#movie themes of greed

[lyricsolution-com]

Tumbbad 2 Official Announcement: Sohum Shah Says 'What Happens When Greed Knows No Limits...' | Movies News

Actor-producer Sohum Shah, who is enjoying the response to the re-release of his fantasy horror film ‘Tumbbad’, has said that the upcoming second instalment of the film will be an intense exploration of greed knowing no limits. ‘Tumbbad’, which was released in 2018, harped on the theme of greed and linked it to the Marathi legend of Hastar. Talking about the sequel to the film, Sohum Shah said,…

[hyohaehyuk]

Immortal_AMC: Vampires and scary movies go together like blood and.. well, vampires. #InterviewWithTheVampire #FearFest

[they-bite]

for anyone wondering if in a violent nature is basically just friday the 13th with the serial numbers filed off: you’re not wrong but watch it anyway

[alicentflorent]

I’ve started seeing the same bad takes on “saltburn” as I saw on “parasite” back in 2019 send help

[ava-of-shenanigans]

So, I watched The Mummy (1999) last night, and I thought it was a good movie (inaccurate to ancient Egypt and Egyptology, but still a good movie). But it did remind me of this one story from Greek period ancient Egypt, that’s actually kind of similar to the plot of the movie? So I’m gonna ramble about that for a while now.

This story is called Setne and Naneferkaptah, and it also has a Person Who Is An Expert In Fields Related To The Mummies and Curses™ looking for a magic book that’s protected by curses, and a dead guy from an older time and his girlfriend (wife, in this story) who want to stop them from doing that. The Expert™ in this story is Prince Setne (he’s a magician), who was an actual real guy who existed, he was the son of Ramesses II, and he was used in ancient Egyptian fiction as the protagonist of a few stories, not just this one. The magic book is called the Book of Thoth, it was made by the god Thoth, and there two spells in it that will give you a bunch of cool powers, including being able to talk to animals. The dead guy who’s tomb Setne breaks into is called Naneferkaptah, and he stole the book of Thoth from the original place where it was, but then him, his wife Ahwere, and his son all got killed by the gods because of that, so now the Book of Thoth is in his tomb.

Anyway, the story (well, the surviving parts of it that we have) starts with Setne in the the tomb of Naneferkaptah, with Ahwere telling him the story of how she and Naneferkaptah got married and were really happy, but were then killed after Naneferkaptah stole the Book of Thoth. The place Naneferkaptah steals the Book of Thoth from originally isn’t a tomb, it’s a multilayered box at the bottom of a huge body of water. I guess there are what you could call “traps” around it? There’s just a bunch of bugs. And snakes. Six miles of scorpions and snakes and other reptiles all around the box. Naneferkaptah uses a spell to get past all the bugs and snakes, and then he fights the guardian of the book, which is another snake. He fights it thee times, the first two times it comes back to life, but the third time he cuts it in half and it stays dead.

Setne demands they give him the book after Ahwere finishes telling him that story, and Naneferkaptah is like, “Dude, my wife just told you how taking this book is a super bad idea, why do you still want it?” But Setne is doing that protagonist thing where just hearing the story within a story isn’t enough to get him to learn the moral, and bad things have to happen to him in order for him to learn it, so he plays board games with Naneferkaptah to try and win the book from him. Setne keeps losing, and every time he loses Naneferkaptah hits him the head with the board they’re using, which makes him sink deeper and deeper into the sand he’s standing on. This keeps happening until Setne is about to suffocate in the sand, at which point he just cheats and steals the book from Naneferkaptah with magic.

Then there’s this fakeout sequence, where Setne gets so horny for a woman that he’s willing to orders all his children to be killed in order to sleep with her, but at the last moment it turns out the woman wasn’t real, Setne’s kids are fine, it didn’t actually happen and Setne’s just naked and embarrassed now. Having learned an important lesson about the destructive nature of greed, Setne returns the book to Naneferkaptah. Setne also finds the bodies of Ahwere and her son (they were buried in a seperate tomb) and moves them to Naneferkaptah‘s tomb, so they can be dead and in love together for the rest of time.

So anyway, if you ever wondered about what ancient Egyptian stories about tomb robbing cursed texts were like, now you know.

[captaingimpy]

Aliens: A Thrilling Expansion of the Alien Universe That Captures the Essence of True Sci-Fi Action - Alien Retrospective Review Part 5

Aliens, directed by James Cameron, takes Ridley Scott’s eerie, slow-burn horror masterpiece Alien and shifts it into full-throttle sci-fi action, bringing a sense of urgency and intensity that has cemented it as a standout in both the franchise and the genre. While Scott’s original film laid the groundwork with atmosphere, suspense, and horror, Cameron expands the Alien universe in a way that…

[prideprejudce]

there should be a sub genre of books that were originally written to comment on the evils of capitalism and how greed and wealth corrupts society as a whole and how those popular books were subsequently made into hollywood movies and were marketed in a way in order to mass produce as much merchandise as possible so the companies behind the movies can make as much money as possible and thus completely erasing the original meaning of that story while also unintentionally proving the point of the original novels themes

[david-talks-sw]

I'd say where the dissonance really starts, when it comes to the portrayal of the Jedi in more recent Star Wars stories, is the perception of what the Prequels are about.

They're not about the Jedi.

George Lucas said over and over that they're about:

How a democracy turns into a dictatorship, we see this in the background of the films, as the Republic descends into becoming the Empire.

That first theme is then paralleled with a second theme: how a good kid becomes a bad man. We see this in the more character-driven and personal exploration of Anakin’s fall to the Dark Side.

The Prequels’ focus is on Anakin and the Republic, these films are not primarily about the fall of the Jedi. In fact, I’d argue they aren’t about the Jedi at all!

And when you look at the original backstory, you’ll notice that it also primarily focuses on:

The political subplot of the Republic’s downfall and Palpatine becoming the Emperor.

Anakin’s turn and his betrayal of the Jedi. 

So, there too… the Jedi themselves aren’t really that big a part of the Prequels’ original idea. They aren't mentioned much, beyond their trying to save the Senate and getting wiped out.

The Star Wars movies aren't about the Jedi, they're about Anakin and Luke, they're about Obi-Wan and Padmé and Han and Leia, the Rebellion vs the Empire, the fall of the Republic.

They're not about Ben and Yoda and Mace and Ki-Adi and Plo Koon and Shaak Ti and Luminara.

Just like Harry Potter isn't about Dumbledore and McGonagall. Just like the Lord of the Rings isn't about Gandalf.

On a functional level, the Jedi are:

POV characters who witness the events unfold with their hands tied, they're our anchors, whose eyes we see through to see democracy crumble into dictatorship.

Embodiments/vectors of the message George Lucas wanted to get across through these movies, which is the conflict between selfishness & selflessness, greed & compassion (Sith & Jedi).

