have a whole RF!Morgan concept floating around (see tags). Details of it are TBD, but it basically involves Morgan becoming a speedster and Eowells grooming her to be...essentially his executioner, for lack of a better word. Since this is from the start of s1, she never gets close to Barry, and Eowells systematically chips away at her friendships with Caitlin, Cisco, and Iris. Thus, by the time s1 ends, Morgan is essentially pushed out of Team Flash.

However, this isn't what pushes her to villainy. What does that would be the death of someone who grows to care about her and even puts her safety above his own goals (won't say who because spoilers, but it's someone unexpected 😂).

(The reason it wouldn't be Tina is because Eowells would likely kill her off during s1, and Morgan killing Eowells (partly in retaliation, partly to protect Team Flash when she learns the truth about him) doesn't make her a full-tilt villain yet. It just sets off a chain of events that will eventually result in her becoming one)

Now Lucy...she'd have to be turned by Luke. There's already a precedent for him using history and her ideals against her to make a point—if he were a Sith, he could do that even more. It would take a lot to wear her down, considering all she knows about the Sith...but it's Luke. He knows his sister like he knows his own mind. It would work eventually.

(Still, when it comes to Lucy, I prefer the angst of Luke turning to the Dark Side and Lucy battling her every temptation to try and save him, even if it’s in vain).

Reyna's is fun to think about because of how much it mirrors what Cisco's could be. Now ofc, she doesn't meet her evil doppelgänger like Cisco does...but maybe she does eventually come to realize that these powers she's feared all her life (an unfortunate consequence of needing to suppress her powers from an early age in a world where metas are illegal) are insanely powerful and she can control them.

So maybe she learns how to do it...and she sees other Earths. She sees all the good, all the bad...and she becomes obsessed with fixing things, making them the way they should be...especially for Nora's sake. All of it is for her loved ones, see, and especially Nora. Nora, who's the only one who could pull her back to reality...unless Reyna mentions an Earth, a timeline, a reality where Barry survives Crisis 👀

For Amelia, it would likely be her putting on the Doc Ock arms to save her adoptive father from that fate, knowing from NWH what Otto Octavius's fate is 🥺 then she's corrupted by the inhibitor. It could also result in a very angsty Amelia vs Peter fight, wherein Peter is begging his now-twin sister to remember who she is, while Amelia (who, ofc, doesn't know who Peter Parker is or that Spidey is him) attacks him.

The angst potential fr 🥰

ask my OC(s) anything!

Taglist (send an ask or DM to be added or removed):

@arrthurpendragon @ocappreciationtag @raith-way @vexic929 @ironverseocs @thechaoticfanartist @goldheartedchaoticdisaster @negative-speedforce @dream-beyond-the-fantasy

[phoenixwatchesmovies]

What I'm Watching: February 2024

How we doing, folks? Didn't do much between Sailor Moon and Cowboy Bebop, but I made the most of it.

Perfect Blue

JDJWIXBEYSIFNEHXOABSUD I LOVE THIS MOVIE SO MUCH! Psychological horror is my favorite kind, and questions of self, sanity, and perception can be so juicy. This movie made me so fucking uncomfortable the first time I watched it that I didn't think I'd be able to sit through it again, and now I love it even more every time. Even outside of the story, it's just an incredible piece of filmmaking. The transitions in the opening scene alone, shifting between Mima's different personas so seamlessly in motion but so jarringly in presentation, could be a short film on their own. But then the rest of the movie is like that. Reality and illusion weave together so tightly that I still can't fully pin down what's what (I think the key is somewhere in the overexposed vs the saturated shots, but I keep forgetting to pay attention to that to make sure). The soundtrack lends itself brilliantly to the uneasiness and anxiety, and even divorced from the context of the movie, I can't bring myself to listen to "Virtual Mima" all the way through. It's too effective. On the other hand, I also can't comfortably listen to "Angel Of Love," thanks to context, but it's a fun pop song if you've never seen the elevator scene. It's impossible to overstate how much heavy lifting the soundtrack is doing. The story itself is simple enough, a young woman having an identity crisis in the spotlight while a stalker targets the people around her, but the way it unfolds is such a mindfuck, it warrants rewatching (and rewatching and rewatching, etc). I've already mentioned the transitions in the opening, and that expands later on into flashbacks, dreams, scenes that seem to be real life but are later revealed as part of the crime drama Mima is filming. It makes it hard to predict what is really going on, right up until the moment before a thing happens and that one tiny clue makes everything else click into place. This is the kind of writing I aspire to. As if that's not enough, the themes of celebrity worship, obsession, exploitation in the entertainment industry, and mental illness, and this movie stays relevant. For all that it takes place during the shift from analog to digital and the early days of the internet, it feels eerily timeless. It's my go-to in conversation about movies: have you seen Perfect Blue?

