#michael after midnight

[wonderfulworldofmichaelford]

Michael After Midnight: "Sir Psycho Sexy" by the Red Hot Chili Peppers

For April Fool’s 2024, I decided to do a bit inspired by Todd in the Shadows called Ford Analyzes Tunes And Song Stuff, or FATASS for short (a little nod to how Todd’s moniker can be shortened to TITS). Basically people would send me a song, and I would give some wacky analysis or review of the song that was probably the opposite of my actual, genuine opinion. For example, for Nickleback’s “Photoraph,” I claimed the entire song was actually a bittersweet gay romance. It was a fun exercise in crafting absurdity from even the most mundane or stupid lyrics. But it did leave me wanting to review a song for real… and what better than one of my favorite songs of all time?

The Red Hot Chili Peppers are a band that need no introduction, but I’ll do it in case some of you out there don’t listen to good music and/or hate California: RHCP is a funk/alternative rock band formed in 1982, though they didn’t really cement their status as one of the best bands around until their release of the alt rock classic Blood Sugar Sex Magik in 1991, an album that produced the personal and powerful “Under the Bridge,” the hard rocking “Suck My Kiss,” and the all-time banger “Give It Away.” It’s a fantastic album, one of the most influential of its time, and many regard it as RHCP’s best work—including the band’s bassist, Flea. I’m certainly inclined to agree; it’s a nice middle ground between their heavily funk-influenced early work and their later more radio-friendly rock tunes. Don’t get the wrong idea here—they were, and still are, a very good band—but I think in my opinion the 90s were the decade where they really stood out from the crowd as trailblazers in the rock scene.

With that out of the way, it’s time to single out my absolute favorite song on the album to talk about: An eight minute long track titled “Sir Psycho Sexy.” With a title like that and an impressive length to match, you know you’re in for something bonkers, and I’d say the song delivers in spades; it’s a funky rap rock epic that is hornier than almost any song before or since. The rizz the titular Sir Psycho Sexy of the song displays is beyond that of any mortal man, and it is simply glorious. This song is also a song that inspired one of my Ocs—Flynn Dangerfield from the Rhine City series my wife and I are working on. If you’re unfamiliar with the character (and you shouldn’t be, the rough drafts for the story are pinned at the top of my blog), this is like if Alex Hirsch said Dipper and Mable were actually inspired by Flowers in the Attic.

If you don’t believe me, then read on as I riff on one of my favorite songs and showcase the brilliant lyrical insanity of a 90s rock band that was likely high as a kite while writing this. Also, this is your warning: These lyrics are insanely NSFW. This isn’t nearly as bad as the last song I riffed on, “Pregnant Pussy,” but it’s up there. You’ve been warned.

So this song is sort of a story, and every story has a main character. And what a character we have here; Sir Psycho Sexy is his name, and getting pussy is his game. How does one introduce such a man?

A long, long, long, long time ago Before the wind, before the snow Lived a man, lived a man I know Lived a freak of nature named Sir Psycho

Not a bad way to start things. Lead singer Anthony Kiedis really sets up Sir Psycho as some ancient, powerful force of nature, a being who has existed as long as there were babes to fuck and who is so eternal he was there before wind or snow. Mind you, this is before we get into all of his insane sexual feats and astounding prowess with the ladies, so we have the coolest guy in the universe right here. Let’s see what else there is to say about him:

Sir Psycho Sexy that is me Sometimes I find I need to scream

Oh. Ok then. So Anthony Kiedis is Sir Psycho Sexy. This is either self-insert Mary Sue fanfiction, or it’s an autobiographical tale describing things that actually happened. Let’s be super duper charitable and call it the latter. At any rate, the fact he just likes to scream sometimes is universally relatable.

Still, you may not be convinced how good the song is from this opener, as it can come off as blatant wish fulfillment fantasy. Thankfully, the second verse opens with the greatest lyrics ever written by a human hand:

Deep inside the garden of Eden Standing there with my hard on bleedin' There's a devil in my dick and some demons in my semen Good God no that would be treason

This is absolutely blasphemous, disgusting, degenerate, explicit, and one of the funniest fucking set of lyrics to ever be in a song. “There’s a devil in my dick and some demons in my semen” is not a phrase you hear every day, and it certainly won’t leave your head after you hear it. And don’t worry; things only get better from here!

Believe me Eve she gave good reason Booty looking too good not to be squeezin' Creamy beaver hotter than a fever I'm a givin' 'cause she's the receiver I won't and I don't hang up until I please her Makin' her feel like an over achiever I take it away for a minute just to tease her Then I give it back a little bit deeper

So I don’t know what could be expected, but Sir Psycho plowing the Biblical Eve is probably not the sort of thing you could imagine when first popping in to listen to this song. When you take into account his ancient nature from the first verse and the fact he’s got his boner dripping blood in Eden in the first few lines of verse two, this is really the only logical next step though. The real question here is, is Sir Psycho supposed to be Adam, or has Sir Psycho tied up Adam to watch as he busts in Eve more times than should be humanly possible? If he’s “Makin’ her feel like an over achiever,” I’ve gotta imagine he’s not stopping after round one, two, or even three. I do like the detail that Sir Psycho won’t give up until he pleases her; it’s very cool and considerate that he cares enough about his lover to ensure her satisfaction too.

