#kathryn adams

[gatutor]

Johnny Mack Brown-Kathryn Adams "Arizona Cyclone" 1941, de Joseph H. Lewis.

[fitesorko]

Kathryn Adams

[sournote2014]

A review of the film of 813 in an issue of Film Daily, 1921.

[carbone14]

Kathryn Adams dans le film muet 'A Little Brother of the Rich' - 1919

[flipjack]

Parks and Recreation All Along

[lokidoki9]

[maggotssmichael]

just gonna go ahead and say this: frank was absolutely right & justified in telling joey to "own your fucking shit and go be a mother to that kid." and i understand the argument of 'oh he should've said it in a nicer way blah blah he was so rude about it blah blah time and place frank' but that's exactly how you need to talk to someone like joey

[daughter-horror]

It’s National Sisters Day!

[adambarrettz]

[outofcontextpawnee]

[gatutor]

Kathryn Adams (New Ulm, Minnesota, 15/07/1920-Mankato, Minnesota, 14/10/2016).

[watchnrant]

Agatha All Along

Poster Inspiration Analysis

Poster 1: Lips with Agatha sitting on them

Inspiration: The Rocky Horror Picture Show (1975)

Explanation: The lips are a key symbol from The Rocky Horror Picture Show posters, with the character posed in a similarly theatrical and vintage horror fashion. The tagline “Revenge Is A Witch” is also a nod to campy horror traditions.

Poster 2: Purple with mystic symbols & Agatha’s face

Inspiration: Suspiria (1977)

Explanation: The use of mystical symbols, purple hues, and geometric patterns is reminiscent of Suspiria, an iconic horror film that used striking colors and occult imagery.

Poster 3: Black and white, Agatha with sunglasses

Inspiration: True Detective

Explanation: The overall aesthetic, with its noir style, grayscale tones, and the detective duo setup, mimics the marketing style often associated with True Detective. The “channel your darkness” tagline also nods to the show’s exploration of darker, philosophical themes.

Poster 4: B&W hand puppeteering characters

Inspiration: The Witches (National Theatre adaptation)

Explanation: The image of characters hanging from strings controlled by a large, ominous hand draws inspiration from The Witches stage adaptation poster. Both posters feature a dark, controlling figure manipulating smaller characters, symbolizing power and dominance. The eerie design, along with the puppeteering imagery, reflects themes of manipulation, much like how the witches control the children in The Witches and how Agatha controls those around her in the Marvel universe.

Inspiration: The Birds (1963)

Explanation: The image of characters dangling from what look like feathers or claws, along with the stark black-and-white aesthetic, is likely inspired by Alfred Hitchcock’s The Birds.

Inspiration: The Babadook (2014)

Explanation: The eerie black-and-white aesthetic, with sharp feathers or claws looming over the characters, mirrors the shadowy, unsettling style of The Babadook. The psychological horror film uses stark contrasts and abstract shapes to evoke a sense of dread, much like this poster creates an atmosphere of an ominous presence lurking in the background. Both the poster and the movie play with fear and tension through the use of minimalist, high-contrast visuals that leave much to the imagination, keeping the terror lurking just out of sight.

Poster 5: Cabin in the woods, eerie forest

Inspiration: Evil Dead (1981)

Explanation: The creepy cabin in the woods, surrounded by an ominous forest, recalls Evil Dead, a classic horror film known for its isolated cabin setting and supernatural occurrences.

Who’s excited!?

[solaraurora]

fast x spoiler

stop. fucking. killing. all. my. favorite. sad. characters. this "redemption by death" trope has to stop tragic characters do not need to be sacrificed they deserve love & to be happy I'm so tired of this

[mentally-at-home]

[tomdayaswiftie]

They had a little parks and rec reunion at the Agatha all along premier my little heart cannot cope <3

[demifiendrsa]

Megalopolis | First Look Clip

Synopsis

Adam Driver stars as the idealistic architect and artist Caesar, planning to rebuild a city that has fallen to ruins, and Nathalie Emmanuel as the socialite daughter of his nemesis, a corrupt mayor (Giancarlo Esposito), who likes his municipal kingdom the way it is.

In his official logline for the film, Coppola describes Driver’s character as having the “power to stop time,” while Emmanuel’s character is caught between the two, deeply in love with the artist but loyal to her hard-charging father, “forcing her to discover what she truly believes humanity deserves.”