But that's about it.

However, if you ask today’s fans and Star Wars creatives, most will say the Prequels are about the fall of the Jedi Order.

This is a take shared by a big chunk of the fandom, including various filmmakers, authors, and executives involved with Star Wars, so much so that the time period the Prequel films cover has now been redubbed by Lucasfilm as the “Fall of the Jedi era”.

Which leaves us with a question... why? Why the dissonance?

My guess? It's because the Jedi are cool. They're awesome.

And deep down, they wanted the Prequels to be about the Jedi. About the Jedi Knights at their height, errant warriors like the Knights of the Round Table.

And they didn't get that. They got a bunch of diplomats serving a political institution. And that didn't make sense, right? That's not what they expected so it's bad. And it's Star Wars. It's Lucas. It can't be bad, right? So like... what were they missing?

Oh... wait... what if... that's the point? That the Jedi were supposed to be Knight Errants and being guided by the Force instead of like - ew - space ambassadors for the Republic. Yeah now it all makes sense.

The Jedi in the Prequels aren't what we wanted them to be and that's their failure! Like, it's not just that I didn't like them because they weren't likeable to me, it's that I'm not supposed to like them because the narrative totally says so--

-- it doesn't.

The Jedi preach and practice the same Buddhist values as George Lucas, mirroring what he says in interviews almost verbatim.

The relationship between Obi-Wan and Anakin/Qui-Gon mirrors the dynamic between Lucas and Coppola.

The designs of the Jedi and their temple had to be toned down because they looked too bureaucratic and systemic.

This is Lucas we're talking about. "On the nose" is his middle name. He named the drug-peddling sleazebag "Elan Sleazebaggano." He ditched an elaborate introduction of General Grievous in exchange for just "the doors slide open, in walks Grievous and he's ugly."

If he had really been hell bent on framing the Jedi as elitist squares who lost their way and were mired in bureaucracy, he would've made them and the Jedi Temple look like the authorities in THX-1138.

They weren't likeable to some fans because, well, they weren't developed or shown as much as someone like Anakin. Because it's not about them. It's not their story. It's Anakin's. It's Luke's. It's their respective friends'. Or maybe it's an adversity to "perfect goody two-shoes" characters (which the Jedi are not). But hey, it's a movie for kids. Some 2-dimensionality is forgivable.

Bottom line, had more time been spent on the Jedi, had Lucas made the Prequels into a limited show and give them a whole subplot, had he decided to do away with the 30s serial dialog and let someone else write the dialog, maybe the reception might've been different.

But that's what we got. And guess what it's fine.

It's more than fine, it's fucking awesome.

I proudly and confidently say that I love the Prequels, with and without The Clone Wars.

I love my space monks, I love that they're diplomat wizards, I love that there's such a variety of them, I love that Mace is a no-bullshit guy who genuinely cares about his fellow Jedi and how screwed the Republic is, and Yoda is wise and kind but also a gremlin weirdo who'll embarass you in front of a classroom full of kids, and Ki-Adi has a penis for a head, is constantly calm and yet goes down like a champ even though they take him by surprise. I love that Shaak Ti can kung fu an army full of Magna Guards and still have the energy to charge at Grievous. I love that Obi-Wan is a sass machine who is also hilariously oblivious to the fact that he's just as terrible as Anakin.

They're awesome even if they're not perfect. They're awesome because they're not perfect.

But the movies are not really their story.

They're Anakin's. They're Luke's. They're the Republic's and the Rebellion's. And the fight against a space Nazi emperor/empire.

[cinnamanz]

— ִ ࣪✮🕷✮⋆˙ DARLING, I .ᐟ ·˚ ༘ MANON BANNERMAN

when new york city’s widely-known spider-woman's life becomes unknowingly entwined with a member of the rising global girl group katseye, she learns that juggling superhero duties, university, and a sudden crush may or may not just be the downfall of her. but hey, at least she's helping people, right?

tags .ᐟ smau, crack, fluff, idol x superhero, unserious awkward losers, coarse language, suggestive themes, university! au, horrible jokes

featuring .ᐟ katseye, itzy, skz, le sserafim.

pairing .ᐟ manon bannerman x reader.

status .ᐟ completed— 5 jan 25.

notes .ᐟ this smau was made for fun and entertainment. it is not an actual portrayal of the people mentioned in this smau, nor are the photos used to portray y/n. also let's just say that some kpop groups are currently living in nyc. IGNORE THE TIMESTAMPS. divider creds: @/adornedwithlight. TAGLIST CLOSED.

PROFILES!

nightmare blunt rotation brainrotted fine shyts brainrotted fine shyts 2.5

01. YOUR FRIENDLY NEIGHBOURHOOD SPIDER-WOMAN!

02. TOO LIT!

03. CAKE!

04. SWEET MOTHER OF CHRIST!

05. WEDGIES IN A SPANDEX!

06. MAMA A MINION GIRL BEHIND YOU!

07. FREAKY N PROUD!

08. WUH LUH WUH?

09. LOST IN TRANSLATION!

10. STALKER!

11. IT'S A DATE!

12. SICK N TIRED!

13. BOOTS R QUAKING!

14. SO ANXIOUS!

15. AND THE CROWD IS CONFUSED?

16. CANDIDS!

17. NEW YEAR, NEW ME!

18. NEW YEAR, NEW FRUSTRATIONS!

19. FEMALE DJS DO IT BEST!

20. JENNIFER!

21. LAST STRAW!

22. BLOCKED!

23. THIS POST HAS BEEN DELETED!

24. SO COOKED!

25. WHAT DOES IT #MEAN?

26. HEIROGILGER AHH TEXT!

27. QUEEN NEVER CRY!

28. THE TYPE OF GREED THEY TALK ABOUT IN THE BIBLE!

29. EYES ON ME!

30. FINALLY!

31. ONE HELL OF A DATE!

32. HALLELUJAH!

33. TOO GAY TO FUNCTION!

34. EMBARRASSING!

35. BLOCKED PT. 2!

36. THREE WEEKS!

37. SPIDER-WOMAN!

38. APOLOGY GIFT!

39. SALUTATIONS BEAUTIFUL!

40. IDGAF WAR!

41. APOLOGY GIFT PT. 2!

42. BLOCKED PT. 3!

43. SO HELP ME GOD!

44. OH SHIT!

45. LIFE OR DEATH!

46. STUPIDITY!

47. LIZARD THING LIVESTREAM!

48. MOVIE DATE!

49. WOMAN ON A MISSION!

50. SUSPICIONS!

51. GO HOME!

52. THE END!

bonus! incorrect quotes n text messages.

™ CINNAMANZ 2024

[foone]

whats your favourite narnia book if you have one

Since I grew up as an autistic christian, I have many Narnia Opinions!

