#malala windsor i love you.

[pbnmj]

thinking of spider-uk and slight cultural differences

[hobiebrownismygod]

Masterlist!

Taglist link:

REQS ARE OPEN!!

I write fluff, angst, toxic relationships, headcanons, basically anything that doesn't involve smut!!

Fanfictions/Headcanons:

Hobie Brown:

Hobie seeing the sunset for the first time in Pav's universe

—> “like what you see?”

Hobie Brown is emotionally unavailable/struggles with showing emotions

Hobie brown x GN!Reader

—> hobie comfort - “I just need you”

Hobie Brown x Desi!Reader

Hobie Brown/ Spider Punk x GN!Reader

—> “it’s spiderMAN”

Hobie x Flexible!Spider-person Reader

—> “freaks me out”

Toxic Relationship - Hobie brown x Reader/OC

Hobie Brown x Gwen Stacy Variant

—> “I can’t lose her”

Hobie Brown x Fem!Reader

--> Such a lovely face

StreetKid!Hobie x Fem!Reader

--> "you can thank me by staying safe"

Hobie Brown x Fem!Reader

--> Sketching out chaos

Pavitr Prabhakar:

Pavitr Prabhakar x Indian!reader - Platonic

—> “us desi’s gotta stick together, right?”

Pavitr Prabhakar x Fem!PakistaniReader

—> “you love me, Meri Jaan”

Pavitr Prabhakar headcanons

Miles G Morales/Prowler Miles:

Miles G Morales/Prowler Miles Headcanons

Miles-42 x GN!Reader

—> “who gave you the right?”

Miles-42 x Gwen-42 Part 1 - First Look

Miles-42 x Gwen-42 Part 2 - Silent Sketches

Prowler Miles x Reader - Wattpad Fic

--> be careful, its dangerous out there

Gwen Stacy:

-None yet

1610-Miles:

Rising - Miles Morales x Fem!Reader

—> Uncle Aaron is dead, but the Prowler returns.

Miguel O'Hara:

Miguel O'Hara x Desi!Reader - Wedding Edition

--> “it’s a date”

Note: Feel free to leave requests for any of these characters, or more if you can think of them <3 Heads up, I usually post requested fanfictions anywhere from 4-14 days after receiving the ask, due to my queue usually being pretty filled up.

Researching Characters Series:

Part 1 - Hobie Brown

Part 2 - Pavitr Prabhakar

Part 3 - Miles G./Prowler Miles

Part 4 - Spider-Noir/Peter Benjamin Parker

Part 5 - Peni Parker

Part 6 - Margo Kess/Spyder-Byte

Part 7 - Malala Windsor/Spider-UK

My OC:

Introduction - Meet Maitreyi Jokhar!

Spider-Sona Art

Universe Building

Headcanon 1 - She practices her skills in her free time

Headcanon 2 - Hobie seeing her cry for the first time

Headcanon 3 - First Diwali

Backstory Part 1

Backstory Part 2

Backstory Part 3

Backstory Part 4

BTW I write longer ATSV Fanfics on Wattpad

You can access my profile here

[sordayciega]

Alright

First and foremost, THE ART STYLE. Every single damn scene was BURSTING with flavor and my little artistic brain was being fed gourmet level fine cuisine. I especially loved the scenes with Gwen and her Dad, him finding out when she pulled off her mask, you see him go from red to blue to black and you feel his grief and confusion. The colors, the line art, the angles, the animation, (all the other terms for movie stuff that I don’t know bc I’m dumb) just looked sooo gooodddd. The art style opened the door for so much expression with emotion! That aspect is visible in literally every single scene it’s delicious. I also really loved the use of music whether it guided an entire scene or whether it was in the background.

Movies like into the spiderverse, puss and boots the last wish, and across the spiderverse truly use all the space and time they are given to move you along with the story line. The action scenes from The Last Wish and both Spider-verse movies is only paralleled by iconic anime action scenes (in my opinión~). It’s nuts that in other movies from the same studio like Strange World (OOF) and Turning Red (not the best imo) (and I’m not excited for Ruby Gilman Teenage Kraken :/) I felt like i was being dragged through an awkward hell of plastic stupidity.

