#sunshine x midnight

[ladyelissarose]

‘Reckless’

Summary; Miguel finds out why you’ve been too careless and reckless on missions..

Warnings: an argument between the two- its not to heavy.. mostly hurt/comfort

“Ow-“

You had just flinched your arm away from Miguel when he had grabbed it. You cradled it close to you as he then scolded you firmly, keeping an eye on you as you refused to meet his,

“You lied. It’s not a scratch!! You broke your arm and he almost had your head!!”

You rolled your eyes at his loud words and even scoffed, even though you winced when you tried to put your arm down, trying to show it was ok- which you totally failed at doing. Nonetheless you sighed, annoyance evident in your tone,

“Ok maybe I did! But it’s not that bad-“

With one hand on his waist and the other pointing at you, he snapped,

“You disobeyed orders! You’re making close calls and I don’t like it! Yes we can get hurt on the job, but not like this when you’re making poor choices.”

Feet planted on the ground you tried to keep a steady position and look strong, taking his yelling about safety and all, but in reality you were in pain and felt lightheaded, and slowly you were growing frustrated because of it as Miguel ranted on.

“Come on niña!! (Girl) what’s the matter with you-“

Finally you’ve had enough of his mountain of a man speaking down to you as you were of course shorter… but in his eyes all he saw was you being very careless.

The pain was getting to you, making your emotions swirl out of place, hence why you screamed,

“AND WHAT’S YOUR POINT!?”

Miguel flinched a bit at your unusual behavior with him, but he couldn’t help but let his ego bark back at you with some honesty to wake your head up.

“That you could’ve been killed!! That’s the point! Do you know what kind of problems that would’ve caused? Pain or anything? Cómo puedes ser tan imprudente y no preocuparte por las consecuencias, niña terca?!” (How could you be so reckless and not care about the consequences you stubborn girl!?)

Tears of anger and pain grew in your once sun-shining eyes as you shouted back, trying to reason out your deal,

“Because I have nothing to lose ok!?? Maybe that’s why I don’t care as much!!”

Miguel was about to yell back, but your words caught him off guard. Like if someone sucker punched him.

He didn’t look so bulky or so scary anymore, when he lowered himself onto one knee to get on your level, as he reasoned with curiosity, one hand resting on your good shoulder,

“And what’s that supposed to mean?”

His brown eyes showed his genuine concern for you, unlike anyone you’ve known. You wanted to keep tough and play as the fearless Spider-Woman you were, but it was made impossible when Miguel got a hold of your cheek, beckoning you silently to speak up.

So at last, you broke and confessed, like a little girl and no longer like Spider-Woman.

Letting the façades you wore tumble down through your tears, into his large hands that would catch and hold them all.

“Nothing.… that I have no one back at home.. no family to mourn me. Bury me. Cover my graves with flowers. Like if I had to put everything aside and boil it down for me- I’m… alone.”

His lips parted a bit, as his eyes searched yours, trying to find the right words to say.

It had been a while since he’s used good encouraging words while being kind, but suddenly it was like a switch that flipped in him, and almost immediately he found the words, and he patted your cheek gently as he cooed, his anger and disappointment long gone.

“You’re not alone. You have me.. and I’ll never leave you out like that. But even then I won’t ever do such.”

“Like what?”

He shrugged a bit and shyed out with his eyes everywhere but on you, mostly cause of the fear it caused him to think of you six feet under, and he knew it’d be seen on him.

“The burying thingy and all.”

‘Oh so he wouldn’t bury me then? Or what?…’

“Oh.. why?”

Disappointment was heard in your voice, and Miguel was quick to address with his eyes on you this time, wanting to show he meant it with every bone and vain in his body,

“Because Dulce, I wouldn’t ever let you die on me. You’re not allowed to die under my watch, te lo prometo.” (I promise you that.)

Shyness took over you as the realization of your craziness, thinking it was ok to give up everything of you, when you had so much to lose.. so you apologized immediately.