So, my favorite book for it's own reasons is probably The Magician's Nephew. I'm always a slut for worldbuilding and backstory and that novel is basically just only that. Some guy we know from another book goes on an adventure and in the process gets to be involved with the creation of one world and the destruction of another? kick-ass.

Best book to adapt? The Lion, The Witch, and the Wardrobe. 1988 BBC version, 1979 Cartoon version, 2005 theatrical? All good, in their own ways. The BBC version is just perfectly 80s and the costumes are amazing (because they are costumes! they did all the monsters by sticking a guy in a big costume and I love it), the cartoon version captures the fucking whimsy of a story where SANTA SHOWS UP AND GIVES EVERYONE PRESENTS and the first person to offer any serious lore about the situation is named MR BEAVER. And the 2005 film has the big battles and CGI and Tilda Swinton as the White Witch which is... so much. I love them all.

But the best book adaptation is the 1990 BBC The Silver Chair. Hands down. It's got Tom Baker's Puddleglum, Warwick Davis playing an owl, 0£ BBC budget greenscreened giants (MULTIPLE TIMES), a group of people discovering IT'S A COOKBOOK and one of them being offended by the cookbook saying they don't taste very good, the bad guy turning into a giant rubber snake. a witch trying to gaslight some humans into believing the sun is a myth, and the ultimate salvation of Eustace Scrubb: a boy who almost deserved being named that.

And since I can't not list basically everything Narnia ever made, BBC's 1989 Prince Caspian and The Voyage of the Dawn Treader is pretty good too. It's a fun "road movie", in that it's an odyssey into a fictional Mysterious Ocean of Here There Be Dragons.

Lotta hits in that one. It's also got a "collect the macguffins!" plot where they're trying to collect the Seven Lost Lords.

But yeah, it's like... the first Island gets them a lord and they get to end slavery. Next up, Dragon TF island (The dragon is Greed... but it's also just a literal fucking dragon). Next, Gold TF island. Gold, it turns out, makes you go insane in your lust for wealth, even if you're already a Prince of a whole country. The gold is Greed, but it will also just fucking kill you because you'll be turned into gold.

Then it's the island of the ugly invisible one-foot guys and it turns out they cast a spell to turn invisible so no one could see how they're ugly but they're not ugly, they just think they are? and then it goes "HEY LUCY COMPARE YOURSELF TO YOUR OLDER SISTER" and she's like "I'm ugly.... unlike her. Maybe I should use magic to STEAL HER BEAUTY?!" and it's like, wow. Is there maybe a theme here about self-esteem in your appearance? and Clive Officemax Lewis is over there going I'LL NEVER TELL.

Anyway it's got the good line about how the Wizard in charge of the ugly invisible one-footed pogo-idiots is that how he eagerly awaits the day that they can be ruled by wisdom, instead of magic. It's a fun approach to magic: it's something that is a shortcut, a crutch, and it's a poor replacement for Wisdom, even when used by "the good guys". Tell me, Mr. FedexKinkos-Lewis, do you have any opinions on the complicated relationship between Christianity and magic? oh, you do? I never would have guessed!

They also find The Island Where Dreams Come True. They don't land there, they just fish a screaming man out of the ocean who is trying to escape it. The sailors hear it's The Island Where Dreams Come True and are like "wow, I could have my own ship!" and he yells no, you fools, not dreams like your wishes and imaginations, your actual dreams come true on this island.

and everyone agrees: Get us the fuck away from this island and lets never return.

Anyway I'm not gonna talk about THE ENTIRE MOVIE/BOOK but it's got a great weirdness at the end where they reach the end of the world (which is flat. It's okay, this is Narnia, a completely different world with different physical rules than Earth), and it's a waterfall, but a waterfall going up?

It turns out Heaven is on the other side of it. They turn around, but the anthropomorphic mouse is like "ehh, I'll take that journey" and becomes the Elijah of Aslan's Country, their equivalent of heaven.

Narnia, won't you?

[rholsof-film]

Krittika & Jennifer’s Body

*Updated*

Krittika Nakshatra:

Aries: 26°40' to 30°00' - Taurus: 0°00' to 10°00'

Sheep Yoni🐑

“A Wolf in Sheep’s Clothing”

Jennifer’s Body takes on a heavy Krittika theme—as the representative of this nak is the innocent sheep yoni. However, the fundamental themes of this nakshatra are opposite of innocent. The themes are sacrifice, renewal, and transformation; In this case Jennifer is the sacrificed sheep for the selfish greed of a band trying to have their chance at fame. Much in a biblical context lamb/sheep, and goat are sacrificial in order to come into a state of renewal and transformation. Making way for the new state of mind, body and soul.

Krittika is to cut, burn and purify, it’s a fundamental hunter as well—Kartikeya being born from Krittika is a metaphysical hunter/warrior. These natives are the untamable but love the game of being a hunter taming their prey. Jennifer Check, played by Megan Fox, who is a Krittika sun native is very much “a wolf in sheep’s clothing”. I believe that is another key theme of this nakshatra that is not often talked about enough. They are often underestimated in the beginning given their image of innocence. Just simmered down to being a seducer but no one ever goes more in depth about Krittika’s ways and how they work and think.

Low Shoulder travels to Devil’s Kettle to put on a mini show as a coverup to their sacrificial ritual. When they lock into their victim Jennifer, they assume she’s this innocent virgin that has no experience sexually, which is vital for their ritual. However, she isn’t a virgin and when she is sacrificed violently, she’s brought back to life. Renewed in a transformative way as a succubus. I must note that during Low Shoulder’s show, the bar burns down and there are dozens of casualties that aren’t accounted for. Krittika burns to create and make room for the new.

As Jennifer embraces her new life as a succubus, her friend Needy begins to notice that many of the boys from school are mysteriously disappearing. Since there are no secrets between close friends, Jennifer eventually confesses the truth about what happened to her that fateful night—revealing that a part of her died in the process. There is a state of darkness within Krittika's transformation, a spiritual death. Now, to survive and maintain her vitality, she must live differently. This journey mirrors Krittika’s process of purification, which I believe is the ultimate granter of beauty. For Jennifer, feeding on boys is the price she pays to sustain her vibrance and magnetic allure.

Krittika’s relation to the birth of the masculine also connects to Jennifer only targeting boys. Although, I like to think it’s because she favors the feminine more and it feeds into her liberation for woman. Jennifer and Needy’s relationship is also homoerotic and I talk about Krittika and queerness more in a different post that you can check out in my tag.

When Jennifer sets her sights on Chip, Needy’s boyfriend, their friendship reaches a breaking point. This betrayal forces Needy to confront Jennifer, ultimately leading to Jennifer’s elimination.

After killing Jennifer, Needy inherits the unique abilities of the succubus—strength, levitation, and heightened aggression. This mirrors Krittika’s archetypal traits: immense power coupled with the challenge of balancing intense emotions.

