#movie safety

[kupocat]

Yikes on the seizure, please be careful my movie going friendos. Also ffs, they're still using the goths damned papyrus font? UGH

PSA: Someone at one of my work's branches has already had a seizure from this movie, so I'd love if folks passed this around before the big first weekend! Might save someone from a very unpleasant trip out

[chloecherrysip]

Head empty, only thinking about Ultra Protective Big Brother Mario at all times and how ever since he was a literal baby who just learned to walk, his first, strongest instinct, as unthinking and instantaneous as a reflex, as breathing, has been to position himself in between Luigi and the slightest hint of danger with absolutely ZERO hesitation

(Their expressions are EXACTLY the same in the 1st and 3rd image!!!! Some things never change!!!! LOOK HOW HARD I CAN CRY!!!!!)

[turtleblogatlast]

Small but significant character moments that I actually really adore are from both the times we see the boys as tots. There is a reoccurrence that happens in both of them that I find so incredibly interesting.

For the turtle tot short, Splinter leaves the boys with weapons. In the short, Raph is the one who suggests they do “what Lou Jitsu would do” and Leo is the one who takes point when Splinter comes back to reprimand them. Leo, in taking point, is the one to defend them and get Splinter off their tails.

And then, in the flashback regarding the Kuroi Yōroi helmet, Raph is the one who grabs and throws “Skully” as a way to replace their missing ball which breaks it into pieces, but Leo is the one who speaks for the group and rushes into action to fix the teapot.

I love this for multiple reasons, but the biggest are how it shows that Raph has always been inclined toward the bold and fun and making the plans to include his brothers in what he loves and believes they’d love, whereas Leo has always been inclined to be the “Face” of the group and shoulder the attention even if it’s potentially negative all while coming up with on the spot attempts to fix the situation.

[arihi]

Feeling unsafe is not the same as being unsafe and people are unable to distinguish between the two - you always have a right to be safe, but you do not necessarily have the right to always feel safe. This is an underlying theme in a lot of issues, like judging others' kinks, queerness, race, media analysis, and more; what the real heart of the problem is is unfamiliarity, things that people do not know and thus shrink away from in fear or disgust or discomfort. It can be a basic instinct to approach change and unfamiliarity with caution, but it needs to be an intentional act to challenge that fear/world view. It is something that we owe to the people around us, and that we owe to ourselves.

[s0fter-sin]

the 141 recovering brainwashed!soap but he’s just a shell of his former self; never speaking, never moving without orders. he never even blinks; just stares straight ahead with his unnatural green eyes.

empty.

but ghost can't accept that.

price and gaz can't stand watching ghost torture himself day after day; visiting soap in his cell for hours at a time, trying anything he can think of to bring back his sergeant.

he shows him pictures of the 141 but soap thinks he's being given targets and moves to eliminate them before ghost stops him. he brings him his journal, tries to trigger his innermost thoughts and feelings he never shared with any of them, but after he reads it, soap summarises it like he's giving a mission briefing. impersonal.

cold.

it's late when ghost finally calls it; low and defeated after another long day of being stared at with eyes that don't see him. he isn't thinking when he pulls his mask off and harshly scrubs over his face, grinding his palm into his eye.

"don't worry, johnny; we're still fixin' each other's problems," he promises, little more than a whisper as he tries to summon the energy to leave johnny behind. again.

he pushes himself to his feet, his hand on the door handle when-

"what's my problem?"

ghost freezes, something like grief - something achingly closer to hope - chilling him. he slowly turns and though soap is still starring ahead, there's a faint light in his altered green eyes.

"the mask," he forces out. "take it off."

he knows there's no way to remove the mask - the muzzle - from his sergeant's face. it's too high-tech, even for them; the biometric scanner too advanced for any bypass they know of.

it's just another way he's failed him; bringing him home still bound in their enemy's chains.

soap- jolts; a sharp, almost painful looking flinch jerking his body.