I got stopped by a lady cop In my automobile She said get out and spead your legs And then she tried to cop a feel

Verse three begins with an extremely sad case of police brutality and sexual assault. Poor Sir Psycho was just driving along, minding his own business, when he’s pulled over for no crime whatsoever; the cop just wanted to fondle him. These lyrics really say a lot about our society, and the state of the police force in America when even gorgeous immortal studs aren’t safe from the pigs.

That cop she was all dressed in blue Was she pretty? Boy I'm tellin' you She stuck my butt with her big black stick I said, "What's up?" now suck my dick

Some interesting tidbits of information here: Sir Psycho enjoys being pegged, and he has a death wish. What kind of absolute madman says that to a cop that has them at his mercy? Does he really think he can turn the tab--

Like a ram getting ready to jam the lamb She whimpered just a little when she felt my hand On her crotch so very warm I could feel her getting wet through her uniform Proppin' her up on the black and white Unzipped and slipped, "Ooh, that's tight" I swatted her like no swat team can Turned a cherry pie right into jam

Are we sure this man is Anthony Kiedis and not British Prime Minister David Cameron? Cuz he sure does like fucking pigs! Sir Psycho, with his ancient pornomancy powers, takes “fuck the police” to a whole new level, completely turning around whatever situation he’d gotten himself into.

And now we get a shift in the instrumentation, and the lyrics kind of mellow out and almost feel a little romantic(at least in a 90s funk rock way):

Hello young woman that I love Pretty punk rock mama that I'm thinking of Hold me naked if you will In your arms in your legs in your pussy I'd kill To be with you, to kiss with you, I do miss you I love you Lay me down, lay me down, lay me down, lay me down Lay me down, lay me down, lay me down, lay me down Descending waves of graceful pleasure For your love there is no measure Her curves they bend with subtle splendor

This part genuinely feels so tender and, while it is extremely horny, Sir Psycho seems especially reverent of this woman, this amazing “punk rock mama.” I kind of think this segment pulls the entire song together, giving us a brief respite from the more overt sexuality and into something that genuinely sounds sweet, albeit in a decidedly horny sort of way.

Of course, we soon get back to Sir Psycho’s usual escapades in the final verse:

Now I lay me down to sleep I pray the funk will make me freak If I should die before I waked Allow me Lord to rock out naked

And after this, we get kinky before wrapping up this song and heading to an extended instrumental outro:

Bored by the ordinary time to take a trip Calling up a little girl with a bull whip Lickety split go snap, snap Girl gettin' off all in my lap The tallest tree the sweetest sap Blowin' my ass right off the map Ooh and it's nice out here I think I'll stay for a while

So full disclosure, this really, genuinely is one of my favorite songs of all time, and perhaps my favorite RHCP song. It’s so audacious, in-your-face, and unabashedly horny, and in a day and age when people seem hellbent on removing sex from art, it’s nice to go back to a simpler, sluttier time and jam out. Is the length a bit excessive? Sure, probably, but length like this is all Sir Psycho is capable of.

The song is honestly not too dissimilar from the last song I reviewed, “Pregnant Pussy” by UGK… at least in terms of audacity. Where that song was trying to be as disgusting and depraved as possible to get a reaction from the listener, essentially being the nastiest troll song you’ll ever here, this song is just very upfront with its sheer horniness. It only barely eases you in, with the opening leading right into blasphemous boasting and dick blood, and it just never stops. It slows down a bit in a couple parts, but overall it really is just an unrelenting force. The song’s length isn’t something you ever really feel, because it just goes from one dirty lyric to the next.

But I think the most important thing the song does is remind us we all have a little Sir Psycho Sexy inside us, and we all have been standing the garden of Eden with our hard on’s bleeding while there were devils in our dick and demons in our semen. Maybe the real dick devils were the friends we made along the way.

[acid-onthefloor]

Michael Areklett and Sean Brennan (1990s)◇

[musette22]

Ah, I'm just thinking about last weekend (NYE getaway to a cottage in the woods) and how much I love that my friends are just as dumb as I am and can't stop making "that's what she said" jokes like,

(Everyone getting into a tiny car with all the bags and groceries) Me: "Wow, I'm surprised you managed to stuff it all in." Friend 1: "That's what she said." *everyone sniggering*

(Driving into the village where our cottage is) Friend 1: "Oh, it really is woodsy here, nice! I love wood." Friend 2: "That's what she said." more very mature sniggering

(Entering the cottage for the first time) Friend 2: "Oh wow, it's a lot bigger than I expected." Me: "That's what she said!" *high fives all around*

And so on and so forth. We are all women in our mid thirties, by the way. Like attracts like (wouldn't have it any other way) <3

[chronicsardonicist]

! INTRO ✧ !

𓍊𓋼 I am the #1 Michael Holden Kinnie. ♡ • I like to write , draw , & read! • I really like all the flavors of lemonade (≧∇≦)ﾉ • I tend to lurk a lot.. I may or may not be scared of my mutuals • I am an ENFP, and a Enneagram Type 2 as well as an optimist. • My favorite colors are #6D9DC5 and #BFA6AO • I am a MINOR ! • I like talking to mutuals if they're willing to ease me into it. • I need tonetags • My favorite place is the library • My favorite singer is Chappell Roan, probably • I talk about myself/use my blog as a diary a LOT • My tags are #Michael Screams Into the void and #Michaelyaps • I retheme a lot • I talk about my gf a lot • I LOVE SOLITAIRE!! MORE THAN ANYTHING • I am often incredibly sleepy. • I am neurodivergent & physically disabled • I really like sea creatures!! • A little crazy (in the good way) • Feel free to req sprolden in my ask box!!