We see this transformation unfold throughout the movie, particularly at its climax. In the beginning, Needy is in jail struggling with her emotions. This foreshadows her punishment for murdering Jennifer and inheriting her new abilities. However, by the end, she channels her newfound strength to take down the band Low Shoulder in a brutal and cathartic hotel murder. Bringing full closure to the events that started it all. All transformative and inherent to Krittika’s nature.

*Updated Version*

[venussaidso]

𝐌𝐨𝐨𝐧-𝐑𝐚𝐡𝐮-𝐊𝐞𝐭𝐮: 𝐓𝐫𝐮𝐞 𝐕𝐚𝐦𝐩𝐢𝐫𝐢𝐬𝐦

the prominent themes of vampirism such as desire, hunger, mystery and illusions tie so perfectly with the moon and its nodes. it wasn't surprising to find the nodes dominating this genre the most, along with the luminaries (moon & sun nakshatras, but more fittingly the moon). i will not be touching on the few sun nakshatras playing vampires, as the moon makes far more sense symbolizing true vampiric nature.

So many vampire movie posters have this luminous glow to them, likely done consciously because of these creatures' affinity for nighttime, and generally being nocturnal as they're extremely sensitive to any type of sunlight.

I've once briefly mentioned, in my "Moon Dominant Themes" post, that lunar natives can operate very secretly, such as 'working in the shadows'. And the whole lore of vampires always emphasizes their ability to hide themselves while still living among humans.

Vampires undergoing periods of dormancy and resurgence is interesting as that can also be linked back to the moon's cycles of waxing & maning. The influence that the moon has on vampires, in some legends, is during certain lunar phases in which they become more active. A full moon could literally mean that their strength has enhanced, whilst a moonless night could mean their desire for blood is heightened.

Rohini Sun Colin Farrell

Claire Nakti explored, in her "TOP 3 Most Magical & Mystical Astrology Signs | Cults, Divination, & Occultism | Part 2 (Nakshatras)" documentary, on the ability of Moon nakshatra natives to brainwash/mind control/hypnotize.

daniel kaluuya is a hasta moon, not rohini.

As these natives are often cult leaders, their ability to influence the mind goes back to their lunar-rulership. The Moon rules over the mind, emotions and subconscious. A vampire's ability to hypnotize humans and other lesser beings is in parallel to the Moon's influence over the psyche and subconscious.

This illusory nature found in vampires can be connected to the shadow planet, Rahu. As Rahu is illusions, desire, hunger. Rahu is very seductive and tempting; this could tie back to some legends in which vampires lure their prey giving them promises of pleasure.

Ardra Sun Tom Cruise.

In "Interview with the Vampire", Tom Cruise plays Lestat who is an overindulgent, greedy vampire. Rahu governs desires and the pursuit of worldly pleasures. It's related to insatiable cravings that lead to greed. The lustful nature of Rahu is seen in Lestat's intense bloodlust and the chaos it brings.

Rahu's associations with eclipses relates to their ability of being hidden in the shadows. Another hint is in Rahu being a Shadow planet itself, just like Ketu is which is also related to vampires.

The story about Rahu's head getting decapitated by Vishnu for trying to get a drink out of the nectar of immortality can be brilliantly paralleled with vampirism. Due to Rahu's consumption of the drop of the nectar, he became the infamous dismembered immortal. His dismemberment a symbol of the detachment from humanity to vampirism.

Rahu is considered an entity of darkness and malevolence, preying upon cosmic forces and defying the natural order of things (such as vampirism which does defy nature itself, ie. the dead becoming undead) in pursuit for immortality. Vampires are literal parasites, and Rahu is also parasitical. Vampires feed on humans without providing any benefit in the ecosystem in return, a one-sided relationship which resembles one between a parasite and its host. Rahu is depicted as insatiable and consuming, feeding and draining one's energy. It creates a cycle of thirsting for more without any fulfillment, a predicament vampires find themselves in.

Ashwini Sun Luke Evans

Rahu and Ketu represent the lunar nodes, respectively depicted as the head and tail of the celestial serpent. Their energetic interaction can be likened to the endless chase between a vampire and a vampire hunter, villain and hero, the friction between unlikely lovers. It's obvious in how Rahu embodies the insatiable hunger for experiences and the craving for fulfillment that it can be the vampiric force in such a dynamic. Like a vampire, Rahu relentlessly pursues its desires, often leading to greed and excess. And then you have Ketu, on the other hand, which embodies detachment, spirituality, and liberation from worldly attachments. It quite literally symbolizes the renunciation of desires and the quest for enlightenment, opposing Rahu's restlessness for more. Ketu is a cutting force, and like a determined vampire hunter, is skilled in tracking down illusions and breaking free from temptations.

Although it sounds like a more fitting interplay between Rahu as the evil force and Ketu as the hunter, it's actually more seen in the other way around.

It is more so that Rahuvians are the vampire hunters, which I found so intriguing; showcasing how Rahu is both the parasitical (illusory), and also the one to be rid of parasites (disillusionment). And I have explored this particular theme in my Rahu post -- how Rahu natives experience a lot of disillusionment from their reality, wanting to cast away the illusions that drain the life force.

The reversal of roles showcases the fluidity of the nodes; their roles almost always expected to reverse, illustrating just how Rahu and Ketu are deeply intertwined with the concept of karma, representing the push-&-pull between cosmic forces of destiny.

More nodal-vampire movies, and other examples in which Rahu & Ketu find themselves on opposite sides of the same spectrum in which they are both vampires, similar to the friction seen between Louis (Ketu) and Lestat (Rahu) in "Interview with the Vampire".

In the film "Fright Night", the one who has to kill the villainous vampire is an Ashwini native. It is also interesting how in "Queen of the Damned" (above, right), the villain is a Magha native who must be stopped by her Mula lover -- both being vampires.

As mentioned in the figure image about the film "Abraham Lincoln: Vampire Hunter", where a nodal-ruled native is paired up with someone who is lunar-ruled, this is a type of pairing seen a lot in these supernatural stories.

Similarly to "Twilight", as Edward was the one to turn Bella into a vampire, we see the planetary reversal of this in which the lunar-native is the one who turns the nodal-native.

Or the film "Vamps" in which Hasta Sun, Shatabhisha Moon native Alicia Silverstone turns Mula Sun, Magha Moon native Krysten Ritter into a vampire.

It isn't a surprise that the moon and its nodes are related to the extremities of the mind. These energies can cause isolation due to how polarizing they come off in regular society (furthermore validating its relation to vampirism), so they become attracted to one another -- especially the nodal natives to the moon natives, because of how much they feel magnetized by them, and vice versa.

edit: also paul wesley could be a purva phalguni moon instead of magha, there is an unconfirmed birthtime out there + he is a pushya sun and i have noticed sun nakshatras along with saturn nakshatras in vampiric roles as well. might touch on this some time soon.