"show my face?" and his voice has changed; no longer the monotone delivery that's haunted ghost's every waking moment.

it's smaller. uncertain. recollection of a memory half-destroyed.

"yes, johnny," he breathes.

soap moves unprompted for the first time since they found him; running his finger along the edge of the muzzle where his skin bulges from the pressure, half-visible scars hidden beneath the harsh metal.

"ugly," he murmurs.

ghost immediately shakes his head, almost stumbling back to the table; haphazardly throwing his mask on it. "quite the opposite," he insists.

it doesn't matter if he has no lower jaw left at all; johnny could never be ugly in his eyes.

agonisingly slowly, soap's eyes shift to the mask. he takes in the balaclava and hard shell skull like for all the times he's looked at it since his rescue, he never truly saw it. his lids fall in less of a blink and more stage curtains closing; slow, heavy, requiring effort and no small amount of strength to open once more

"good... to see you again..." he trails off, his hand shifting up to the top of his shaved head; nails digging unforgivingly into his scalp

"simon," ghost finishes for him; that horrid grieving hope tearing at his heart

soap's fingers flex and a drop of blood trails down his forehead, over the ridge of his nose to catch on the muzzle. "s-simon..."

his nails dig deeper, the drop falling to the table just to be followed by more and ghost aches to stop him but he's terrified to interrupt him. terrified to lose him now when he's so close to something.

soap's bloodied nails scratch down the crown of his head, following the line of his stolen mohawk until they come to rest on the back of the muzzle and ghost's heart drops.

they can’t get it off.

they can't get it off and he doesn't know how to explain that to soap; doesn't know if he can stomach watching soap pull at the monstrosity holding him captive, the inevitable bloodbath as the edges cut into his skin.

"show my face," soap repeats.

"johnny..." ghost begins weakly, reaching out to him but he doesn't know how, doesn't know if he even should-

the muzzle clatters onto the table.

the biometrics they couldn't bypass, the fingerprint they needed that they were so sure belonged to makarov.

it belonged to soap.

how cruel to torture him with freedom he didn't understand he could take; didn't even understand he could want.

just the kind of sick game makarov loves.

ghost doesn't know what's louder; his heart pounding in his ears or the long, uninhibited breath soap takes.

his eyes fall shut as he leans his head back with it, the blood still dripping down his face as he straightens through his exhale. his lower jaw is a mess of scars where he fought against the previous iterations of the muzzle, the corners of his lips cut through and cracked.

but the green in his eyes is duller; that light sparking brighter as blue struggles to break through the glow.

ghost's never seen anything so beautiful.

"good to see you again, johnny."

[beep-beep-beep-beep-beep]

HELLO FLATLAND COMMUNITY.

[send-me-a-puffalope]

GIRLS, SHE’S COMING HOME 😭😭😭 FINALLY CONFIRMATION !!!! MY FEARS HAVE BEEN PUT TO REST !!!!! TERROR DRAINED FROM MY BODY !!!!!!!

[pianokantzart]

Thinking about how Mario had every logical reason to not go on the adventure to save his brother, actually. Princess Peach, a well established and powerful monarch who had just body slammed him like he was nothing, assured that she was out to stop Bowser, implying that she would be saving Luigi as well, but Mario demands to be brought along.

Peach goes further by explaining in no uncertain terms she is going up against someone unhinged and extremely dangerous– a fellow royal who has the entire Mushroom Kingdom shuddering at the mere mention of his name. Mario is not much to look at, and is utterly unfamiliar with this new world and its rules. He is a plumber, not a warrior. For all she knows, he'd be more a liability than an asset.

Mario is a little intimidated, but ultimately unswayed.

He accepts Peach's ultimatum. He puts himself through the most grueling and painful obstacle course, trying over and over all night, eating powerups to the point of vomiting, not because he's his brother's only hope... but he couldn't stand the idea of not being there when he needed him.

Because he couldn't possibly leave his sibling's safety to a stranger.