It’s flat, predictable, and boring. Maybe TikTok and the internet have just shot my attention span (probably) but the Golden Age of animation that brought Sleeping Beauty, Mulan, Princess and the Frog, and other stuff like The Sword in the Stone and Jungle Book are so beautiful! Their animation isn’t like Across the Spiderverse, it’s slower, more traditional, and soft, but it’s just aesthetically pleasing art and style.

I personally dislike the “New Generation” animation style so much I can genuinely barely watch anything new disney/Pixar maybe I’m just a hateful picky bitch idk

Pair the irritating art style with unrealistic dialogue, awkward jokes, and frustrating plot points? I’m in the middle of the road waiting for an 18 wheeler to hit me and I’ve only ever seen the movie’s trailer. I refused to watch Turning Red I hate it I hate it I hate it I-

I was able to sit through Luca and Encanto and they were alright. Bruno was villain material and the fact that Abuela was forgiven so quickly made absolutely no sense. Bruno was forced to live in Casita’s walls for years bro. YEARS. And then they just hugged at the end?? WHERE IS THE BLOOD? WHERE IS THE DEATH? WHERE IS THE MELODRAMATIC VILLAIN SONG? WHERE IS THE CINEMATOGRAPHY? WHTA THE FUCK

Anyway. Across the Spiderverse had amazing dialogue. The jokes were FUNNY and WELL TIMED. They were perfectly inserted, even in the more serious moments like when Miguel’s little station pad was descending comically slow, when Lyla wanted Miguel to repeat himself when he needed back up, etc

It was realistic and super enjoyable. I actually laughed multiple times and it was GREAT.

Ugh character design? Don’t get me started. I noticed the diversity that was plugged in from the beginning, the men playing basketball in wheelchairs, Pavitr Prabhakar, the Spider-Woman in the spider wheelchair who chased Miles for a bit, Cyborg Spider-Woman, Pter Ptarker the T-Rex Spider-Man (my personal favorite lmao) Malala Windsor, etc. And they didn’t make it weird. They weren’t tokens, they were there as people, fully fleshed out people with personalities, depth, and lives. I saw that in pretty much everyone. In the little things, how they walked, talked, were present in scenes where they weren’t the main characters. The attention to detail for every single little thing in this movie is astounding.

For the character design of only Malala Windsor, the designer Kris Anka spent two whole months researching how different women wore hijabs and other head coverings during sports and consulted his Muslimah friends on the most accurate ways to design characters (according to Into the Spider-Verse wiki page). And we only saw Windsor for literally 6 seconds max on screen. The amount of care that went into a tiny character in a movie is just so admirable. The creators of this movie researched and they cared. The hijab wasn’t necessary, it would of been easier to not research, to not include, to not care. BUT THEY DID CARE. And it shows.

The pacing of the movie: fabulous. It was interesting to me how they simultaneously explored like 20 different situations all at the same time but maintained a feeling of organization and purpose. All scenes shown were there for a reason and acted as a tiny piece of a huge mosaic. Across the Spider-verse isn’t a stand alone movie, but the connector piece between Into the Spider-verse and the eventual 3rd movie of the series.

And finally, possibly the most important part, Miguel O’Hara is hot as fuck. Impressively so. Distractingly so. Beautifully so.

Fuckin hell I’m going to see across the spiderverse TOMORROW and I have to abstain from looking at your sexy hot art of it bc I don’t want spoilers 🥹🥹🥹 wtf 🥹🥹

But I’m also excited bc after I see it I can see your sexy hot art of it so 👀👀

As soon as you leave the theater I want a full 10 page essay about how this movie changed you as a person due on my desk by Sunday

[lewishamledger]

Keeping it reel

Catford Film Club hosts regular sell-out film nights, workshops for budding producers and even a free film festival. Founder Keith Arnold tells us how the community-led club has reconnected SE6 to the silver screen  

Words: Emma Finamore

Photo: Lima Charlie 

Just over 100 years ago, a prominent Italian film distributor called the Marquis Serra launched Catford Studios on the corner of Bromley Road and Whitefoot Lane, where it was based from 1914-21.

