#just the film stills

[dukeofdadykes]

Finally got around to watching I saw the tv glow and I’ve had an incomprehensible sense of dread ever since 🙂‍↕️

[chloesimaginationthings]

This will be the first scene of FNAF 2 movie…

[lace4ngel]

pearl is me i am pearl

[razzafrazzle]

enough strong bads... time for strong sads (theres still a strong bad here)

[image description: a page of drawings of a human design of strong sad from homestar runner, where she is depicted as a fat, tan-skinned trans woman with gray and brown hair pulled into a bun and multiple piercings. she is wearing a gray sweatshirt, jeans, and steel-toed combat boots, and next to her is a note stating that she is trans and bisexual and that her pronouns are she/they. next to that is a drawing of her smiling and wearing a sloshy t-shirt, and above that is a comic of strong bad poking her in the stomach and saying "even her gender is my hand-me-downs", to which she stays silently angry at him. end id]

[shesnake]

“Monkey Man” was shot and completed in 2021, and Netflix soon after acquired the rights for around $30 million, but it’s been on the shelf for three years and they‘ve all of a sudden decided to get rid of it? What gives? It turns out, according to an in-the-know source, that it was the portrayal of a fictional right-wing Hindu Nationalist character in the film that worried Netflix about their future dealings in India. And even though they had paid more than twice the production cost, they decided to give the film back to the producers, which is what caused the long delay. Universal and Peele eventually took a particular liking to the film, so much so that they suggested possible editing changes and delayed the release until what they thought would be the right date. It’s as simple as that. In the end, it was all about politics and optics for the streaming giant, especially since India has become the current top growth market for Netflix. Co-Founder Reed Hastings has mentioned that a majority of the service's next 100 million subscribers would most likely come from India.

Universal/Jordan Peele's "suggested possible editing changes" in question:

[16dybug]

Jane Birkin

[goblins-riddles-or-frocks]

forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.

[loosethreadsofyoursoul]

one thing about the 118 is that even when bobby is gone they are going to pull up to his house one by one and trauma dump their life updates on him

[lesbworth]

anyone making an adaptation of the life of wolfgang amadeus mozart for some reason

[wine4thewin]

Chani, anytime she hears someone refer to Paul Atreides as Lisan al Gaib or Mahdi:

Meanwhile, Lady Jessica & her psychic unborn baby hearing the same thing:

[repmet]

@rwrbsource & @rwrbmovie’s rwrb appreciation month bingo: underrated moment

Alex getting recognised in public

[mistress-light]

Bambi 1942 • A Prince is born

[kidovna]

i grew up with prints of van gogh’s art on the walls of my childhood home and it was the privilege of a lifetime to have been able to see 60+ artworks of his in one gallery.

here’s backgrounds from my film that reference his art in the decor 🥹:

some of van gogh’s paintings at the poets and lovers exhibition in the national gallery

+ my all time favourite work of his:

[dying-suffering-french-stalkers]

The Boy and the Heron How Do You Live? (2023) dir. Hayao Miyazaki

[elssbethtascioni]

Lily Gladstone as Jax ↳ Fancy Dance (2023) dir. Erica Tremblay

[heaven-knows-what]

Isabelle Adjani on the set of Possession (1981)