“I’m so sorry- I didn’t know what I was thinking-“

“Shh shh sh.”

He shushed you right away, letting you know that it was ok as he added,

“It’s ok now.. you’re safe, alive, and here… No más lágrimas mi amada.” (No more tears my beloved.)

With gentle hands he cradled your face and let his thumbs wipe your tears away, refusing to let them fall.

He now wanted to see you cheered up, so he offered with the best smile he could muster.. if not the only one he showed- but just to you.

“You want ice cream after we leave the med? It’ll help with the fever you got.”

Twinkles were shining in your eyes as you replied with a nod,

“please?”

He chuckled at the sight of joy beaming on you, and he then stood up to his full height and took your good hand in his, leading you out as he responded sweetly, squeezing your hand comfortingly,

“of course Dulce-“

Then with a smirk most likely painted on his face, he added,

“-ven mi shadow.” (Come my)

Miguel knew deep down he had thought the same thoughts once, but with you around and so much more? He’d rather deal with the the weight of the good and bad everyday, then leave empty.

[henfox]

KISSINGCHAMBERS AU

[fircbolts]

jegulus as patrochilles 💞

[chloesolace]

Midnight Rain - Thranduil x Reader

summary: You are an elven ambassador from Rivendell living in Mirkwood. The realm is currently celebrating a victory in battle over the dwarves when Thranduil asks to have a private word with you. The two of you share history, but his scars scared him into letting you go. A decision he clearly regrets after seeing you dance with your fiancé.

pairing: Thranduil x F!reader

word count: 1.3k

warnings: angst

a/n: Another part of my Swift series, where I write multifandom one shots inspired by Taylor's songs <3 the next series after this will be a Florence + The Machine one. Hope you enjoy this story!

Masterlist - Discord Server - Request Info - Taylor Swift Series

My girl was a montage A slow motion, love potion Jumping off things in the ocean I broke her heart 'cause she was nice

In the dim light of sundown, he watched the woman dance. Her hair cascaded loosely around her shoulders, and her red lips curved into a bright smile revealing her teeth. Giggles escaped her, the skirts of her dress in her fists so she would not stumble and fall over them as she hopped around in circles. She twirled around her dance partner, one her hand held tightly in his as she looked between him and her footing. Her bare feet moved confidently over the forest floor, soles stained with moss and earth from earlier rain.

He was sitting in his chair, a crown of leaves and twigs sprouting from his head. He could feel the weight of it pressing down even more than it usually did, although he was sure this was merely his imagination. His gaze hardened as he observed the man dancing with the woman, their arms entwined. No one besides him noticed but each time they drew close, the man whispered in her ear, eliciting blushes and giggles.

The glass in his hand shattered. 

“Oh, Your Majesty!” Exclaimed a servant girl next to him, immediately taking the glass out of his hand and cleaning his palm of shards and blood. The cloth she used soaked up the red liquid as the girl placed the shards into a basket nearby. 

Barely glancing at his opened palm, he held it away from his body, allowing her to continue cleaning up the mess he made. Hissing, he pulled it away once she informed him he was clean again. There was still a stain on his palm, but the cuts did not appear deep. He would seek out the palace healer after the festivities ended.

The music stopped when he raised his other hand, all eyes falling onto him when he stood from his seat. His blue eyes were resting on the elven girl he had watched earlier, the air thick with anticipation from his people. 

“Do not let the festivities stop. I shall have a private word with the Rivendell ambassador inside. Please, continue,” he said, his deep voice loud and collected. It radiated authority and control, all while he never took his gaze off of you.

You gave your fiancé a short nod and left him alone on the clearing that had turned into a dance floor, just as the musicians to your right resumed playing their instruments. Some of the spectators around watched you as you approached the Elven King, others joined your fiancé in dancing, and the air was once again filled with laughter. 

Thranduil extended an arm for you to take, and you reluctantly wrapped your hand around his biceps, feeling the expensive fabric of his garment on your skin. His scent was clear and familiar; a mixture of musk and wood. 