Home to the Windsor Film Company, it produced a number of films during the First World War, including silent movie Tom Brown’s School Days and an adaptation of Edgar Wallace’s novel The Man Who Bought London, both released in 1916.

Another of its productions in 1919, titled Not Guilty and Fettered, was described by one film historian as a “sophisticated melodrama with a leaning towards sex and sensation”.

Catford residents of the time could watch films locally at the Electric Picture Palace, which opened at 8 Sangley Road (now a block of flats) in 1909 and welcomed audiences for the next five years.

Its operator, James Watt, also launched the Central Hall Picture House in 1913 on the corner of Sangley and Bromley roads. Renamed the Plaza Cinema in 1932, it was taken over by Union Cinemas and then Associated British Cinemas (ABC) in 1937.

Over the years it screened all the box office hits of the day, including Breakfast at Tiffany’s in 1961 and Superman II 20 years later, before closing in the early 2000s. The building is now home to Christian church and charity UCKG.

Just down the road at 135-137 Rushey Green, the Lewisham Hippodrome was converted into a cinema in 1927 before turning back into a music hall. It then became the Eros Cinema in 1952, but screened its last film, Demons of the Swamp, in 1959.

Next door, rival screen The Gaumont, known as the Queen’s Hall Cinema when it opened in 1913, closed its doors on the same day. Both buildings were knocked down and the site is now occupied by brutalist grade-II-listed tower block Eros House.  

With so many cinematic gems consigned to the history books, it seemed like SE6 might never play host to the silver screen again. But today the area’s relationship with film is flourishing once more, thanks to Catford Film Club.  

Founded by local resident Keith Arnold in October 2015, it has gone from putting on low-key screenings to organising sold-out shows, festivals, workshops and even helping budding filmmakers take their first steps in the industry.

The club began with a screening of 1988 Italian drama, Cinema Paradiso, at the Catford Constitutional Club. Keith, who has a long professional background in film, says: “I had a goal – I wanted to create the perception that Catford is a place for film.”

That one-off screening at the Constitutional turned into five more, and soon Keith put on an ambitious outdoor screening on Culverley Green: a singalong showing of the rock ’n’ roll classic musical Grease.

It aired complete with food and drinks stands, on-screen lyrics for the audience and a proper sound system, helped along by a cash injection from the Catford South Local Assembly fund.

Since then, thanks to Keith and a small but dedicated team of local film-loving volunteers, Catford Film Club has gone to strength to strength and has screened a healthy mix of mainstream movies and independent features.

“The first screening was upstairs at the Constitutional,” says Keith. “That held about 40 people, and after six months we got too big. Now we get 250 people coming to films.”

The month we meet, the group are showing Three Billboards Outside Ebbing, Missouri (a moving and darkly comic drama from 2017) and Keith reels off some of the other memorable films they’ve shown recently.

They include The Death of Stalin, Hidden Figures, I, Daniel Blake and He Named Me Malala – a documentary about Malala Yousafzai, the Pakistani teenager who became the youngest ever Nobel Peace Prize laureate.

A recent highlight Keith recalls was a screening of They Will Have to Kill Us First, a documentary about Islamic jihadists’ ban on music in most of Mali, which saw radio stations destroyed and instruments burned. Musicians faced torture or even death.

The screening was accompanied by a Q&A with the filmmaker’s director, Johanna Schwartz. “I just got in touch with her on Twitter,” says Keith. “She said yes, then all I had to do was pay for a cab across town.”

This grassroots, communal approach is what Catford Film Club is all about. “Everyone’s really good and it all works really well,” says Keith. “There are no big egos – it’s very organic.”

It seems very natural for Keith to be involved in a project like this too, given his professional history, which saw him work for 15 years as an independent film producer.

The films were “low budget, but good enough to go out to film festivals”, he says – and were screened at places like London Film Festival, the Washougal International Film Festival and Cannes.