⸝⸝ My Tori Spring : @torisaysstuff -`♡´-

╰(*°▽°*)╯ CARRD ☆

[scoobydoodean]

The bronlies in the comments section of pollsnatural polls are the night’s entertainment for me at least three times a month at this point

[necromancer-4-hire]

Thinking after Midnight

I've realized something after watching 1978 Halloween. After Judith gets killed and countless others the only one that gets away besides Laurie is the dude that Judith slept with.

It was less than five minutes of pleasure that Judith got killed for and the guy gets what he wants and leaves.

I don't know why but I found this baffling. This dude we never heard of again. And he saw Judith at her last moment.

[imgonnagetkilledbynutstink]

Kinda really want to make an edit of Ed with After Midnight by Chappell Roan

[garak]

i love when they reference the diamond district in batman. bro it is ONE BLOCK not that much can be going on there at once you cannot have multiple villains doing shit in the diamond district like come on

[galariangengar]

I hate how my official second day of working at Macy’s is on fucking Black Friday, and in a whole different department than what I was originally supposed to work at 🙃…

[sansaorgana]

Michael Fassbender should fucking pay me because I’m constantly reminding people on this website of his existence months before his new movies come out

[wonderfulworldofmichaelford]

Michael After Midnight: The Films of Quentin Tarantino

There are few directors out there as ridiculously praised and extremely controversial as Quentin Tarantino. He’s done nothing his whole career but release films that garner critical acclaim and massive fanbases due to the stellar acting and writing within his films, but at the same time he’s been relentlessly criticized for his excessive use of racial slurs, his excessive homages to the point of plagiarism, and his habit of inserting his fetishes into every single one of his movies. What fetishes do I mean? Let’s just say his films have a lot of sole, and it would be no easy feet to go toe-to-toe with how in your face he is about what he likes.

While the man does have his problems (don’t get me started, I’m here to review movies, not gossip) and his style certainly isn’t everyone’s cup of tea, I’ve found myself enjoying his work a lot ever since I was a teenager, and his films are what pushed me into checking out a lot of more obscure films in the exploitation genre; in particular, I’m a pretty big fan of blaxploitation thanks to Tarantino’s work, and I doubt I would’ve ever checked it out if not for his constant homages. I can’t really hate a guy who helped make me aware of Pam Grier, can I?

What’s most impressive is that out of his ten films there’s not one I would say is genuinely “bad.” Sure, there’s at least one I think is a boring, middling affair, and there are a couple of heavily flawed but still solid films, but there isn’t a single awful movie in his filmography. That’s honestly pretty impressive, especially considering the sort of weird throwback films he makes. After finally sitting down and watching Once Upon a Time in Hollywood recently, I decided it was finally time to bite the bullet and do what was a long time coming on this blog: Review Tarantino’s movies. And then I just decided, hey, why not review them all at once, as an homage to Schafrillas Productions and his director rankings? Oho, see, I can homage things too!

To be clear here, I’m only reviewing the films Quentined and Tarantined by the man himself; the “Tarantinoverse” is a bit more expansive than his own filmography, as True Romance (which he wrote) is canon and Machete, Machete Kills, From Dusk Til Dawn, Hobo with a Shotgun, Planet Terror, Thanksgiving, and the Spy Kids movies are all part of the “show within a show” side of his world, but those are all topics for another time. Right now, it’s all Tarantino baby! Now let’s get on to the actual ranking, and pray that I don’t put a foot in my mouth with these opinions.

10. Once Upon a Time... in Hollywood

I feel pretty safe in calling this Tarantino’s worst film. It’s not necessarily awful or anything, it has good qualities to it, but it takes every problem Tarantino’s style has and cranks it up to 11.

The film is long and dialogue-heavy, with lots of that classic Tarantino writing, but while individual scenes are good such as when Leonardo DiCaprio’s character is filming a scene with a little girl or Brad Pitt’s character goes to the ranch the Manson Family are holed up at they never really feel like they congeal into a cohesive narrative, instead feeling more like a long string of vignettes. This is especially bad in regards to Margot Robbie’s Sharon Tate, whose numerous scenes really add nothing to the movie but constant looming reminders that Helter Skelter is going to happen and lots of shots of Robbie’s feet. The excessively padded runtime is so bad that when you finally get to the part where the tables are turned on the Manson Family, a historical twist that should feel fun and cathartic, it comes off as too little, too late instead.

It’s really a shame the film is so meandering, because in almost every other aspect it really shines. Every actor is giving it their all; Pitt and DiCaprio are absolutely fantastic, Robbie brings charm even to her filler role, and every single bit part actor is fully committed and leaves a mark. Standouts include Dakota Fanning as the de facto head honcho of the Family when Manson is out and Mike Moh as Bruce Lee in a scene that is at once deeply disrespectful to one of history’s greatest action stars and also very funny. This is a film you can tell everyone involved gave a shit about.

But for me, it’s not enough for me to really love the film. I like a lot about the movie for sure, but I just hate how nothing ever really comes together in a satisfying way. Maybe if a bit of the fat was trimmed I would have a higher opinion of the movie, but as it is three hours of vignettes (even well-acted ones) is truly excessive. It’s mid at worst, but for Tarantino that’s still pretty shocking when everything else he’s done is above average at worst.