Because Luigi wouldn't be in this situation if it wasn't for him.

Because the sooner they were back together, the sooner they would be okay.

[somerandomrecluse]

SAFETY LAST! (1923)

Dir. Fred C. Newmeyer and Sam Taylor

[tododeku-or-bust]

God I love a "was it worth it" narrative. When characters go through all that because they were so SURE that if they stuck to it, that surely there was going to be a win. that if they turn back and look it'll break their heart because it meant nothing but because theyre in it right now they know they can reach the finish line and things will be better and they mean it. They genuinely want things to be better. And then they're forced to look back and realize they tossed the baby out with the bathwater.

[maksyena]

meeee when we have to make an emergency water landing ^_^

[brainrotcharacters]

Paradox, baby. Can I call you Mr. Darcy? I'll call you Fitzgerald. Fitzy, are you sure you want Deadpool in the main timeline? Really? Has the mothers and fuckers of this honorable jury forgotten what happens to every other fish when you put a lionfish in their midst?

The lionfish eats them all.

[rotisseries]

i know everyone already talks extensively about how detailed arcane is, but one of my personal faves is the attention to gun safety, especially like. finger in the trigger well. which is the one aspect of gun safety that really falls through in most media. you do not put your finger in the trigger well until you are ready to pull the trigger. a fundamental that most media fails to showcase. but it's intentional in arcane. like, jinx always has her finger in a trigger well. if she's holding a gun she's got her finger on the trigger. which makes sense!! she's unstable and deeply unsafe and even she doesn't know whether or not she's gonna pull the trigger most of the time. whereas caitlyn, trained for years, is very methodical with her gun. we pretty much always see the moment of intention where she moves her finger into the trigger well because she's ready to shoot. which of course is one of many details that helps showcasing how much more erratic she's gotten in season 2

[hurrakka]

Death Island was great but I felt like it was missing something

[book-lover85]

thinking about sophie foster vs katniss everdeen

the moonlark vs the mockingjay

the chosen vs unchosen hero

how people's perception of you can be more important than who you actually are

[commsroom]

mission launch for minkowski's crew was in march 2013. ostensibly, they were put through some mission training, though the extent and effectiveness of that is kinda dubious. pagliacci takes place in 2013, exact date unspecified. but it has to be early. let's say... mid-january.

eiffel thought he had ruined the rest of his life before he'd even turned thirty. he probably spent his thirtieth birthday in jail. and then... for some number of days, weeks, maybe even a couple of months, he exists in this state of, well. of limbo. cutter gets him released from prison, and flies him out to canaveral. he doesn't speak to his family, obviously. they don't want to hear from him, and don't even know. he's still a prisoner, but no one around him knows that, either. at some point in this time frame, goddard first exposes him to decima, before hilbert even knows who he is. and he lives wherever goddard is accommodating him, and he has to go about his day-to-day life in this transitory state between a 26-year sentence he'd just started really grappling with, and the very immediate reality he's now about to be sent into deep space instead.

they give him a certain amount of freedom; it's not like he can go anywhere. he doesn't do much, anyway, is not feeling appreciative for his momentary second chance at life, given the circumstances. he blows off most of his mission training, and they're surprisingly lax about that, which in retrospect probably should have been a sign. he sits around and smokes, mostly. gets takeout food. but he goes to see movies, as much as he can. as much as he wants to punish himself, he needs to do something, or he'll go crazy, and it's not like he'll get a chance to see a movie in a long time. he was already resigning himself to maybe never going to a movie theater again.

the film adaptation of les misérables was released in december 2012. it's entirely feasible it could've been one of the movies he saw in this time period. i think the idea adds some resonance to his shared reference with minkowski in the finale, at least, in the way it pulls things full circle. intentionally or otherwise. and, incidentally, the 2012 film adaptation of les misérables, a story that notably features an ex-convict protagonist seeking redemption, was released on december 25th. call that serendipity.