#that movie is almost perfect

[uraandri]

whenever i'm bored or in a bad mood i just rewatch pacific rim and i always feel so much better after it

[beatriceportinari]

Facehugger, origami, one square sheet of paper

[mychapel-004]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[bolithesenate]

Assajj will get that pistol squat even if it kills her

@furious-blueberry0 thanks so much for this DTIYS because when I say it INSPIRED me!!!! Gosh, I just love your Ky and Assajj so much, they are so precious.

[philiponmycracker]

that one youtube comment that said smthg like they saw more chemistry in these 3 seconds than in 2 hours of Call Me By Your Name and I just can't

[fortunaegloria]

Harrison Ford in Regarding Henry (1991) dir. Mike Nichols (2/2)

[mist-the-wannabe-linguist]

hey y'all wanna see a "AI prompt gone terribly wrong coincidentally creates a peak horror creature design?"

(I was looking through google images for pictures of a real life dog skull for art reference and instead this fucking thing popped up. I believe the prompt was "artistic depiction of a dog's skull)

just what the fuck is that

[penguinkyun]

the inhuman scream i let out

[rockthistowninsideout]

Digimon Adventure 02: The Beginning (2023)

[writeouswriter]

Reading a fic that's so well written I wish I could close my eyes and just let the descriptions and atmosphere wash over me, but the dilemma with closing my eyes is, well, I then would not be able to continue reading this fic, now would I.

[frogmanfae]

It seems we need to have a little chat about theater etiquette, especially concerning "notes"

You do not say a singular bad word about the show until you are in the car on your way home in private. If you're taking public transportation, not until you get home. Not a word.

I wrote little notes (a thing i do as a form of my appreciation for the arts to ensure i keep my full attention on the show and dont zone out. I rarely share them with anyone) during an intermission for a show I saw with my friend at this really small playhouse and he leaned over and read (very loudly) "why did you put *something critical about the opening number*" like DUDE THAT ACTOR'S MOM COULD BE SITTING IN FRONT OF YOU??? DON'T SAY SHIT WHEN YOU DONT KNOW WHOS GONNA HEAR IT

Even if the people around you don't know the cast/crew personally, they could have really enjoyed it. Say you thought an actor was pitchy and you said that out loud during intermission or after the show (God forbid you say it during the show) and the person next to you thought it was incredible. You're now diminishing that person's experience and making them feel stupid for thinking it was good. Their whole night at the show is now devalued because you said something bad and changed their perspective.

And these same people are going to be out in the lobby, by the doors, in the parking lot, taking the same bus as you, walking part of your route, going to the same restaurant... hold your tongue until you're somewhere completely private. It's just respectful.

[s0fter-sin]

wooimbouttamakeanameformyselfere

[ct-multifandom]

I don’t usually make posts like this, but I’ve been seeing a lot of anti-intellectual junk lately, and I really think we need to put the word “pretentious” up on a shelf until people learn what it actually means.

It doesn’t describe someone who likes artsy-fartsy deep meaning media. People who are pretentious are fake. They’re posers trying to be sophisticated and unique, not like other girls. They pretend to only like stuff they think will make them sound cool when they talk about it. They want to act like they know something you don’t, and they want attention for it.

By definition, if you genuinely enjoy something, you can’t be pretentious. If it resonates with you, and you analyze it, and you don’t care what people think, that’s the polar opposite, actually. If you love obscure experimental prog music, if you watch underground high concept indie films through English teacher eyes, if you spend hours in a modern art museum reading each piece as a vessel for storytelling, if your backpack’s full of poetry books that inspire you, if you play underrated games that were someone’s passion project, if you have an interest in studying the classics or the masters, you are not pretentious.

Of course, some people just don’t like some stuff, and that’s fine, but that’s not what this is about. Don’t let anti-intellectuals shame you for enjoying things just because your interests are inaccessible to them, because they refuse to be brave and put effort into critical thinking. You’re not stuck up for refusing to overlook the craft of artists.

[randomalistic]

LOOK AT THIS MAN. I just had my queer awakening for the 2nd time

[novadreii]

rewatched arrival for the hundredth time. this movie never fails to gut punch me with its approach to determinism. louise embracing her future that she knows every moment of, despite the tremendous loss and pain it contains, with open arms. she doesn't hesitate, or ruminate on how she can try and change it. she accepts it all, the good and the bad, because what she gains is worth it, so many times over for her. she steels herself against a certain future and runs forward to meet it all, to love, learn, and lose, and trusts and leans on herself to live through it all. because that's what life is; it's the joy and the suffering. to try and isolate the joy alone is madness, futility in its purest definition.

comparing her line of thinking to a palindrome (how she named her daughter, hannah), the movie kept emphasizing, "it's the same backwards as it is forwards." it doesn't matter if you can see the end; life is the same whether you live it "forwards" (without knowledge of the future) or "backwards" (with foresight). it doesn't change the significance of your life experiences; to try and avoid certain future pain just because you have the knowledge of it is a zero sum game. you think you win because you avoided pain, but you also avoided the joy that preceded it. the metamorphosis. so you still lose if you try to win, and vice-versa.

all you can do is rush forward and take it all head-on. see this whole beautiful mess as your one most precious gift; this one life, this one chance, a laughably miniature blip on the colossus that is linear time, to experience all there is to feel before you return back to an eternity without perception. it's all worth it, because only in living a full-fledged life open to everything it has to offer does the experience of living turn out to be greater than the sum of its parts; it's in trying to beat the system (avoid pain) that we actually lose.

"if you could see your whole life from start to finish, would you change things?"

"maybe i'd say what i feel more often. i...i don't know."

[shigarakins]

yeah i'm still not done with my jokering sorry for that but the movie ending in such an anticlimatic and grim manner with arthur getting stabbed to death by a random inmate only for that's life (sung by lady gaga) to begin to play right before it jumps from a shot of arthur's lifeless body to the credits was the funniest shit ever next to the judge's clearly intentional resemblance to martin scorsese