9. Death Proof

This is a truly underrated film, but frankly, it’s easy to see why it is that way. This half of the double feature that was Grindhouse is a throwback to films that were actually two movies spliced together, and it has all the issues that entails. The first half of the film is a more grounded, dialogue-heavy buildup to a terrifying conclusion, while the second half is a wild and crazy action and stunt showcase, and the two halves feel at odds with each other…which is by design, but still.

This might be a hot take, but I find the slow burning first half to be the superior part of the film. As much as I love Tarantino’s insane action films, Kurt Russell’s portrayal of the sinister Stuntman Mike is just just utterly gripping; he is easily one of the best villains in Tarantino’s filmography. The whole first half establishes him really well, building up the anxiety until he finally gets to show the girl he leaves with just how well he death proofed his car. He’s just so damn cool.

And then comes the second half where he’s reduced to a bit of a chump. And this probably wouldn’t be nearly as bad if the protagonists up against him were compelling, but they’re not. They’re a bunch of girls who are boring at best and relentlessly unpleasant at worst; the fact they leave behind one of their friends to an uncertain (but likely unpleasant) fate at the hands of a creepy redneck is especially appalling. Beatrix Kiddo they ain’t.

This is a wildly uneven film, so I can see why it didn’t find its audience right away, but I think these days it had garnered a minor cult following. If you can handle the flawed second half, this is still a really good movie with a captivating villain performance that more than makes up for its shortcomings, but I definitely can’t justify putting it any higher on this list.

8. Inglourious Basterds

Oh, this might be a controversial one. This movie is the same sort of beast as OUATIH, which is why I have it so low, but with one crucial difference: It does everything better. Yes, this movie is long and a bit meandering, but it always feels like it’s moving towards a final goal. Yes, it ends with a history-altering plot twist, but this one might be the most cathartic one of all time. And yes, there’s gratuitous feet shots, but at least they’re in plot-relevant scenes.

Of course, the best thing about the movie is the villain, Hans Landa. Christoph Waltz’s big American breakout is one of the most compelling villains of the 2010s, a charismatic, cunning, self-serving Nazi bastard who you really want to see get what’s coming to him. I might be inclined to call him the best Tarantino villain of all time.

I think what weirdly brings the film down is the titular Basterds themselves, and not because they ultimately feel superfluous to the plot; it’s the same sort of thing as Raiders of the Lost Ark, them being absent wouldn’t have changed much but we also wouldn’t have much of an exciting adventure. My issue is that Brad Pitt aside they are just not interesting or compelling at all. You really need to work hard to sell attempted filmmaker Eli Roth as the ultimate Jewish badass, and the film doesn’t really deliver. If only Adam Sandler took the role as was the original vision; we really were robbed. It’s all the worse because it cuts away from the actual compelling plot with Shosanna for these schmucks.

To be clear, I don’t think this is a bad film by any stretch of the imagination, but I find it falls short of the hype around it. I’ve seen it described as movie with a lot of great scenes that never really comes together to be a great movie, and I mostly agree with that assessment; there’s so much to love here, but also so much I don’t care about. It’s definitely worth watching but it’s also where you can see the seeds for the problems with OUATIH planted.

7. The Hateful Eight

This isn’t a Tarantino film held in a particularly high regard; it’s not exactly hated, but it’s not what anyone would call their favorite either. Its contentious nature boils down to something apparent right in the title: Every character in this movie is a fucking asshole. It can be genuinely hard to get invested in these people when they’re a big collection of liars, killers, sadists, criminals, racists, and rapists.

Now, if you can stomach these nasty characters, what you’re left with is “John Carpenter’s The Thing… but a Western!” And I have to admit as a huge fan of The Thing, this is a very solid reimagining of the concept in a grounded setting. I do wish there was any character to root for here, but watching a group of people slowly tearing each other apart in a claustrophobic, isolated setting is still fun to watch. I don’t think it’s nearly as good or insightful as Carpenter’s movie, but very few movies are.

This is definitely a movie I can see people hating more than the previous two films, but I feel like this movie is more consistent than Basterds or Death Proof. Those movies have higher highs, but this movie never hits the lows they do, and even if his character is a massive asshole Samuel L. Jackson is always great to see in a Tarantino flick. Plus that brief appearance from Channing Tatum is great, especially with how it ends. This is a very solid film, but “very solid” is about as high as the praise I’ll give it will get.

6. Reservoir Dogs

Tarantino’s directorial debut, and boy is that readily apparent. It does a good job at establishing hallmarks of his style, like the sorts of conversations his characters have, their love of racial slurs, non-linear storytelling, and his trend of casting himself as a douchey minor character. It does everything fairly well, and I’d go as far as to call it one of the best directorial debuts ever… and that’s about it, really.

Like this is a very good film with strong performances—Michael Madsen and Steve Buscemi being the standouts—but it definitely feels less refined than his later works with the same style. His sophomore film just completely blows this one out of the water, to the point it’s hard to muster up the interest to revisit this as opposed to watching Pulp Fiction for the hundredth time. It’s not that this film is bad; it’s just that Tarantino’s later films do what this one does better.

It’s definitely a good film, maybe even great, but there’s clear room to improve. Hell, there wasn’t a single shot of a woman’s feet in the whole movie! Tarantino was slacking.

5. Kill Bill: Vol. 2

Now we’re in to the really great movies. And yes, while it doesn’t keep up the energy of the first film, I would definitely call this a great movie.

