#it didn’t need to be a movie

[babymorte]

Yeah I liked it. Started out a little slow but was pretty good. Good amount of comedy and horror and the gore was great lol. I'm not sure what it's streaming on or if it is yet I get my movies in other ways 🏴‍☠️lol

I also watched mickey 17 and that was also worth a watch.

oh i’m glad! oh do you ?? you got a treasure map to that booty 🤔😂 i heard it was good for people who like tucker and dale vs evil n that’s one of my fave films of all time so im glad to know it’s living up to the hype 🤩 i just saw the director is doing something else too im really excited about but i can’t remember for the life of me what it is 😭

is it?!? i wanted to see it so bad n i was so bummed it wasn’t getting good reviews cuz it looked like such a fun time like a bullet train typa thing. im actually going to be having a movie night with some friends soon so maybe we can add this to the list too 🤩

[chloesimaginationthings]

FNAF movie Mike and Michael meet their younger selves..

[the-meme-monarch]

cinderella 1950 if it was good (they didn’t make a cat just fucking evil)

based on my talking here

[andromeddog]

far and few, far and few

[morganbritton132]

Follow up to this post (specifically the tags):

One day Corroded Coffin is having band practice in Gareth’s garage when a nice burgundy BMW pulls up and parks in front of his house.

Everybody’s playing abruptly stops in a cacophony of discordant noise when Steve Harrington gets out of the car and walks up the driveway. He winced at them like, “Wow, you sound terrible. Is your mom here?”

Before Gareth can answer, Steve turns on his feet and continues to the kitchen through the garage entrance, “Hey, can you hel-“

The door closes behind Steve, pitching them into silence. Gareth can feel every eye in the room turn to him, and Eddie looks horrified when he asks the inevitable, “Is he really fucking your mom?”

And then, chaos.

[neon-in-the-night-time]

nobody tell 14 year old me but i find elphaba/fiyero to be a more compelling ship than gelphie

[cloudwardhoe]

Okay I know award shows are silly but Flow just won best animated motion picture at the golden globes and I love that it’s getting recognized 🥹 it’s really such a beautiful film I hope this inspires more people to give it a chance

[maglorslostsilmaril]

worst effect of the peter jackson movies was people getting it into their head that elrond hated aragorn. what. WHAT. did we read the same books.

“and Elrond took the place of his father and came to love him as a son of his own”

he grieved that arwen would be parted from him and celebrian!! he didn’t hate aragorn!! he loved him!! omg!!

[glamrockmike]

a conversation in a comments section between me and @puhpandas the other day got me thinking about a potential gregory in the 2nd fnaf movie- i think he’ d get paired up with vanessa if the group splits up inside the pizzeria and be really annoying (endearing) to her

^textless version

closeups cuz i’m proud of the details on gregory and the flashlight beams

[cicadascribbles]

He’s my favorite baby girl

[prehistoricopossum]

Deadpool and Wolverine Spoilers!!!

First things first, I absolutely loved Deadpool and Wolverine. Finally seeing these two characters done in a way that you can tell they all loved and had wanted for so long was so amazing to see.

But let me tell you…. I about had an aneurysm when fucking ELEKTRA showed up.

This woman right here, was my childhood. She was the first female hero I got to see on the big screen fighting side by side with the heroes my dad watched. Little me was so excited to see that a girl could also be a hero. A girl could be badass. A girl could be just like those heroes my dad loved.

And so my obsession with Elektra began. I watched Daredevil over and over as a kid, then forced my dad to take me to see Elektra when it came out. He even brought me practice sais. As I’ve grown, I have always had a spot in my heart for Elektra, but I never have rewatched Daredevil or Elektra. I want to keep the rose colored glasses of my childhood on them. I want to keep that childlike amazement and love.