The presence of some Sun nakshatras in vampire stories is present and that could tie to the Sun's influence over the Moon despite the fact that solar symbolisms regarding vampirism don't exist, and vampires are far too sensitive to the Sun so much so that they get sunburn during the full moon where the sun's light reflects (interesting to think about). The whole point of a vampire is to lurk in the shadows or during nighttime, so the strict avoidance of the Sun could make sense in there being solar-natives in vampiric roles. It makes for an interesting contradiction, certainly.

Ketu is the body of the severed demon Rahu following the consumption of the elixir. Much like Rahu, Ketu is also associated to darkness and illusions. But it symbolizes the darker, unseen aspects of reality -- all the hidden forces and energies as I've touched on in my Ketu exploration. Ketu and Rahu are two sides of the same coin, it isn't surprising to see them share many vampiric roles/stories.

Ketu is about spiritual liberation, detachment (in this context, becoming a vampire means a harsh detachment from normality/the old life), transcendence; these existential themes are found in vampirism.

The character Louis in "Interview with the Vampire" played by Mula Sun Brad Pitt describes his existential crisis as a vampire to a Magha Sun human who interviews him.

The enhanced strength, agility, speed, hearing and all these abilities are gained after the painful transformation process, going from human to vampire. This process is seen in the film "Interview with the Vampire", Mula Sun Brad Pitt's character going through excruciating pain when turning. My mind immediately takes me to Claire Nakti's first Mula nakshatra exploration, in which she touched on the interconnection of pain and evolution for access to more powers.

edit: robert pattinson is an ardra moon, not sun. and i accidentally used jk rowling's face as l.j smith, ugh! 💔

Vampires are caught between worlds, trapped in a liminal space between life & death. Ketu can cause feelings of entrapment. The yearning for release from their eternal existence is a common theme, as Ketu wants to escape its body. Louis de Pointe du Lac is the best character as example of rejecting one's own nature and wanting to cease to exist.

Mula Sun Brad Pitt

nodals being so emo jfc

notes: colin farrell's birthtime accuracy is botched, he's definitely a mula ascendant. tom hiddleston stays a possible ashwini moon until he's not (until his birthtime is available and accurate).

[impactrueno]

I saw this on twt today "we talk a lot about sexuality and gender in horror but real estate is actually one of the most dominant themes… Amityville Horror, Poltergeist, even Beetlejuice to an extent" I was wondering what are your thoughts on it?

it's true! even in beetlejuice, of course. haunted houses, yes, but there's also charles who works in real estate and wants to gentrify the entire town. the maitlands may be ghosts, but the movie clearly was trying to convey the living are the real monsters here. never trust the living. even beetlejuice derides the deetzes and their business friends for their greed. they want to turn the town into a circus? they'll get the circus.

human greed + haunted house = real estate horror imo

not the case with beetlejuice, but so many of these haunted estates are built on burial grounds (often native american) or are otherwise cursed in one way or another. and the people who sell you these houses know this but they don't care. because money

i guess there's also the whole thing about how your home should be your safe place, because you live and sleep in it, you're at your most vulnerable at home. especially if you own that home. whatever threatens the safety of that place is a threat to you directly as well. it's never the protagonist's fault that the house is cursed, so it kinda feels like you were duped and now you're trapped with spirits that want you out of this place

but yeah i think it's mostly about greed. greed has always made real life monsters out of people

[victoriadallonfan]

Let's Talk About the Alien vs Predator Films

Talk about wasted potential, am I right?

I'm struggling to format this in an interesting way, since so much has been covered over the past 20 years since the first film was released. You can read my thoughts on Aliens Franchise and the Predator Franchise as well.

Note that it doesn't include Alien: Romulus, but suffice to say it was a good movie!

I think the best place to start is with covering the themes of Alien and Predator, and the history before these films were created (and the failure of Fox).

My fellow AvP enjoyer @agendergorgon has already posted some thoughts on the topic, giving me a lot to think about, so check out their blog too!

For the purposes of this review, I am not going to include Alien 3, Alien: Resurrection, Prometheus, nor Alien: Covenant.... mostly. The AvP films really don't take much of anything beyond the first two films, though I will touch on Prometheus when it comes to religion.

Ditto for the Predator films, but that's because Predator wouldn't get a third film until 2010, 3 years after the AvP duo.

The themes of Alien Franchise:

I'm sure the first thing to come to mind is that the Alien series is about sexual assault, and you'd be correct. The xenomorph is designed to be extremely phallic, the facehuggers quite literally rape their victims, Burke locks his victims (including a child) in a room to be raped, Ash tries to murder Ripley by thrusting a rolled up porn magazine down her throat etc etc.

Some of you might also remember how Aliens was noted by James Cameron to be a criticism of the Vietnam War, Corporate Greed, and the callous arrogance of the US Military. The xenomorphs represented the innumerable "faceless" soldiers that could overwhelm more advanced enemies with ambush tactics and numbers, Burke thinks only in "goddamn percentages" and how this could benefit himself and the company, and the Colonial Marines are not only woefully mismanaged a newly brought on commander but also completely delusional with their own sense of invulnerability, only to break and panic under pressure once they meet a foe who is determined to fight to the death.

(I will NOT be tackling the fucked-upness of comparing people fighting for their independence vs a fucking Xenomorph, because holy fucking shit, it is literally the opposite AND worse counterpart to having the Predators be colonizers)

But, in the broader scope of the series, Alien - and the xenomorph - represent the uncontrollable, unfathomable, unknown. What are they? Why were they there? What are their motives? How did they end up in that ship? Were they built? How do they 'see'? Why did the xenomorph spare Jonesy the Cat? Are they intelligent life? How on earth do they function with their bizarre biology?

We don't get any real answers to these questions in the original films. The whole point of these movies is that there are things that mankind does not understand, and the horrors of space are vast. And equally terrifying is the arrogance of man (and synth kind) to think they can harness this horror for profit at the expense of human lives.

The themes of the Predator Franchise:

There's been tons of articles on how Predator is either a reconstruction or deconstruction (depending on who you ask) of the 80's action hero flick. A team of muscle laden, big gun toting, sweaty men spouting off one-liners as they mow down their enemies in a secret CIA led operation during the Cold War, interrupted by the presence of an intergalactic hunter than treats these badasses like mere toys. The massive Arnold Schwarzenegger is smacked out like a mouse facing off against a particularly cruel cat, needing to rely on tricks - not his brawns or guns - to stay alive and eventually defeat the Predator.