Where the first volume was driven by action, this one is more driven by talking, and thankfully the characters are saying a lot of interesting things here (the standout being Bill’s media illiteracy in regards to Superman, which reveals a lot about his character). There’s also the reveal of Beatrix Kiddo’s name as well as her backstory, and there are some standout moments like Beatrix escaping from being buried alive and the tense final conversation with Bill. Overall, the film does a fantastic job at fleshing the story out and expanding our understanding of the characters.

Like I said, though, it just doesn’t keep up the energy of the first film. Budd is great and serves as a more psychological opponent, burying Beatrix alive as a way to test if she has the resolve to finish her quest for revenge, but both Elle and Bill himself are dealt with in a rather anti-climactic manner. It says a lot that O-Ren, one of Bill’s former lackeys, put up a grander and more impressive fight than her boss did. While I do appreciate the more philosophical approach, it’s hard not to be miffed when a duology called “Kill Bill” doesn’t kill Bill in a more grandiose way befitting the character.

Obviously, I don’t think it brings the film down much, and this is still a good conclusion to the story. I just can’t help but feel it could’ve amped things up just a bit, y’know?

4. Jackie Brown

This is probably the weirdest film in Tarantino’s filmography, being an adaptation of a book that lacks a lot of his usual style and features a lot of people he didn’t work with afterwards (like Robert De Niro and Pam Grier). This has led to a lot of people praising it as one of Tarantino’s best works for being unique among his oeuvre… and also a lot of people deriding it for how different it is from his usual style.

I definitely think it’s up there with his best works, but I don’t think it’s the absolute best. It’s sort of like how I see Christopher Nolan’s Batman movies; they’re great films (well, the first two anyway) but I can’t in good conscience hold them up as the best Batman media because they ultimately lack a lot of what makes me love Batman as a character. And this film lacks a lot of what makes me love a Tarantino movie; it’s a fantastic, realistic crime drama, but that’s not really what I’m watching Tarantino for, you know?

Still, its placement on this list should tell you I still see this as a must-watch. Starring Grier alone makes it worth checking out, and it definitely showcases Tarantino has far more range as a filmmaker than you’d expect.

3. Django Unchained

Right from the opening song, you can tell this is going to be an epic movie. Tarantino truly nailed the Western on his first go around, adding his own spin to the genre and making a truly stellar film. However, it’s not without a few issues.

The main cast is fantastic. We have Christoph Waltz as a noble and heroic abolitionist, an atypical role he pulls off flawlessly; Samuel L. Jackson as a sinister house slave who is all about licking the boot that treads on him; and of course Leonardo DiCaprio as a hammy, egotistical slave owner, a stellar villain role that should have nabbed him an Oscar. Even minor roles are great, with Don Johnson appearing as a plantation owner early on and Jonah Hill of all people popping up as a proto-Klansman.

You might notice I didn’t mention Jamie Foxx as the titular Django. That’s because, unfortunately, he’s a bit of an issue with the film. It’s not Foxx’s performance; he makes Django cool and likable, and his awesome trademark Tarantino roaring rampage of revenge in the third act sells him as a truly badass character. No, the issue is the narrative seems to seriously sideline him in favor of Waltz’s character, to the point for large swaths of the film he feels a bit like a side character in his own story. I don’t find it to be a huge issue, but it can be frustrating, especially since this is a very long movie and a few scenes drag on a bit longer than necessary. You really couldn’t give the title character a bit more to do until the last half hour, Quentin?

Still, I don’t think its issues hold it back all that much. This is an incredibly fantastic film whose highs easily overshadow its frustrating lows. Frankly, if any Tarantino movie deserves a sequel, it would be this one; I think Django has a lot of interesting stories in him, and a film where he actually gets to be the central character the whole time would be great.

2. Kill Bill: Vol. 1

This right here is pretty damn close to being my absolute favorite Tarantino film. Where something like OUATIH is all of Tarantino’s flaws compounded into one film, this is all of his strengths together in one film. Fantastically violent action, stellar casting with not a single weak performance, an awesome soundtrack, tons of great homages to the works that inspired it, non-linear storytelling used effectively, and more style in a single frame than some movies have in their entire runtime.

Frankly, I don’t have a lot of issues with the movie, though I kind of don’t like how all the action is front loaded while all the character insight and dialogue gets shoved into the second part. It’s nothing that makes me think less of either film, but I think maybe sprinkling more insight into who the Bride is in this movie and putting some more action in the second part would keep the sequel from feeling a bit anti-climactic. I also wish we got more of Vernita Green, the first assassin we see dispatched onscreen and the one who gets the least characterization; with a third film increasingly unlikely at this point, meaning we won’t ever see her daughter seek her vengeance, it’s a shame we don’t get at least a little more of a look into who she is as a person like we did with Budd and especially O-Ren.

Aside from that, though? This is Tarantino at his best, and Uma Thurman’s crowning achievement as an actress, one that cements her as action royalty alongside the greats like Schwarzenegger, Stallone, and Weaver. There’s just one film Tarantino did that, objectively, is a much better film, and I’m sure as soon as you saw this ranking you knew exactly what it’d be...

1. Pulp Fiction

Of course this takes the top spot. Was there ever any doubt? This movie is everything Tarantino is about rolled into one supremely satisfying package.