Neither of you said a word until you found themselves on a terrace, far away from the festivities and the music, which could only be heard if one concentrated very hard. You placed your hands on the railing, your eyes drifting off to the forest in front of you. Out of the corner of your eye, you could see Thranduil looking at you, his gaze making you feel naked, seen, though never uncomfortably exposed.

“Why did you want to speak with me?” You asked him, knuckles white from your tight grip around the railing. You hoped he didn’t notice your nervousness. He hesitated as if he wasn’t quite sure himself. 

“You have proven to be a valuable asset in keeping an alliance between Rivendell and the Woodland Realm,” he began, his voice lacking emotion, his words sounding practiced and memorized. “I suspect now that you have found a suitable match, you plan to stay?” The words only reluctantly left his lips, and you could feel him tense further.

You clenched your teeth as you stared out into the forest, the sky darkening as dusk slowly began to blend into nightfall. There was a thickness in the air, indicating the imminent arrival of rain.

“Sharion and I have not decided yet,” you said hesitantly, the name of your fiancé now feeling strange on your tongue. You cursed yourself for the momentary feeling of shame that spread through your chest. Yet you had nothing to be ashamed of; Thranduil had turned you down. 

“I see,” replied the Elven King, and you saw him follow your gaze out of the corner of his eyes. He stood straight and tall next to you, silence resting between you. It was almost suffocating until you heard the roar of thunder above you.

You opened your mouth to say something just as he did the same, and it was the first time that evening your eyes met. You stopped yourself from speaking, gesturing for him to proceed instead. With flushed cheeks, you listened and averted your eyes again.

“I never meant to hurt you,” he said softly, the pain in his voice barely audible. Your grip around the railing tightened just as the first raindrop fell onto it. “Please, look at me.”

There was something else in his voice now; he was pleading. When you turned to him you saw the glassiness of his blue eyes, the way his thick brows furrowed and his arched lips pursed as if in agony. 

“I do not know what you want from me, Thranduil,” you whispered, his name on your lips a familiar feeling. You were one of the few who knew about his name, let alone addressed him with it so openly. “I gave you my heart. I wanted to become your wife.” Your eyes momentarily dropped to his lips before locking with his again, your hand gently rising to touch his cheek where you knew he had glamored it. “No matter the scars you bear.”

Thranduil closed his eyes, leaning gently into your touch. You saw his own hand rising, only to fall again as if he was scared to touch you. As if he feared that if he did, you would pull away. 

When he opened his eyes, he inhaled deeply with the greed of someone who had stayed underwater for too long. Underneath your touch, his skin began to fade, replaced by the deep scars you had often seen him stare at in the mirror with disdain in his eyes. 

“I need you,” he whispered, but you only dropped your hand and he let the scars disappear behind his glamor again, eyes marked by rejection. 

“I cannot be with someone who hides himself behind thick curtains of shame, Thranduil.” Next to you, you heard the falling rain quicken in unison with your heartbeat. “Are you ready to draw the curtains back?”

He hesitated and looked away. Now it was you searching his gaze, but stubborn as he was he would not meet it. The silence that followed was answer enough, only disrupted when the heavy rain swallowed it and thunder roared again. You felt as if nature itself was urging him to open himself fully to you, though he ignored its pleas.

“I do not want to fight for a heart that would stay inside its cage when it could be free,” you continued, the words heavy. “A home should not be a battlefield.”

You saw him tense before you turned your back on him, leaving him standing with only the terrace’s roof to shield him from the rain. You began shivering, the feeling of your engagement ring cold against your finger while tears streamed down your cheeks. It was painful breaking one’s own heart, but sometimes it was a necessary pain to bear. 

With a heavy heart, you entered the palace again while the rain swallowed him calling out your name. 

'Cause she was sunshine I was midnight rain She wanted it comfortableI wanted that pain

[districtsleepsalonetonight]

Emma Myers on whether Wednesday and Enid would make a good couple.

No one ships Wenclair as much as Jenna and Emma.

