#text: luca

[awcoffee-no]

(Text): Hey Clint sorry I am just seeing all your messages.

(Text): I just got back..... sorry I did not respond...

(Text): I have been recovering from sick.

(Text): How are you

- From Luca

[ text: Luca ] DUDE. Where the hell have you been? [ text: Luca ] I was looking for your body in gutters and preparing to fight your kidnappers. [ text: Luca ] You're good, man. I've been away too. [ text: Luca ] Hope you're feeling better?

[mareestoermers]

i think we are all forgetting something when we talk about how toxic patrick, tashi, and art are — or when we decide one is “worse” than the other. they all have moments of seeing right through it, seeing each other’s toxic behavior for what it is, and STILL want and need each other in this possessive, envious, visceral way.

1. in the way beginning, tashi is clearly flirting more with art than patrick, and patrick is visibly annoyed. art sees right through it and even challenges him like “okay, let’s leave”, and has this little smirk on his face because he knows patrick won’t give up on tashi.

2. tashi immediately sees the visible tension and love between art and patrick, and literally orchestrates their first kiss. she sees right through their repression, and even calls herself a “home-wrecker” but still entangles herself with them, especially patrick because he’s clearly the better tennis player at that point and that is tash’s ONLY true love. tennis. that’s what she desires most in him, and patrick knows that. he even calls her out on it in the dorm room scene. but they have this mirroring fire in each other that neither of them can give up, not until patrick breaks the balance and bails — tashi’s injury is literally a metaphor for the balance shattering between all three of them when patrick leaves her.

3. before this, patrick sees right through art trying to break them up, and even admires that quality — maybe even feels smug and flattered because art is jealous and feels left out from both tashi and patrick. patrick has known this all along, we saw it in the “tick-serve” scene, where he even swears to tashi he won’t tell anyone but he still tells art, who is desperate to feel a part of them and patrick wants that, too — even keeps that close intimacy with art that we see in the churro scene (swoon swoon swoon).

4. haven’t you noticed that arts desire to be great is only ever tied up in patrick and tashi? how he needs to beat patrick to win tashis affection, how he needs to win in tennis so that tashi can live through him, how he lives up to his potential in the ending only because tashi and patrick push him to it, in their little fucked up ways? he knows this — he even admits that he’s playing for tashi, that he knows she’s living through him. he even admits he’s playing a fucked up little game with patrick when they’re in the sauna. yet he still does it. again, he knows what’s happening, sees right through them — still does it, still loves them.

5. when tashi calls patrick to come pick her up he knows it’s not just to tell him to throw the match — and despite how she battles him about it, they still have sex in the car, because he already knows. he’s so fully aware of her and her game and he’s so willing to be caught up in it, the same as art.

just some examples of how they all have moments of clarity and agency and yet they still choose to be entangled in one another because they’re all fucked up in their own, individual ways, and they’re all living through each other for their own specific needs. arts is to be seen as worthy, as great, but only through their gaze. tashis is to have the career that was stolen from her. patricks is truly to be in love and in lust with both of them, because we even see that from the beginning that tashis love alone will never satiate him; it has to be arts love, too. that scene in the sauna when he thinks he’s lost it from art is the most sad and fucked up we ever even see patrick. on top of tashi asking him to throw the game — he’s so defensive of arts feelings.

in short this is an actual love triangle (and i would go as far as to see it as a polyship). you can’t erase one without the whole thing unraveling, and you can’t say one character was the “worst” without picking apart the motivations and pointing to the fact that their bad behavior was never a secret or left unchecked.

even at the end, patrick signals to art that he slept with tashi — art knows and they still have that intimate completion at the end, all three of them. art living up to his potential and embracing patrick fully (id argue this could even be a metaphor for embracing his bisexuality), patrick having both tashi and arts affection again, and tashi playing a phenomenal tennis match through her little white boys — in such a visceral, emotional way that she cries out like she did in the beginning and the last frame is her smiling.

in a fucked up way, they all get what they wanted out of each other.

[firawren]

Pride and Prejudice 1995 text posts, part 7 of ? - prev set

More: Persuasion 1995 text posts | Sense and Sensibility 1995 text posts | Northanger Abbey 2007 text posts | Emma. 2020 text posts

[demi-god77]

[love-byers]

[luc3ks]

the boy named lucas is bullying animals ...

[butterflysonnets]

we don't talk about it enough so i'm just going to say it. lucas sinclair is stronger than all of us putting up with the gay ass drama in his friend group. like he had to be lowkey annoyed asf being dragged to will's house in the pouring fucking torrential rain by mike because mike needed emotional support while banging on will's door begging will to take him back after he said all that shit in the garage that lucas had NOTHING to do with but did lucas still go with him? yeah. yeah he did. and he did it for the gays. name a better ally

[giotanner]

PLEASE take a few seconds to read this. I need to talk about it at least here, or I swear steam will start coming out of my ears.