The cast is nothing short of phenomenal. We have Bruce Willis in his prime, we’ve got John Travolta pulling out of a career slump, we’ve got Uma Thurman and Ving Rhames in roles that put them on the map, and we have a veritable buffet of talent in minor roles, the most memorable of which is Christopher Walken telling a child the delightful story of a pocket watch’s journey home from war. There’s not a bad performance here. But of course the real superstar is Samuel L. Jackson, who gave a career-defining performance as Jules, the baddest motherfucker around (it says so on his wallet).

The great performances wouldn’t matter much if not for the great script, though. The dialogue in this film is unreal with how good it is, with characters having very odd yet also very realistic and natural conversations. Jules and Vince discussing burgers, for instance, is one of the most memorable sequences in the film… and it’s just them driving! Some of the writing is a little contentious (did you really need to have your character say the N-word fifty times, Quentin?), but none of it is really bad.

I will say Tarantino as Jimmy is one of my few issues with the film, but also an issue I kind of like anyway. His acting is a wonky and there is genuinely no reason why he should be spouting off all these racial slurs (even in-universe, since his buddy Jules and his wife are black), but the sheer audacity of the whole thing saves it. Still, I can’t help but feel the scene hasn’t aged as gracefully as a lot of the film, and the amateur performance from Tarantino sticks out all the more because he is standing right next to two of the most talented actors ever.

Another aspect of the film I think has aged pretty poorly is the gay hillbilly rapists, but I don’t think this aspect is as cut and dry as “hey maybe the white director who has little acting training shouldn’t play the guy who says the N-word.” On the one hand, having the only queer characters in your movie being depraved rapists is not a good look, though this was par for the course for the 90s. On the other hand, the movie treats Marsellus getting raped with the same level of deadly seriousness that a woman in that position would receive in a film. That’s a pretty bold, progressive plot point, especially since men getting raped (especially male-on-male) was and still is used as a joke. And watching the movie in a day and age with tons of queer characters in media does soften the blow a bit, because these aren’t the only gay characters you’ll see in fiction anymore. I think it’s important to have discussions about these sorts of archaic portrayals of queers in film, but I don’t think this breaks the movie.

In modern times the film has gotten a reputation as a “red flag” film loved by toxic guys, and I think that’s unfair; is it the movie’s fault dudebros fail to see the movie is a refutation of crime and violence? Think about it: The only person in the film who gets an unambiguously happy ending is the one who has a spiritual awakening and abandons his criminal ways to walk the Earth. Every other major character pays in some way for their continued violent ways: Butch goes through Hell and ends up in exile, Marsellus Wallace gets raped, Mia overdoses and nearly dies, and Vince does die. Hell, there’s an entire segment where Jules and Vince are repeatedly chastised for careless violence causing a huge mess; as you may recall, Jules’ pal Jimmy was not too keen to find Phil LaMarr dead in his garage, and had some choice words to say about it. Stupid people see the blood and slurs and take it at face value, but the narrative itself tells these sorts they’re well and truly fucked because when you live by the sword, you die by the sword.

Of course, my favorite interpretation of the film is that it is espousing the belief that Beatles fans are superior to Elvis ones, as an extension of Mia’s comment in a deleted scene that you’re either an Elvis person or a Beatles person. Vince is clearly an Elvis guy, and he is presented as an unprofessional, careless buffoon who causes numerous issues and ends up dying due to his own inattentiveness; meanwhile, Jules is vaguely implied to be the proverbial “Beatles guy” (he calls the robber in the diner “Ringo”) and escapes the film unscathed. This is even funnier when you consider that one of Tarantino’s first onscreen roles was as an Elvis impersonator in Golden Girls, something that implies he might be an Elvis guy himself, which would make the film the most epic act of self-deprecation ever.

This is one of the greatest sophomore releases from a director ever, and one of the greatest films of the 90s. This film frequently finds its way to the top of “best films of all time” lists, and with good reason; it is, to this day, just that good. I think there’s a temptation to call any of his other films his magnum opus due to just how acclaimed and pervasive in pop culture this film is, but it got that way for a reason. It is a damn good crime story with all sorts of twists and turns and plenty of stuff for viewers to ruminate on and interpret as they please. Hell, I thought I liked Kill Bill more than it until I rewatched it, but boy does this just blow even that masterpiece out of the water.

If nothing else, the film is incredible for one simple reason: Tarantino managed to insert his foot fetish into the film without it feeling as needlessly gratuitous as it is in some later films! Bravo, Tarantino!

[poorwhayfairingstranger]

Did you know that Milo is the Greek word for apple? Personally, I think it would have made more sense if one of Dave's kids was named Milo for the apple juice reference.

Remember the Homestuck credits?

Where they show the kids using the ectobiology machines to make a zillion babies? there are specifically 4 panels with clear distinguishable babies

i took it upon myself to guess who’s parents each human baby belongs to (i hope that sentence make any sence #notanenglishspeaker)

and i gave them names and colors(this is all just for fun). they turned out to be exactly 12, nice

so yeah, those are some of the kids who started the new civilization

so cute and kinda bittersweet (specially the one i called lily, she is the most ovbious who her parents are so canonically she is Yiffany Ruby’s full sister)

btw if you wanna use any of this kid’s designs for roleplay or something go ahead

Find the troll’s kids here

[slasher-fxcker]

Slashers seeing their future S/O for the first time

Part 2

Including: Billy Lenz, Brahms Heelshire, Jesse Cromeans, Michael Myers & Thomas Hewitt

Warnings: Swearing, (Brief mention) Attempted Sexual Assault, Violence, Mention of Voyeurism, Mentions of death, slashers being slashers. This page is 18+ Minors do not interact.