As soon as Jennifer Garner stepped into the scene as the Elektra I grew up with, I gasped and immediately teared up. I never thought I would see her again, in a completely new story, as an adult. My inner child was screaming as I sat in the theater barely able to contain my excitement. I know she isn’t who a lot of people are excited for. There was Wesley Snipes bas as Blade, Chris Evans back as Jonny Storm, Channing Tatum finally getting his Gambit, but I couldn’t take my eyes off Elektra. It’s been over 20 years, but I still have my practice sais. I still have that love for her. And I am so happy Deadpool brought her back in such a respectful way and gave her some closure.

I wish I could show my appreciation to everyone involved in Deadpool and Wolverine for not only giving us a phenomenal movie, but also for giving me a piece of my childhood.

[valentimmy]

finished the sunburnt sephiroth doodles months later

[iridescent-serpent]

The ever so illustrious (and badly scanned) sketch page, as promised :3 @orion-archives

Ngl, hilarious to me that every time I do a double full page sketch for these dudes, I basically unlock a new character (this time it’s Bumblebee). Not much planned for him rn beyond “I think it’d be Really funny if Bumblebee got bitches and is the same age as Optimus”. (You can see I Struggled at first with him till I sat down and Stared at some reference pics and then Immediately deviated away from it). Also a bit of Elita which I expanded upon in my fav format, meme :)

Also Ngl, I knew she showed up for like 0.6 seconds before being Blasted, but when using her comic ver. (Used Tfwiki which was surprisingly mean? About her? Felt bad) I realized she looked Very bird like (you can hear me evil chuckling in the distance as I keep infusing more animal traits like it’s my job). Also ended up keeping her ability to move around on one leg bc Ngl having her brandish one of her legs at you while going Mach 5 is Very Funny.

Also, here’s one I like I call “Sentinel screaming at the matrix to pick his son (Oppy) as the next High Leader” (also context: going with High Leader as a replacement for Prime as that’s a frame type here instead of “king chosen by god” archetype)

Also. Some bonus pics from my Discord :). Very little context beyond friend telling me to draw Oppy in Shinji pose and it Immediately devolving into the art (that I made) on their wall (it would be 2 Oppy v 1 Wally darling) and then I made the second at 2am in a fit of inspiration. You can tell it was 2am.

[danvssomethingorother]

What I love about Vendetta is Chris did not need Leon. He put Rebecca in more danger going to find Leon’s drunk ass. Most of the bad shit that happened in the movie was a direct result of going out of his way to find Leon instead of using the resources and man power he already had access to.

He just missed Leon is all and wanted him with him 🥺

[morganbritton132]

The most exhausting thing about movies is talking to someone who won’t suspend their disbelief to enjoy a movie.

[ironunderstands]

Double Indemnity, Spellbound and how a retroactive plot twist kicked the communities ass (which also has some VERY interesting implications for Aventio)

I had a very enlightening conversation on TikTok about the nature of these two romance/thrillers, and while unfortunately, I have no idea how to watch them, the plot synopses I’ve seen and analysis other people have made have caused me to come to this conclusion/interpretation of these references:

On the first viewing of the Double Indemnity questline, the reference to the DI movie is meant to be played straight, with Aventurine and Ratio being just as doomed to fail as they are in the movie, and their relationship as equally as toxic and fake.

On second viewing, it’s the complete opposite, and the track (and other movie reference) you receive at the end, Spellbound, proves it.

Let’s start with Double Indemnity.

Also disclaimer I’m gonna be over simplifying the plot/themes of these movies because a) both are singular references, DI is only referenced in the name of the quest itself and Spellbound is only referenced in a track you receive once you complete DI, and references this small probably aren’t meant to be anything more than a fun Easter egg for those who notice it b) this is hoyoverse they aren’t clever enough for that anyways c) the nature of references isn’t going to be having everything be the exact same anyways, so I’m just going to go with the overall interpretation of DI + Spellbound/their impact, picking the stuff which aligns with the actual plot of the DI quest, I don’t care what happens in one frame at 30:01.56 minutes in and neither do the writers

Anyways, how does the Double Indemnity reference on the first viewing seem?