[godofstupidsentences]

“sunshine x midnight rain” but the sunshine is actually deeply fucked up in the head

[beargyufairy]

The moon His sun

[liv-333]

Grumpy x sunshine prompts

A/N I love this trope sm i need a black cat gf asap 

They're both extremely protective of each other but sunshine sticks up for grumpy in front of their friends and shuts down any negative comments made about them (Grumpy thinks it's the hottest thing ever) early on in their relationship and before they started going out Grumpy thought that sunshine was annoying, sunshine's heart broke when they found this out, grumpy felt horrible and apologised profusely while explaining to sunshine their real feelings about them. Sunshine often compares them and their relationship to the sun and the moon, one day grumpy randomly handed them a box containing 2 rings, a gold one with the sun on and a silver one with the moon on, the couple wear them every day. Sunshine loves horror movies, grumpy hates them but always watches them with sunshine so they can snuggle up really close to their love and feel safe For whatever reason, Grumpy and Sunshine are secretly dating at work/school. One day Sunshine has a really bad day and just needs grumpy, when sunshine finds grumpy they hug them tightly, slightly taken aback by the gesture grumpy hugs sunshine just as tight while kissing their forehead and whispering sweet nothings into their ear.

[good-oldfashioned-lover]

I was going thru pinterest and this came on my feed

And my first thought was "ohh~ James Potter"

But then my brain went "what if I said its not James but Regulus? What if I said Regulus loved James so much that it leaked out of him like that, but not everyone could see it? What if I said, within deeply loving everyone in his life, James never learned to love himself? And Regulus taught him that? And that picture there is Regulus healing James?"

And I was like Ohh~

[dany-is-bored]

No one would convince me that Wednesday wasn't mesmerized when she saw Enid as a werewolf for the first time. How she felt amazed by this big, lethal creature that was her roommate and friend, big and strong enough to knock out the Hyde from her, covered in blood and dirt, with those long fangs capable of rip her throat with ease if she wanted to, imagining those long sharp claws tearing her apart in a blink, fast and brutal and yet so Enid, so this girl made of sunshine and glitter and colors and a bubbly personality that Wednesday not so much despised anymore.

Enid, whose first instinct after transforming for the first time was to save her, to search for her and making sure she was safe. Enid, who hated blood and blacked out after seeing her mood board of gore-y pictures covered in it, hugging her so so hard after everything was done not giving a damn if both of them were dirty and exhausted. Enid, always so bright looking so mad after their fight and yet looking at her with so much worry and relief when they reunited in the end.

Enid, who was the first person to ever been hugged by Wednesday who despises physical contact. Enid, who never gave up on Wednesday and their friendship. Enid, who thinks she and Wednesday work together even when they are polar opposites. Enid, whose absence made Wednesday felt lonely in a bad way for the first time in her life. Enid, who left an indelible mark in Wednesday.

Enid. Enid. Enid.

[nitrateglow]

Favorite films discovered in 2023

2023 kind of sucked, but it was a fruitful year for me as a movie geek. I finally got around to seeing films that have been on my TBW pile for years now. I also gave myself a challenge that I actually completed: watch at least one film from every year between 1900 and 2023.

Anyway, I'll stop beating around the bush. Here are my top 20 favorite film discoveries in 2023. (The order is very, very loose from 5 on down. I genuinely had a hard time narrowing the list down to 20, let alone ranking everything.)

When a Woman Ascends the Stairs (dir. Mikio Naruse, 1960)

This well-regarded drama follows Keiko, a bar hostess who's just turned 30 years old. She has limited options as an unmarried woman in postwar Japan. Considered "old," she has to marry soon or scrape enough money to buy her own bar. With its jazzy score and first-person narration, When a Woman Ascends the Stairs has a noirish vibe but it certainly isn't noir at all. Though the film is tragic, what moved me so much was Keiko's character. She has a tough lot and her story is ultimately tragic, yet she is determined to keep going, even if life won't give her a break.