For weeks now, Luca Marinelli has been surrounded, humiliated, and mocked by a large portion of Italians (spoiler: fascists, but without saying it) just because, in some interviews (interviews he HAD to do—it’s not like he volunteered—purely to promote his new high-profile project M, The Son of the Century on SKY TV), he stated that he is antifascist, that his grandmother and entire family were too, and that it was difficult for him to take on Mussolini’s appearance and portray him.

The series is outstanding, making it untouchable from a production standpoint (JOE WRIGHT is the director! The same director of Pride & Prejudice and Atonement with McAvoy).

So what did this disgusting Italian ignorance do? Of course, it could ONLY latch onto Marinelli’s words.

Words that should be completely normal in a democratic government, right? An Italian actor says it was challenging to portray a historical figure who was atrocious and horrible for Italian families themselves.

And yet… no. They attacked him, mocked him. From then until now (to the point that he was interviewed again, and he admitted that yes, of course, it hurt him because he was speaking genuinely about himself). And now that a second season is confirmed, they’re mocking him even more.

But what exactly are they saying? Well, the usual ignorance:

That he took the MONEY, so he should shut up. (He worked. Obviously, he got paid. He worked for a production team and even said he was thrilled to collaborate with them. But he still despises the historical figure he portrayed.)

That he's a nobody. (Sure, he’s not super famous outside of Italy. But in Italy, he’s REALLY well-known. He’s one of the few Italian actors who has worked with Charlize Theron, starred in an American series, won at the Venice Film Festival, worked with foreign directors, acted in LGBTQ+ projects, and performed in English, Italian, and German.)

That he should shut up (again) because other famous actors have played bad characters and stayed silent. (Completely false. Leonardo DiCaprio and even Evan Peters—who played Dahmer—have both said it wasn’t easy to portray a real-life serial killer. Plus, we’re talking about Marinelli, an Italian actor playing an Italian dictator from the 1900s, not Caesar. This is recent history, and it still carries deep wounds in our country. You can’t compare it to an "American actor" playing a fictional villain or even a real historical figure from another country—someone who didn’t harm their homeland or cause them personal pain or shame.)

That he only said it to get attention and his moment of fame. (FALSE. GUYS, GUYS, GUUUYS… we’re talking about Luca Marinelli, who DOESN’T have social media, whose private life is completely unknown, who is genuinely shy outside of acting, and who has never been involved in any gossip.)

All of this disgusts and saddens me… The only thing I’m "happy" about is that at least The Old Guard 2 is happening.

[thesapphicsoldier]

stranger things + text posts

[reo-bylerwagon]

another s5 leak just dropped oop

[thinkingabout-girls]

i won’t be alone for the rest of my life

[crawlnighter]

X-men '97 as text posts

1 2 3 4 5 6

[oldbutchdanielcraig]

there's a short essay in the criterion edition of naked lunch written by burroughs about his collaboration with david cronenberg, and in it he mentions that cronenberg's script weaves in elements of queer also. i was curious how until lee's monologue from queer about coming to terms with his own queerness arose, and i think the comparison is so fascinating. it's just abundantly clear that queer's version is more earnest. where lee in naked lunch really sees his queerness as a burden, lee in queer is able to make light of the fact that it's a burden with a much deeper acceptance of himself. in his essay, burroughs also writes:

"For reasons best known to himself, David chose to treat 'Lee's' homosexuality as a somewhat unwelcome accident of circumstance and plot, rather than as an innate characteristic. Whether this is because of David's own heterosexuality, or his assessment of the realities of making and releasing a multimillion-dollar movie, or other factors, I cannot say. Probably, he simply did not, as an artist, find that aspect of 'Lee' to be significant to the story he wanted to tell in the film."

idk it's just got me thinking about the difference in 30 years and having a queer filmmaker at the helm of the project and all the ways it's possible to adapt a text into a movie, and how choices from actors and directors and an entire production crew have an outcome on the final product. this isn't to say that one is more progressive or better or anything like that. mostly just that they're both really awesome

[firawren]

Pride and Prejudice 1995 text posts, part 5 of ? - prev set, next set

More: Persuasion 1995 text posts | Sense and Sensibility 1995 text posts | Northanger Abbey 2007 text posts | Emma. 2020 text posts

[harringroveera]

How Billy and Will first met each other

Inspired by @ventya text post

[spookystarfishzombie]