On our first play through of the Double Indemnity quest, we are made to believe that Dr. Ratio and Aventurine do not trust each other, but they are begrudgingly working together for the sake of stealing Penacony for the IPC. Then, Aventurine makes it seem as if he wishes to use the singer Robin’s- also the sister of Sunday, the head of the Oak Family and the one they are negotiating with- death as a means to pressure Sunday into forking over some of the Family’s secrets, which Aventurine will then use against him in future negotiations.

With this setup, the Double Indemnity reference is a solemn warning- Aventurine and Ratio will fail.

You see, in the movie, Phyllis Dietrechson intends to kill her husband in order to earn the money from the Double Indemnity clause (which is a real legal thing btw!), roping in one Walter Neff when he falls for her. However, their relationship isn’t stable and in the end, Walter betrays Phyllis, ratting her out to the investigator Keyes, ultimately meaning they don’t earn the DI clause, also killing Phyllis in the process.

Hopefully you can already see where I’m going with this, but it’s time to draw some fun parallels.

Sunday is Keyes, Ratio is Walter, Aventurine is Phyliss and Robin is Phyliss’s husband.

Although Aventurine a) isn’t married to Robin and b) he didn’t actually kill her, he is the one who witnessed her “death” and in the first viewing of the Double Indemnity quest, we are made to believe he intends to profit off of it, although this time the payout isn’t money: it’s Penacony.

To do this, he enlists the help of Ratio- albeit not seducing him, but still convincing him to help nonetheless- and together they go to meet Sunday for negotiations.

However, Ratio “betrayed” Aventurine, ratting him out to Sunday behind his back and informing him of his plan, which mirrors how Walter confesses to Keyes. This results in Aventurine being sentenced to death, much like how Phyllis dies by Walter’s hand, Aventurine seems like he will die by Ratio’s, calling him a wretch before slinking off.

And there you go, their partnership is as doomed as the one in the movie, failing because their trust + love didn’t hold up till the end, a devious foreshadowing.

At least, that’s how it seems on the first playthrough.

Because Aventurine and Ratio’s plan SUCCEEDS.

And on the second viewing, knowing that the betrayal is fake, you realize they succeed because they do the one thing the people in DI (and I’ll get to Spellbound) DONT do- they actually TRUST each other.

Ratio and Aventurine’s plot is a success. And it’s because they deliberately made it seem like they were doing a Double Indemnity plot. Like they were going to make the same mistakes as the characters in the movie. Sunday falls for the false appearance hook, line and sinker, and that’s his downfall.

They win because they TRUST each other, you can even say because they actually LOVE each other, unlike the characters in the movie, where it’s more list than anything else. Walter and Phyllis don’t make it together to the end but Ratio and Aventurine DO, and they get to continue on with their lives because of it. The reference to Double Indemnity in this quest is genius because it works both before and after you learn the retroactive twist of Penacony. It makes you believe Aventurine + Ratio are doomed to fail, and it makes you realize they were always going to succeed, expertly dawning the false appearances Sunday expects from them, becoming literal actors playing out the roles of two people who will fall short due to their selfishness. Sunday believes he’s seen this film before which is why he BUYS IT, and god it’s just beautiful looking back on it. He thinks he’s Keyes about to uncover a dastardly plot to profit off his sisters death, and in turn he paints Ratio and Aventurine with the identities of those he believes would do such a thing, which they do their best to play into. Ugh it’s amazing.

And now, for Spellbound.

You receive this track after completing Double Indemnity, containing the description above.

Now, this is a reference to Spellbound, another one of Hitchcock’s films.

The main characters in this one are Dr. Anthony Edwards, a man suffering from amnesia, and Dr. Constance Peterson, a psychoanalyst who he was meant to replace, who discovers a dark secret about Edward’s while they fall for one another; he’s an imposter. He believes he killed the real Dr. Edward’s, but she thinks he’s just suffering from a guilt complex. Fake Edward’s goes missing, and the real Edward’s assistant arrived and informs them that he’s missing. She finds Fake Edward again, living under the pseudonym John Brown, and although he tries to leave, she convinces him to stay, telling him that with the help of her mentor, psychoanalysis can help recover his lost memories.