The Boy and the Heron (dir. Hayao Miyazaki, 2023)

Miyazaki's current "last film" is certainly his most abstract and puzzling. I imagine it'll be one of his more divisive titles in the years to come, but count me among its fans. While being "in the know" regarding the current state of Studio Ghibli and Miyazaki's 60+ year-long career in animation allows one to better appreciate the many allusions and themes within the film, it stands just fine on its own as a surrealistic adventure about grief and the power of art. Also, damn, I LOVE hand-drawn animation so much.

Black Cat (dir. Kaneto Shindo, 1968)

Kaneto Shindo's Black Cat is yet another confirmation of my feeling that horror pairs best with humor or heartbreak. While there are some morbidly funny moments, Black Cat is largely a devastating supernatural horror story about a young samurai who encounters two mysterious women in the woods, not realizing they are the ghosts of his murdered wife and mother. Even worse, they've sworn to kill any and all samurai they encounter, since their deaths were the result of raping, pillaging samurai-- but they remain human enough to desire an exception. I was creeped out thoroughly by the chilly atmosphere and imagery of this film. I liked it even better than Shindo's Onibaba and that was one of my favorites from 2022!

Malcolm X (dir. Spike Lee, 1992)

I usually dislike big movie biopics for being stuffy and formulaic. Malcolm X avoids both of these issues. Directed to the hilt by Spike Lee, this film is passionate and compelling, about as far from a stuffy Oscarbait biopic as you could imagine. Also, Denzel Washington is AMAZING in the titular role. Like, we're talking one of the best performances I have ever seen because not only is Washington convincing as Malcolm X, he also perfectly portrays his arc from zoot-suited young criminal to uncompromising activist leader. I was absolutely mesmerized the entire time-- it's a long movie that never feels its length and I'll definitely be revisiting it in the future.

The Kiss Before the Mirror (dir. James Whale, 1933)

James Whale’s horror movies are listed among the finest 1930s cinema had to offer, but his other works remain woefully overlooked. The Kiss Before the Mirror is a strange marital drama set in a dreamlike interwar Vienna. A lawyer defending a murderer who shot down his cheating wife comes to discover his own wife in the midst of a casual affair. Will this discovery lead to another killing? Despite the lurid plot elements, Kiss is closer to Kubrick’s introspective Eyes Wide Shut than a typical 1930s melodrama. Both husband and wife are complex characters struggling with destroyed illusions, making the story a hell of a lot more complex than you'd expect.

Five Miles to Midnight (dir. Anatole Litvak, 1962)

I am so glad I ignored the meh reviews on this one because I would have missed out on one of the best thrillers I've seen in years. Sophia Loren is a woman desperate to shake off her narcissistic, abusive husband played by Tony Perkins. When Perkins is wrongly believed dead in a plane crash, he hides out in Loren's apartment so they can collect the life insurance money, split the funds, then part amicably. This being a Hitchcock-style thriller, it doesn't work out that way. What sells the film is the psychological cat-and-mouse game between Loren and Perkins's miserable, mismatched married couple, and a noirish sense of doom lends a great deal of atmosphere.

Shoes (dir. Lois Weber, 1916)

Shoes is the best Lois Weber film I have yet seen and it still packs a wallop a century-plus since its initial release. Mary MacLaren plays a young woman single-handedly supporting her family on a five dollar a week salary. She wears shoes that are falling apart but can never seem to save enough for a new pair-- that is, until an unsavory way of getting the cash presents itself, much to her horror and temptation. This is a heartbreaking little film that showcases a lot of what I love about 1910s American cinema. There's less glamor in the settings and nothing at all genteel or cleaned up about the poverty on display. MacLaren is wonderful in the lead too, her performance a quietly compelling portrait of quiet desperation.