Others might point to its related take down of machismo. The opening scene is rife with characters testing each other's physical strength against each other such as with Dillon and Dutch, Ventura and Dutch have a small face-off in the helicopter as they try to make a pecking order, Ventura makes a whole speech about being a "sexual tyrannosaurus" and then mocked about sticking a gun up his "sore-ass", Hawkins repeatedly tries to make pussy and sex jokes, and they end up with a single woman in the group who is treated more like an object and baggage than a person for much of the movie. All of these men are emasculated by the Predator, some of them not even lasting a single second to its predations (both in tech and physicality), all of them losing any sense of quips and confidence, and the sole woman of the group survives because she didn't fit the movie's (and Predator's) mold of "tough as nails". When Arnold/Dutch is rescued by helicopter, it's not a cheerful one; he's haunted by what he endured and remains silent as the film pans into his thousand-yard stare.

All of this applies to Predator 2 as well, amping up the violence, dick measuring, and rules of the Predator targeting anyone who thinks they are tough shit for carrying a gun or knife. Even Danny Glover's victory is bittersweet, because he is now left in the middle of dozens of officer deaths, and entire subway car filled with corpses, and an antique flintlock pistol that promises the return of the Predators to Earth.

In a much broader sense, the Predator films are about the oversaturation of violence and lack of care for human life. Predator 1's main plot before he arrives is the CIA using Green Berets and then Dutch's special ops team to clean up their dirty work, giving them false information and not even reporting the Berets being MIA in furtherance of their Cold War goals (slaughtering guerrillas who were working with Soviet Russia). In Predator 2, the police are seen as being ineffective because they trample on each other's jurisdiction, with the Federal task force being willing to kill their own cops to keep the Predator existence a secret and letting it hunt people down for a better chance at capture and experimentation.

The Predator creatures are the epitome of such greed and arrogance. They are the General Zaroffs of The Most Dangerous Game, taken to a new height by showing that human lives literally mean nothing to them beyond a trophy hunt. They care nothing about our social lives, our politics, our loved ones, because for them this is nothing more than the equivalent of posh British Elite going on a Fox Hunt: cruel and sadistic, just to placate their egos. They will violate the corpses of the dead and taunt those in mourning, for the thrill of the game. And in that sense, the Predators are very human antagonists: they are not unfathomable nor are their goals beyond our understanding. The horror of the Predators is that they are creatures we can understand, communicate with, and even see similarities in their culture to ours... and that culture is putting us on a trophy rack alongside other skulls of creatures they felt a thrill to hunt.

So, did the Alien vs Predator films cover even half of these topics?

Well... kinda? Just... not well.

Not well at all.

The Build Up

Alien and Predator have a connected history dating back to the creation of the Predator itself. Stan Winston was on a flight with James Cameron some time after the famous director had finished with Aliens, and the director made a comment about wanting to see a monster with mandibles, which eventually led to the creature we know and love today.

Predator's debut on screen was also often compared to Aliens due to the superficially similar premise of a team of commandos going on a mission and fighting an unknown alien threat.

Despite what some people think, the AvP series wasn't started by the films.

Yes, there was a particularly memorable scene in Predator 2, where the City Hunter is admiring his trophy room and a xenomorph skull can be seen mounted on the wall (though, fun fact, it's actually an inaccurate depiction as xenomorph skulls look more humanoid facing), but that wasn't the first time the duo met in media.

And I'm not referring to the 1993 Arcade Game either (since that only came out a year after Predator 2).

The Alien vs Predator comic first appeared in 1989. And there were publications continuing ever since.

Think about that going forward. There was 25 years of content to choose from, storylines they could adapt, interesting forays into the cosmology and interactions between Yaujta, Xenomorphs, and Humanity.

The movies used exactly none of it (barring 1 thing: the Predalien).

Alien vs Predator (2004)

The plot of this movie is that Weyland-Yutani corporation detects a heat bloom under the ice in Antartica that reveals an underground pyramid, and in a race against his competitors, Weyland rounds up a team of elite experts led by Lex Woods to investigate the ruins (and find that the Predators have left them a convenient tunnel to enter the deep ice). Only to find out that this was a trap, as the pyramid comes to life activates a Xenomorph Queen, unleashing a brood of facehuggers on the helpless crew, all the while the Predators hunt them down. After a spectacular shitshow and release of the Xenomorph Queen, Lex and the last Predator (Scar) have to reluctantly team up to escape the pyramid and blow up the xenomorphs, ending in a final battle with the Xenomorph Queen. Scar perishes in the fight, but Lex manages to send the Queen into the depth of the artic ocean, and is rewarded by the watching Eldar Predator with a spear for her troubles. A post-credit scene reveals that Scar had a chest-burster inside of him, birthing the Predalien!

Rewatching this movie, I'm surprised at how good it looks. The opening scene of the satellite in space, several shots of the ship (and spaceship), the frozen tundra, the set pieces like the Xenomorph Queen Prison, and the CGI!

The CGI! Of 2004! I was shocked that they looked so good for something that is 20 years old now, but they did really well for themselves.

But it was the practical effects that blew me away the most. The shifting Pyramid is absolutely iconic and the abandoned whaling station is suitably creepy. The face-huggers look amazing and the xenomorphs are just *chefs kiss*. It's so funny seeing these Xenomorph effects compared to that of Alien:Covenant, and seeing how much work bodysuit and puppetry can do to make a monster look so much more terrifying than a CGI creature.

I know a lot of people didn't like the Predator's bulky appearance in this movie, but honestly... I dig it? It makes sense that not all Predators are literally built the same, and that the ones who would choose to go hunting in the artic would be the bigger ones who could hold more body heat. And the movie does a really great fucking job of making these Predators look badass and distinct from each other, with Celtic having the coolest mask of the whole group.

And the way the movie is shot is really fantastic! There are a lot of wide and tracking shots where the movie lets the atmosphere do the work instead of badgering us with words, taking its time to build up tension and soak up the visuals. One of my favorites shots they did was slow roam through the Predator ship as the systems come to life and we get to see holograms come on-line, feeding information directly into their masks. Equally good was when the Xenomorph Queen is awakened to cackling electricity and ominous lighting, showing us how vast this chamber is and how huge this Queen is in comparison to the one Ripley faces.

The same goes for most of the actions scenes, with a decent amount of cool slow-mo shots for things like Face-huggles launching themselves, Predators leaping across chasms, and showing Scar's impressive athleticism when he leaps 10 meters into the air and stabs a spear through the Queens skull.

And I can always rewatch the first time Alien Meets Predator Fight. God, that score! The music is just so damn good!!! You really feel like you are watching two massive horrors from space finally finding themselves sharing a space together.

Honestly, the Predators using the Xenomorphs as some kind of fucked up exotic pet for hunting trials and training fits the lore PERFECTLY. It’s actually a literal fox hunt not just metaphorical (and of course, in typical Alien fashion, it all went to shit).

Aliens vs Predator: Requiem (2007)

"Wait, Ridtom/VictoriaDallonFan, are you about to say something nice about AvP:R?!"