Through an incredibly complicated psychoanalysis of dream, Constance begins to uncover the truth- learning the person who believes himself to be Dr. Edward’s (and is using the pseudonym John Brown) is actually a man named John Ballantyne. Ballantyne accidentally caused the death of his younger brother in the past, resulting in his deep guilt, as well as recalling the location where the real Edwards died- skiing off a cliff to his death. With his memories, they find the body, but it has a bullet wound, so Ballantyne is taken into custody.

However, her boss, Dr. Murchison lets it slip that he actually used to know (and didn’t like) Dr. Edwards, and through another complicated sequence gets him to confess his guilt and ultimately kill himself, which frees Ballantyne, ending the movie with the two going on a honeymoon.

So, what does this mean in the context of the quest line?

Well, let’s say Ballantyne and Constance are representative of Ratio and Aventurine respectively.

“Every psychoanalyst must first have someone else diagnose them.”

If we read Aventurine as the psychoanalyst (Constance) and Ratio as the diagnoser/doctor (Ballantyne), it reveals an interesting interpretation.

That being that they knew the truth from the start/ they had already succeeded.

Or in other words, unlike in Double Indemnity, in Spellbound, they actually succeed.

In the film, Constance is the one doing the diagnosing, the one trying to figure out the truth, and you can see that in Aventurine pretending he’s trying to find out the truth behind Robin’s death. However, in the DI quest, it’s the opposite. Ratio’s as Ballantyne is the one doing the diagnosing for the psychoanalysist, Constance, or rather, Aventurine.

To diagnose someone, you must be very familiar with them, or at the very least the ailment plaguing them, and Ratio he knows Aventurine through and through at the start, and what plagues him (his own sense of meaninglessness) unlike the protagonists in Spellbound who despite falling for one another quickly, don’t begin being intimately familiar with one another.

In this way, they have already succeeded. Aventurine and Ratio already know one another, and while they might not know the reason behind Robin’s death, that was never what they were searching for in the beginning, meaning they effectively can skip through all the drama (aka the ups and downs of Spellbound, finding out the truth behind Robin’s/Edwards’ death), and reach their happy ending- a honeymoon; or in DI’s case, Aventurine attaining his cornerstone, and fulfilling his end of the plan.

Interestingly, Aventurine slots into the role of Ballantyne and Ratio as Constance equally well, with the phone call Constance makes to save Ballantyne being reminiscent of the note Ratio makes to save Aventurine, as well as Aventurine being the replacement, or in the sense, the one to find the truth about Robin.

Personally, I think Aventurine and Ratio are reminiscent of both the main leads in Spellbound, which is why it’s complicated to discern the meaning of the reference. Oh how I wish I knew what the original Chinese description for this was (if you do please tell me 🙏).

Is it just meant to signify them being in love? Is it meant to signify that they will succeed, due to how well they know each other? Is it both, which is what the inclusion of Double Indemnity (the movie) suggests?

Either way, it adds onto the already present idea that the trust between Aventurine and Ratio is what allowed them to succeed in Penacony, and that’s not just something expressed by these movie references.

Think Aventurines Eidolons: Stag Hunt Game and Prisoner’s Dilemma, both of which are game theories about trust. Or how Aventurine says that Ratio knows him best, or how Ratio entrusts Aventurine with close secrets of his, like him being the “Genius” of the council of Mundanites.

“Do you trust me?” “That depends on you.”

These are 2 lines in their 2.0 conversation that really stick out to me. Ratio will always offer his trust so long as Aventurine can prove himself worthy of it, and as we have seen, Aventurine always delivers, proving himself long before Penacony in the Final Victor lightcone, albeit in his weird homoerotic way.

Therefore Ratio will always trust him.

And because of that, they win.

Now whether you take the deep trust between them to be romantic or platonic, or infer the literal honeymoon at the end of Spellbound to mean something for Aventio, either way the feeling absolutely there, and it’s crucial for an understanding of their relationship.

Also damn, the retroactive plot twist fucking slaps.