Jeopardy (dir. John Sturges, 1953)

Barbara Stanwyck was in such a wealth of films that I can forgive myself for not realizing this one even existed. After seeing it, it's easily in my top five favorite films of hers. On the surface, the plot sounds like fodder for sleazy sex fantasy: a housewife on vacation is kidnapped by a hot escaped convict. She's racing against time to save her husband from drowning after the tide comes in at the beach where he's trapped; the convict has a very specific price for any aid he's willing to offer. Stanwyck's characterization complicates the situation and the direction amps the tension to a breaking point. Great, great stuff!

Girlfriends (dir. Claudia Weill, 1978)

This film came across my path in a weirdly personal way. One of my sisters got engaged this year. We've been close all of our lives and shared an apartment for years, so this is going to be a big change for both of us. Girlfriends is about a young woman whose best friend is getting married, meaning she'll be on her own for the first time. In addition to making this adjustment, she's a photographer currently hired for weddings and bar mitzvahs, but dreaming of entering the larger world of art galleries. I guess you could say it's a 70s version of a quarter-life crisis film (Noah Baumbach's Frances Ha takes A LOT from it). The performances and direction are exceptional, having that unglamorous, lived-in vibe I love about the films of this period. It also just happened to come into my life at the most resonant time, so there's that.

Ivan the Terrible, Parts One and Two (dir. Sergei Eisenstein, 1945 and 1958)

As a person who hates the idea that realism is the only valid form for cinematic drama, Eisenstein's hyper-stylized Ivan the Terrible movies are a joy. The compositions are like something out of a painting, the acting is operatic, the writing mythic and sweeping. The dance number in Part II is one of my favorite scenes in any movie ever. Best of all, the films rise above their propagandist origins, becoming a fascinating study of institutional power set against individual charisma.

The Red Queen Kills Seven Times (dir. Emilio Miraglia, 1972)

I've been getting more into giallo lately and The Red Queen Kills Seven Times is among the more memorable titles. You have the fashion world setting, a disguised murderer running around in a red cloak, over the top kills, a villainous junkie who looks like Bucky Barnes, a spooky castle with death traps, the works. It's a movie where I don't really care too much about the plot. It's the off-kilter, sinister atmosphere that draws me in, as with most giallo movies.

Little Miss Sunshine (dir. Jonathan Dayton and Valerie Faris, 2006)

It took Alan Arkin dying for me to finally get around to seeing this much beloved 2000s gem. I expected to only be interested in Arkin as the drug-addled, foul-mouthed grandpa, but the entire movie is so warm-hearted and hilarious that I fell in love with it whole hog. The characters are all quirky without being Quriky (tm), if you know what I mean. And I love the final message about just living your life and not worrying about whether or not you're "successful" in the eyes of society. An old theme to be sure, but done so, so well here. (Also, the mercilessly satirical jab at child beauty pageants is pure gold.)

Pom Poko (dir. Isao Takahata, 1994)

I feel like a lot of western anime fans only see Pom Poko as "lol that movie where the tanuki have comically oversized testicles." And yeah, that is indeed something in this movie but there's so much more. It's one of the boldest films I've ever seen, an "animated documentary" (to use Takahata's words) about a village of tanuki waging war against humankind's encroachment upon the natural world. It's such a genre grab-bag, critic Daniel Thomas' description fits it best: "The story weaves through slapstick comedy, social commentary, satire, surrealism, and tragedy. It changes moods much the way the tanuki change form, bending and molding into a new shape, and relentlessly moving forward." I still think Only Yesterday is Takahata's best film, but Pom Poko is strong competition and yet another film I can see myself rewatching many times to come.

Bullet Train (dir. David Leitch, 2022)

I still kick myself for not seeing this in the theater when it came out. Bullet Train is a wonderful lark of an action film. On first watch, I recall thinking it was like a live-action anime shot in a very Tarantino-esque style. I've seen it a few times now and I enjoy the hell out of it every time. And if you don't like it, well, you just might be a Diesel.

That Cold Day in the Park (dir. Robert Altman, 1969)

Another film with a so-so reputation that I really enjoyed. Sandy Dennis (who's gradually becoming one of my favorites with every performance I see from her) plays a virginal rich woman who takes in a handsome young guy one cold day. Her initial kindness quickly curdles into erotic obsession and her house guest has his own secrets. It's an early Robert Altman film and not his most polished work, but that makes it all the more fascinating to me. It's a creepy psychological thriller with a haunting ending, as well as an interesting time capsule of the late 1960s.