Well, after turning up the brightness and hanging blankets over my windows and then watching the movie underneath more blankets... yes!

For one thing, the Alien and Predator effects are spectacular! Some of the best work I've seen in the franchises! The fight scenes are creative and use really cool set-pieces like the sewer and power plant, where we get to see Wolf (the name of the Predator of this movie) absolutely kick ass and slaughter his way through hordes of Xenomorphs. Not that the xenos are left in the dust, as they get plenty of murders on screen and even outsmart Wolf on occasion.

I actually like the Predalien design and the idea that it’s more intelligent than the average Xeno, including holding personal grudges and understanding Predator behavior.

And the Predator tech is really cool too! We got laser grids, land mines, power fists, converting the plasma caster into a plasma pistol And I love the moment where Wolf kidnaps one of the human protags to use as live bait. Such a dick thing to do but so in-character.

Even the bits we get of Wolf mourning his fellow dead hunters was a neat addition.

And to be honest, I didn’t mind the idea of seeing an actual xenomorph infestation in real time, in a small town. I think that sort of setting would be really fun for a one-shot story.

And… that’s it. That’s all the good stuff.

What Went Wrong?

I compiled a list of sources where I got a lot of information on the AvP production: Source 1, Source 2, Source 3, Source 4

Note that a lot of these are 20 years old so I apologize for the outdated and honestly abhorrent word use that some articles and videos may use. And another apology for using the Xenopedia wiki, it was just a good shorthand for other information.

In short: Fox fucking sucks. They will absolutely self-sabotage themselves in order to make a (perceived) profit. Tom Rothman is the most well known (and he’s gone to Sony as of now), but Fox has had a looong history of being stingy and terrified of any risks for their films.

The sheer amount of drama involving Alien 3 and Alien Resurrection is an insane rollercoaster.

AvP removed pretty much any sense of horror and purposely had the design of the Predators to be more “human” and “heroic” (hence the weird human eyes and bulky physique), with a PG-13 rating for more audience numbers. While the human characters aren’t bad, they are not unique or even memorable (barring the fandom romantic tension between Lexi and the final Predator). Also, it was very weird that the Predators couldn’t kill a single Xenomorph, meanwhile the Colonial Marines couldn’t trip without blasting apart swarms of them. It felt like they really wanted to save money on the film in that regard.

AvP:R was even worse, with it being filmed with such a lack of lighting that people could not actually see any of the movie, and even modern advancements in color grading make it a strain. The human characters are awful, just absolutely boring and unremarkable beyond being veiled callbacks to characters from Alien, and we get a bunch of stupid Dawson’s Creek drama involving teenagers who look like they are 30 years old fighting over a girl who has no personality because she was written to just be “hot girl”.

If the story had focused entirely on the wife coming home from the war and dealing with the fact that her own daughter doesn’t feel close or comfortable with her after years of being gone, there could have been focus and themes and yadda yadda yadda.

Also, while this movie at least has horror aspects, did we REALLY need to see the Xenomorphs eating the fetuses and belly bursting out of still screaming mothers? Like, there is horror and then there is just being gross.

Final Thoughts

I often wonder if AvP took the wind out of the sails of Prometheus. Both play with the idea of humans worshiping aliens as gods, because Ancient Aliens is fucking everywhere, but it’s really hard to take Prometheus seriously when you remember AvP did basically the same setup (with arguably smarter characters).

And these movies have really soiled the idea of the AvP franchise barring the video games and comics. There’s apparently an AvP anime locked up in Disney Vaults and so far, both franchises have kept their respectful distances from each other.

However, with the recent successes of Alien: Romulus and Prey, there’s been a bit of a stir with some comments hinting at a potential AvP future.

Who knows. It’s been 17 years, perhaps 3rd time is the charm.

[dr-spectre]

I think that it's now more important than ever to keep making art.

Whether it's some scribbles on a piece of a paper, paint on a canvas, typing out erotic fanfiction about two cephalopod women, i need you to keep going. OKAY?!

Keep going at your own pace. Don't feel like you have to "grind" to achieve success, you're probably young as hell, you don't need to become a masculine obsessed fucking nutjob that is so obsessed with "discipline" and all this bullshit. Sure "discipline" is cool but... That shit takes a LONG TIME to develop and it only comes with experimentation and see what you believe in and what you enjoy. Don't get.... heh...... heh heh..... BRAINWASHED!!! by women hating bald bastards online who wanna turn you into a fun hating robot that's all about "work work work." Fuck them.

You are a human with flesh, blood, bones, a heart and a brain. You are not a machine. Got it?

Anyways, in talks of art, i wanna give my own sort of help for my writer friends out there! I thought it would be fun and plus, there's too many damn writing tips out there that boil down to "you HAVE to do this thing, you HAVE to follow this structure" and i think that is bullshit. Complete and utter bullshit that gives you more stress than needed. You know how many boring mid action movies come out that follow the hero's journey? The three act structure? The story circle? It is better to just make shit and learn what you could do for next time.

There are no rules, all of the "rules of storytelling" are just optional suggestions that you can either take or leave. Plus it seems like every fucking YouTuber has a different set of rules that conflict with each other anyways. However, I wanna share my own sort of "basic ass fundamentals of stories" that can fit into any story structure you want! I got these guidelines from the YouTube channel The Closer Look. I like their content, it's very insightful.

Here's Dr. Spectre's basic ass fundamentals for stories.

Characters. Simple, a story must have characters otherwise you are making something else that is not a story.

Progression. Is there a sense of progression? Does it feel like for every second of story it isn't stagnating or getting dull and boring? Does it feel like shit is happening and growing? If it feels boring to read for you, then it's gonna be boring for another person reading it. Progression could be plot based or character based and them growing as the story goes on. Doesn't matter which one, can be both or one. Good stories never feel like they are staying the same or spinning their wheels.

Delivery (Aka. Setup and payoff). Do you deliver on the promises in the story? And do you deliver them in a way where the audience after they finishing reading or watching, they felt like it was all worthwhile and they didn't waste time consuming your story.

Everything else? IT'S OPTIONAL!!! COMPLETLY OPTIONAL! YOU KNOW HOW MANY STORIES BREAK THE "RULES"?! Do not become reliant and dependent on these "rules" because it'll slow your development and discourage experimentation. Not every story is gonna fucking follow the Save The Cat format.

There is also the talk of theme and i will say this.

Theme is not "this story is about sex, drugs, greed." No. Theme is a message or argument, it is not a word, it is something you are trying to say via a story. People don't have to agree with the theme, but it must make people think about it. If your story is about sex, what is it trying to say about sex? That sex is a scary thing and that it's okay to feel scared and worried about your first time? What are you trying to say about greed? Etc. Etc.

I read through a Sonic comic recently that everyone loves called Scrapnik Island and guess what? I fucking love that comic too.