A/N: AAAND here is part 2! Hope you guys enjoy this first piece. Believe me there are many more to come. Feel free to send requests through!

Billy Lenz:

· Billy was excited about the new tenant in the house, it had been a while since he had any fun. He had been waiting for you to move in since he heard about it. He listened to you all day, moving your stuff around, there were other people too, movers he assumed. All day he listened to your voice and couldn’t wait until he could hear it on the other end of the phone.

· He had spent the day thinking of all the dirty things he wanted to tell you, all the ways he wanted you to scream for him. Of course, he had worked himself up, he waited until not long after midnight and decided to venture into the house. Poking around silently in your things while you slept. It wasn’t until he snuck into the living room did he realise that you were laying on the lounge. He froze not sure if you were asleep or not, luckily for him you were. He crept closer, watching your face. “Pretty, so pretty,” he mumbled to himself over and over again, along with a few other profanities.

· You moved slightly at the sound of his voice, repositioning yourself when he noticed your top slip open slightly revealing some of the bra you wore underneath. Billy could barely contain his ramblings at this, his mumbling getting louder as he pawed himself through his pants. You stirred again and he raced back to the attic as quietly as he could to finish what he had started downstairs. Yes, Billy was definitely excited about his new tenant.

Brahms Heelshire:

· Brahms had to admit, he was hesitant about getting a ‘nanny’. He didn’t trust people and he didn’t want to be left alone. He knew you would be there soon and he couldn’t pretend he wasn’t slightly excited. The knock at the door had him rushing through the walls to one of his hiding spots closest to the entrance. As the door opened he was surprised to say the least, you were younger than he imagined and way hotter. He would be lying if he said he didn’t imagine how he would be able to watch you during your stay, see you in bed, in the bath, some might find it shameful but Brahms was getting excited just thinking about it.

· After listening to you speak to his parents he had decided you would fit nicely into his routine. They had introduced you to the doll and he was surprised to see how at ease you seemed interacting with it. You didn’t stare at them like they were crazy, you were kind and acknowledged the doll as if it was Brahms himself. It made him feel seen, as silly as that sounds.

· Brahms had to admit, he wasn’t sure about getting a nanny at first, but seeing you speaking to the doll and imagining all the ways he was going to keep you on your toes sparked something in him. He found himself more excited than he had been in a long time.

Jesse Cromeans:

· Jesse wasn’t exactly excited to meet his new assistant, his last one had been the definition of incompetent. Jesse was a busy man, he didn’t need to be held up by another useless member of staff, he already had enough of those. The knocking on his door broke him out of his train of thought, “Sorry to interrupt sir,” he didn’t turn around or acknowledge there was a presence in his office, “I just wanted to introduce your new assistant Y/N,” he took his time before turning the chair around and what he saw definitely surprised him.

· He didn’t know what he had been expecting, but it hadn’t been you. You seemed so soft and small, innocent in a way, he noticed the way you looked away when he had been staring too long. Jesse stood abruptly, which he noticed seemed to startle you as your eyes met his once again. You didn’t miss the small tilt of his head as his eyes scanned you before holding out his hand towards you.

· He took in your meek demeanour as you approached him and took his hand in your own, you didn’t seem afraid but definitely hesitant, which he could understand. He also noticed the moment you seemed to realise you hadn’t spoken yet, you had stopped shaking hands but neither of you had let go as you looked up at him and spoke, “It’s a pleasure to meet you sir,” Jesse didn’t miss the stir inside him when you called him that, looking up at him with your bright innocent eyes, “I’m incredibly excited for the opportunity to work for you.” Oh yes, Jesse was a busy man but he was sure he would be finding time to make sure you enjoyed your new position.

Michael Myers:

· Michael was bored. He had that itch that snuck upon him some nights, as he roamed the streets looking for his next kill. It had been almost a week since his last and the buzz hadn’t lasted very long. He had followed a pair of men into a park, they were loud and definitely had been drinking. Drunks make for an easy target, he stayed far enough back that he couldn’t see them but could still hear them so he knew he was on the right path.

· “Well what do we have here,” Michael stopped when he heard one of the men speak, “Shouldn’t be out here alone,” the other man said. “Just leave me alone,” he heard a third voice, a softer voice. Michael moved forward to be able to see what was happening. He stood by a corner just in time to see one of the men grab your arm as you tried to push past them, “Slow down honey, we can take you home if you want.” You pushed him and told them to leave you alone again. The man backhanded you, knocking you down to the ground and the other one crouched down to hold you down.

· Michael wasn’t sure why but something about you made him falter, you seemed so small yet watching you try to fight these men off like you had a chance made him feel something. He wasn’t sure what it was, he wasn’t used to feeling anything but something told him to stop the men. Before you could even scream you heard the man that was still standing groan out in pain and looked up to see a large knife sticking through his chest. “What the fuck,” the other man yelled lunging at Michael, he took care of him quickly. Once both bodies were on the ground he stood there looming over you, he wasn’t sure whether he was going to kill you yet. If it was anyone else they would already be dead, but something about you made him hesitate. You looked up at him and neither of you dared to be the first to move, you broke the silence, “You… you saved me.” Michael just tilted his head, he wasn’t sure what to do with that information. He needed to think, he needed to get away from here. How had a regular night of killing turned into this? Yes, Michael had been bored, but you seemed like someone who would change that.