Faster, Pussycat! Kill! Kill! (dir. Russ Meyer, 1965)

Where has this movie been all my life?? It's a bizarre campfest about three criminally minded go-go dancers who romp across the California desert, strewing all kinds of havoc in their wake. It's such a strange movie that I don't know how to describe it properly: it's got a New Wave sensibility to it all the while indulging in exploitation B-movie nonsense. Definitely a fun film to watch with a group.

Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles (dir. Chantal Akermann, 1975)

I finally bit the bullet to watch this one after it topped the 2022 Sight & Sound list. Do I think it's the greatest film of all time? No, but I don't like singling out any work of art for such a designation. Putting aside all the drama that ensued when this was granted GOAT status, Jeanne Dielman is a striking film. It's definitely not something you just throw on casually-- you need to set aside the time to watch it and be in the right headspace. My initial mild interest morphed into a sense of anxious dread as the film ground along its three hour runtime, its protagonist struggling to retain her total sense of self-possession and control as she's thrown off her groove by unexpected events.

The Wicked Lady (dir. Leslie Arliss, 1945)

This is not high art by any means. It's melodrama with a capital M, laying the cheese on thick. Margaret Lockwood plays a devious, scheming femme fatale in 18th century England who's a gold-digging noblewoman by day and a highwaywoman cavorting with bad boy James Mason by night. This is easily the most entertaining of the Gainsborough melodramas I've yet seen, dripping with soap opera antics, sumptuous costumes, and camp-a-plenty.

War and Peace (dir. Sergei Bondarchuk, 1966-1967)

There is no substitute for reading Tolstoy's massive novel, but this 1966 Soviet version is definitely a fine work in its own right. Filmed in three parts, it's about nine hours long and it does a good job capturing the interior lives of the characters in the source material. Everything about it is just breathtaking: the costumes, the sets, the massive numbers of extras during those battle scenes. It's the kind of intellectually and emotionally stirring epic that makes all those hours fly by.

The Sweet Smell of Success (dir. Alexander Mackendrick, 1957)

I often chafe when people act as though all 1950s American cinema were Leave it to Beaver wholesomeness and buttoned up repression. Some of the nastiest Hollywood movies I've ever seen came out of the 1950s and The Sweet Smell of Success is prime among them. Among the best of the late classic noir period, it follows Burt Lancaster as a popular but monstrous newspaper columnist who uses his power to control the lives of everyone around him, particularly his sister, to whom he has a borderline perverse attachment. The dialogue is as sharp ("You're dead, son. Get yourself buried." "I'd hate to take a bite out of you. You're a cookie full of arsenic.") and the cynicism as thick as the best of Billy Wilder. If you love noir, you can't miss out on this one.

What were your favorite film discoveries of 2023?

[chatrakhem]

Apo in Milan today 💛 (23.02.24)

(Pond's ig story)

Meeting fans (x, x)

[henfox]

FIRSTPRINCE AU: The Kissing Chamber (or, Marco x Elliott) "all you can do is love them... and make sure they know that you're never gonna slip away."

[rachelatwell]

They're the same couple and you can't change my mind

[ladyelissarose]

Sunshine & Midnight

☀️—🌑

Miguel O’Hara x Spider-Teen girl- known as Dulce (Sweets) or whatever new nickname Miggy comes up for his new shadow

Trope- Father Figure; found family.

Gonna make them a little universe… I’ll be posting random lil quotes and blurbs from them and their adventures… things a Dad Miguel would do with a new shadow on his back-

I miss my dad..

‘Me & My Broken Heart’

‘Reckless’

[districtsleepsalonetonight]

Percy Hynes White (Xavier Thorpe) on who Wednesday should be romantic with.

Credit for original vid to Twitter.