Scrapnik Island isn't truly about Sonic and Tails getting stuck on an island and Mecha Sonic is there and he becomes evil and does all this stuff. No, what it's ACTUALLY about is that your worth as a person isn't determined by successes and failures, Mecha Sonic feels like he is worthless and is a failure because he not only failed to kill Sonic, but also failed to help his friends on Scrapnik Island. However, Sonic snaps him out of that bullshit mindset and it's truly, truly wonderful stuff.

Splatoon 2: Octo Expansion isn't truly about Agent 8 being trapped in a facility and defeating an evil ai. It talks about racism and what does it talk about specifically? That it doesn't matter what someone looks like, as long as they are a good person that's all that matters. That life is varied and beautiful and it's worth protecting from those who wish to destroy it.

There's a reason why Agent 8 takes the time to soak in the fresh air and sunlight near the end of Octo Expansion, why Eight has memcakes to collect and we see their thoughts and wishes. it's there to explore that theme, that idea of what the story is truly about.

Splatoon as a franchise is about how wonderful creativity itself is, that art and life are connected and grow together and are important and deserved to be protected. Commander Tartar, Mr. Grizz and Overlorder are all opposed to that idea and that's why they are the antagonists. DJ Octavio less so because he is trying to save his own culture and art, even as to go far as manipulating a mentally ill Callie who was already growing distain and tiredness from her own culture, so it just so happens that these two chaotic forces share the same ideology.

Now, I wanna say, do you NEED a theme to make a story? No. BUT! If you don't have something to say and that connective tissue, then it's gonna weaken everything else and the action, plot and characters have to be fucking top notch. The "Rule of Cool" only works when... you know.... it's cool? And well done?

Anyways, I've rambled long enough. Please keep making art, please? Especially now considering what has happened. I need you to hold onto hope, hold onto creativity and fun. You must. You have to...

Be good people.

[another-lost-mc]

Hii, first of all, i love your writing 💕 and I hope you're doing well.

How do you think the bros would react watching the movie Se7en?

I think it would be interesting to see their reactions since the theme surrounds the seven deadly sins.

a/n: I love this movie! I re-watched while I worked on this since it's been a while. I wrote the blurbs in order of the sins as they're portrayed in the film.

➤ watching the movie se7en | the demon brothers

1k words | x gn!reader | nsfw | violence and dark/disturbing themes, demons thinking about demon things, movie spoilers

BEELZEBUB | the gluttony scene

Any other time, he'd be joking that if he had to die, he wants to die eating. He understands that now's probably not the best time to tell you that.

He feels a bit sad for some reason. He's not sure if it's the poor bloke's death on screen or the movie's gritty atmosphere in general.

Ravenous hunger has its downsides, but most of the time he enjoys eating food. He can understand why being forced to eat would be emotional and literal torture for someone.

He knows he could eat that much pasta without breaking a sweat, but he doubts it would be comforting to you so he doesn't say it out loud.

He wonders how much he'd have to eat for his body to break down in protest of finally being too full, but he keeps that to himself too.

MAMMON | the greed scene

It's not a horror movie but the dark vibe still gives him the creeps.

He hasn't had to look away (yet) but he tucks you closer to his side so you can cuddle. You can hide your face in his chest for the gross parts if they bother you, he won’t tease you.

He sorta gets an inkling about the greed motif— something about a scummy lawyer and money trading hands is his first guess about why this guy was targeted.

Eh, close enough.

There are a lotta ways to kill someone with greed without actually killing them, y’know.

(He doesn’t wanna talk about ‘em though. He doesn’t want you to think badly of him.)

BELPHEGOR | the sloth scene

What the actual fuck.

He was feeling a bit sleepy watching the movie up to this point, but he's not anymore.

He understands the interpretation of his sin, but he's surprised to see such an ugly version of it in a human world movie like this.

If he senses that you're uncomfortable, he tries to distract you until the scene ends.

Now seems like a great time to pause the movie so you can both get up and get a drink, or stretch—or maybe go for a nap if you're tired and don't want to finish it right now.

(He's going to make sure you don't have bad dreams after this.)

ASMODEUS | the lust scene

He's had custom sex toys made before, but something like this? Yeesh.

Literally fucking someone to death seems so brutal, so unromantic. This isn't how he would do it, but he doesn't tell you that; he doesn't want to scare you.

(If he had to kill someone using his sin, he'd fuck them before ripping them open from stomach to sternum.)

(If he had to kill you with his sin, he’d make love to you until you eventually fall asleep. Your death will be instant and painless before he cuts out your heart and eats it.)

He notices that this part of the movie made you squirm in your seat more than the others so far.

Maybe a warm bath and cuddling in his bed will help you relax once the movie's over. He’s suddenly overcome with the urge to hold you.

LUCIFER | the pride scene

It feels anti-climactic compared to some of the other portrayals of sin so far, but he appreciates the simplicity. He was afraid it would be needlessly gruesome like the others.

Pride is insidious, the mother of all sins, the first deadly bloom that causes all others to fester and rot on the vine.

He can’t help the way his mind wanders after this. As an angel, he tried to resist sin. As a demon, he embraces it. Humans are weak and he knows for many, pride is their downfall.

You might not believe you could be pushed to make such a fatal choice, but Lucifer senses the way your own blend of pride lingers within you too.

He keeps silent about those thoughts and he wraps his arm around you for the rest of the film.

LEVIATHAN | the envy scene

He’s unusually quiet. He doesn’t complain or whine about how boring it is, and he doesn’t reach for his handheld either. Sometimes he looks puzzled by what’s on screen, and other times he seems contemplative.

He’s a little surprised by the ending. Speechless almost. He understands envy, but to do all this?

And the part with the wife, well...he thinks it's just a bit of an overreaction, don't you?

He can’t help but glance at you once the movie's over. He thinks about life before you and life with you now; he can't imagine life without you in it anymore.

Would he be capable of that type of jealousy if you didn't choose him? If he had to watch someone else live their own happily ever after with you while he suffered alone?

Huh.

When the movie ends, he distracts you with an impromptu game night in his room and he cuddles with you in his tub after.

His tail curls around your leg as you drift off to sleep, and he realizes he'd do so much worse just to keep you by his side.

SATAN | the wrath scene

For the most part, he's been less interested in the portrayal of sins. He's totally wrapped up in the mystery aspect of the movie instead.

Throughout the entire film, he's muttered under his breath about certain things he noticed or his guess about what might happen next.

(He’s read all the books mentioned in the library scene too.)

He figured that the cop with the short fuse was going to be involved somehow with wrath. He actually thought the character was a bit annoying.

He does sympathize with the cop's behaviour at the end—all he has to do is think of someone hurting you and it makes him seethe with rage.

The reveal about the wife caught him completely off-guard but thinking about it later, it seems so obvious.