Labyrinth

If I'd been obsessed with *this* Jim Henson movie instead of The Dark Crystal when I was younger, who knows how it might have changed me as a person. Meh, probably not that much, tbh, since I've always loved stories like this. Which leads me to one of my favorite themes in fiction that I don't really see discussed in regards to this: the stories we tell ourselves. In Sarah's case, her indecisiveness (does she want to be the hero or the villain, and consequently, who does she want Jareth to be?) and unwillingness to lead the story is, ironically, what drives the story. The story she tells herself just happens to her, and she's not responsible for any of it, and it's not fair. A childish mindset, of course, and naturally her arc concerns taking responsibility for herself and learning to balance it with a healthy relationship to fantasy. When put that way, it's even more obvious how important it is that she refuse Jareth and his offer, "Let me rule you, and you can have everything." Stay in this dream world and everything you could ever want or desire is yours forever? A tempting offer for anyone, and Sarah's decision is a.) What finally, truly assigns her the role of the hero, and b.) Pretty wise, considering she's only a teenager. That's all Jareth has to offer, is a dream, and in her own words, "it's all junk." And speaking of Jareth... It's probably for the best I didn't grow up with fear me, love me, etc in my system, because it's done enough of a number on me as it is. What else to say? He's David fricken Bowie, what more do you need to say? This also applies to the music, just so we're clear (and that goes double for "Chilly Down"). And for the rest, it's Jim fricken Henson!

Mrs Brown's Boys

And that's basically the series so far in a nutshell. It kinda reminds me of The Carol Burnett Show, if there were episodic plot lines instead of sketch comedy and they'd been allowed to swear. I think that's mostly to do with the fourth wall and/or character breaks throughout, the former of which happens frequently enough to be a running gag but not so often it becomes a gimmick, and the latter is always fun no matter what you're watching.

Wolf Creek 2

So, if you start playing franchise bingo with slasher movies, you notice the villains themselves fall into two categories: they either don't talk and they're boring/only there to be indestructible killing machines, or they do talk and they're the absolute worst/will kill you for sure but will have so much fun doing it. (This excludes Terrifier, which is an outlier adn should not be counted.) And you can guess which category Mick Taylor falls into. I posted a few thoughts while watching this one, and I think overall, I dig it. The flashier action bits are to be expected, given that sequels tend to take the bigger-is-better approach, but other than that? Consistent as hell from the first one. Tense, graphic, and mean-spirited, with gorgeous cinematography, protagonists you can root for, and a villain who is both just fucking AWFUL and charismatic enough to make you question your judgement. And apparently there's a series???

[ayyponine]

Storytellers -  Shutter Island: Why Perspective is Everything

following are just personal thoughts which i tried to fit into the tags except it was all too long and got cut off. spoilers ahead fr that obv

but yeah i recently had a rewatch years after i saw it first and rlly appreciated all the signs that’re in there leading up to your plot twist, and this is a good video to dive into that entire setup. i saw some other videos that had great points re: symbolism of fire (delusion & fantasy) vs water (reality) as portrayed in various (most) scenes. or re: the scene where teddy is interviewing patients and you gets hints fr yr twist because 1. you see a guard standing behind the interviewee AND teddy but not behind chuck 2. when a guy gets mad chuck’s movements suggest hes calling fr someone to restrain/manage teddy, not the other patient and 3. some sedative injection is shown still close at hand after that patient is removed but teddy is stil present. another thing i thought might hint at his patient status but wasnt mentioned in anything i found is whenever he's given medicine (even if it's just aspirin) it's handed to him in one of those lil cups and he just takes and downs it on auto pilot like it's a movement he's familiar with? idk if it’s a reach to assume any other person would be like “huh” fr a second but it's smth that caught my eye. but anyway i feel like this is a really good summary as it gets a lot of my main sort of feelings across while adding a lot more to it as well.

i esp like the focus on siding and identifying w the main character and sharing his experience, using POV shots to show various continuity errors (like the dissapearing glass of WATER) or delusions (mistaking a lighter patch on a rock fr chucks body), and hinting at unreliable narration (the camp liberation + george noyce speaking a truth teddy doesnt believe). i mean if you watch it without knowing the twist then you’re completely siding with the guy as the nursing staff joke about and the police are uninterested in finding the missing patient, the paranoia and distrust seems justified bc you don’t know what they’re keeping from you and from the main character. so yeah the fact that the audience will turn a blind eye to reality and omit the laid out truth to remain aligned w protagonist is just. good shit man

[godzillavskong21]

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Sortie: Mar 24, 2021

Durée: 1:47:31 minutes

Genre: Action, Science-Fiction

Etoiles: Alexander Skarsgård, Millie Bobby Brown, Kyle Chandler, Rebecca Hall, Brian Tyree Henry

Directeur: Terry Rossio, Eric McLeod, Ronald R. Reiss, Sarah Halley Finn, Owen Paterson

Definition and Definition of Film / Movie

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films.

Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story.

There are also documentaries with original and real pictures, or biographical films that tell the story of a character. There are many other popular genre films, ranging from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others.

That’s a little information about the definition of film or movie. The information was quoted from various sources and

references. Hope it can be useful.

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❍❍❍ TV FILM ❍❍❍

The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 1930s. Televised events such as the 1936 Summer Olympics in Germany, the 19340 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 1939 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 19440 World MOVIE inspired many Americans to buy their first television set and then in 1948, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “”Mr Television”” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 4, 1951 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets.

The first national color broadcast (the 1954 Tournament of Roses Parade) in the US occurred on January 1, 1954. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 1965, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 19402, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.

❍❍❍ formats and genres ❍❍❍

See also: List of genres § Film and television formats and genres

Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional MOVIE). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed]

A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 1980s, many MOVIE feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television MOVIE to have this kind of dramatic structure,[4][better source needed] while the later MOVIE Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intendevd five-season run.[citvatio””&n needed]

In 2007, it was reported that television was growing into a larger component of major media companies’ revenues than film.[5] Some also noted the increase in quality of some television programs. In 2007, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “”I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thanks for everything and have fun watching❍❍❍

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