As well as producing and directing independent films, Keith has worked on documentaries (as well as spoof documentaries), horror shorts, music videos and even did special effects on the 1999 James Bond film, The World is Not Enough.

“When I started Catford Film I wanted to make it a place for film, but the idea also came from not having anywhere to show my own films,” he says. “I knew I wanted it to lead up to a film festival, and we managed it in the first nine months.”

The inaugural Catford Free Film Festival – from the team behind Catford Film Club – took place in September 2016 and even in its first incarnation, it was an ambitious event.

There were daily screenings at different Catford venues, filmmaking workshops, children’s activities and a “shorts night” with independent short films, Q&As with the filmmakers and live music.

“The first night of the festival I managed to persuade Catford Broadway [theatre] to give us the venue for free,” says Keith. “The NHS Choir came down on the same night too. It was amazing really – I had to get up and introduce the film, and actually it was my birthday, so the choir dedicated a song to me.”

It seems fitting that the festival opened on a personal note for Keith: he’s lived in the area since moving to Catford from Forest Hill 25 years ago, and wanted to give something back to his community.

“I really like the vibe now,” he says. “For a long time it needed some life – it needed something going on. And now there is, and it feels like Catford Film Club is part of that. Bars, restaurants, arts events – we’ve connected to everyone.”

Keith is proud of what the club has done for the area. “In September Catford becomes a real cultural hub, and we’re a big part of that. I feel like we’ve connected a lot of people together.

“We’ve done so much – two years of filmmaking workshops – editing, creating, scriptwriting, acting – and it’s all free. You have to book a ticket but it’s free, everything is open to anyone.”

An example of how the club has given back to the community is the festival’s annual film challenge. Entrants of all ages are given details such as title and genre – sci-fi, musical, comedy, for example – and have to make a film within a set time frame.

For the last two years it has been 72 hours, but this year Keith plans to reduce that to just 48. The event gives local people a chance to make work in an exciting, challenging way. For some it’s a bit of fun, while for others it’s opening doors to new careers.

“The person who made the winning film last year is now producing his second film,” says Keith. “While he was taking part in the challenge, the Catford regeneration team started documented his work, now they’re supporting him in making a second.”

The team have a busy summer ahead, which will see Catford Film Club continuing to put on screenings and fun events across the area. “It’s going really well,” smiles Keith.

“We do loads of ad hoc screenings on Catford Broadway, like La La Land – we got Electric Pedals [which powers events like festivals, theatres, and film screenings via electricity generated by stationary bikes] and the audience powered the whole thing.”

In June there will also be a shorts night as part of the first ever Catford Fringe Festival, which will feature two hours of short films, with a mix of comedy, drama and sci-fi.

There will be African dance workshops, youth theatre, the London Gypsy Orchestra will perform and visitors can also look forward to a set from hip-hop turntablist, DJ Yoda.

It speaks to something that Keith feels he and his group have been a part of: that Catford is the home of a bourgeoning, and exciting, creative scene. They are now working on the third Catford Free Film Festival, which takes place in September.

Keith says the planning might be a bit more of a challenge this time around, as the grant the group used to bid for is no longer match-funded, so they need to find more cash and are looking for local sponsor.

But he says the group’s Twitter, Facebook and Instagram accounts have taken off quite a lot in the last year, which is useful for word-of-mouth advertising – and he’s sure they’ll pull the cat out of the bag: they’ve managed to with everything else.

Keith’s confidence and pride in the Catford Film Club comes from a real love of film. In addition to showing crowd-pleasers (albeit high quality ones) he and the team are mindful to bring audiences an array of genres and budgets.

Keith sees what they do very much through the lens of someone who has always worked in independent film. “I’m very protective of our industry and of our group,” he says. “We are independent and we are doing our own thing.”

....................................

If you are interested in becoming a sponsor of the 2018 Catford Free Film Festival please contact Keith at keith.arnold7@btinternet.com. To donate towards the event, go to facebook.com/catfordfilm