Thomas Hewitt:

· The heat was especially unkind to Thomas today, he had been called down to help Luda at the service stop. Of course, he never minded helping his mama but the heat in the shop was stifling. He was grabbing some of the last boxes from the store room when he heard the bell on the front door chime. “Oh, look at you dear, my goodness you're all grown up.” Thomas relaxed when he realised his mama knew who was in the store, he had figured it was the new family that had moved in. Luda had told him about an old friend of hers who had moved back with her daughter. She seemed especially excited when she spoke about introducing him to you.

· “Evening Miss Luda, mama wanted me to bring you these.” You say handing over the basket, “Oh goodness, its been years since I’ve had one of your mamas pies.” she checked the contents before replacing the lid, turning back to you she remembered you hadn’t met her son yet. “Tommy, come out here, I’ve got someone I want you to meet.” Thomas hesitated before letting out a gruff sigh and walking back into the store. He walked towards you both but kept his eyes to the ground, he didn’t need to see the look of horror on your face when you found out Luda had a monster for a son.

· “This is my boy Thomas,” Luda introduced him, Thomas was expecting you to hide away from him or brush off the introduction all together, but instead he heard your timid voice as you held out your hand, “It’s nice to finally meet you Thomas, I’m sure you’ve heard as much about me as I have you.” He finally looked up then to find the most beautiful pair of eyes he had seen staring straight up at him expectantly, no fear in sight. He seemed taken aback, not expecting you to be so pretty and certainly not expecting you to be so kind. Before he could think any longer he noticed the slight blush across your cheeks and realised you still had your hand out.

· He hesitantly reached out, not sure if he was more afraid of spooking you or himself. Thomas gently took your hand in his before giving it a soft shake. You didn’t know how someone as large and strong looking as him could have such a soft touch. You were both still holding the others hand and staring at each other when Luda broke you out of your trance. “Well now that you’ve finally met, why don’t you and your mama join us for dinner?” Luda suggested. You and Thomas finally broke your gaze and you quickly composed yourself agreeing. You turned back to Thomas, “Well it was lovely meeting you Thomas, I guess I’ll see you tonight.” You smiled at him before turning back towards the door. He felt the blush on his face warming up and realised the Texas heat wasn’t the only thing that’s making him sweat.

[theauthorityvol1]

i was looking forward to an apollo and midnighter story and then i got andrew and lucas instead. fighting red scare no less. whatever

[funemployed-fangirl]

Bridgerton proposals rated by level of chaos

Anthony - While courting her sister, Anthony panics when Kate is stung by a bee, proceeds to attempt to suck out the poison from her clavicle, and is caught by their mothers and Lady Featherington. Lady F says they'll have to marry and Anthony announces they'll be married next week. No proposal, Kate is never consulted. Anthony then ravishes her in the gazebo. 10/10. Complete Chaos.

Benedict - After repeatedly propositioning Sophie to be his live-in mistress, Benedict finds out she has been arrested for theft, shows up at the jail, punches the warden, and demands to know why his fiancé is being held prisoner. No proposal. Lady B almost punches Sophie's evil stepmother. 12/10. Utter Chaos.

Colin - Like a day after realizing that he finds Penelope incredibly attractive, Colin chases her through London, discovers she's Lady Whistledown, throws her in his carriage, lectures her, ravishes her, then they arrive back at her house and he hops out of the carriage and says, "well are you going to marry me or not?" Technically a proposal. 7/10. Chaos compounded by Lady F somehow thinking he's proposing to Pen's little sister.

Daphne - Daphne disrupts a duel for her honor, punches Simon in the eye, and insists he marry her because their garden makeout session was seen. Simon say he cannot have children, omitting that it's a personal choice and not a medical condition, and Daphne says good to know not a problem we're doing this. No real proposal. No one's happy with the outcome. Pistols and bickering big brothers in attendance for added chaos. 8/10

Eloise - Phillip proposes in a letter before they ever meet, failing to mention he has two children. Eloise packs a bag and leaves for his house without telling anyone. Phillip is shocked to discover her on his doorstep. The brothers are forced to ride after to her to defend her honor. Eloise doesn't understand why everyone's making such a fuss. Colin grumbles he's meant to be on his honeymoon. Beautiful Eloise-brand chaos abounds. 7/10

Francesca - Michael pines for a decade. He proposes. Franny says no. They have sex. He proposes. She says maybe. They have more sex. He nearly dies of malaria. Eventually they get married. By any other family's standards, it would be legendary chaos, but we're talking about the Bridgertons. 5/10

Gregory - HOO BOY. Gregory proposes/propositions Lucy despite her being engaged to someone else. She agrees but then is threatened by her treasonous uncle and goes through with the original marriage. Gregory interrupts the wedding. Lucy turns him down in front of the whole Ton. At the reception Gregory kidnaps her, then gets into a shootout with her uncle. Her now-husband agrees to annul the marriage. Absolute freaking chaos. No notes. 27/10

Hyacinth - Despite midnight rendezvous, breaking and entering, and a treasure hunt, Hyancinth's proposal is shockingly normal. Gareth formally asks Anthony's permission, then gets down on one knee and proposes properly. 2/10. Mildly disappointing, considering H's chaotic personality.

[ingravinoveritas]

This is what happens when you get one of them wet...