#the cleaner pulp fiction

[artzychic27]

Omigod ideaaa!

Heathers but it’s “Austins” with Tomassian as Veronica and Jean Duparc as JD

In Paris, 1989, it’s Austin Tomassian’s last year of Lycée, and he just want to get by without any sort of incidents

That includes trying to stay off the radar, lest he face the wrath of the school’s hellish hierarchy

He’s got his best friend, Spinelli, and the two are often tortured by Anar Cissique and Santiaco Lyte, the quarterback and linebacker on the school’s football team

DuPont is filled with an iron fist by the Austins: weak-willed and quiet Austin Boulet, bookish yes-man Austin Quinlan, and "mythic bitch" Austin Armbruster

When Austin Tomassian’s talent for forgery gets the Austins out of detention, and they learn his name and see how beautiful he is under all those layers of sweaters, they give him a makeover and elevate him to their inner circle. This, of course, makes him the new object of everyone’s desires

During his first week as an official memeber of the clique, Armbruster orders Tomassian to forge a love letter from Chloé to Spinelli, tempting Tomassian with the promise of popularity

As he does this, the mysterious, sultry, theater-quoting new kid, Jean "J.D." Duparc, criticizes Tomassian for betraying his friend

Tomassian: I-it’s fine. Besides, Spinelli’s not gonna get hurt, or anything.

Jean: How do you figure, dear?

Tomassian: He’s… Well, he-

Jean: Just because he’s not attracted to girls, doesn’t mean he won’t get hurt.

Tomassian: How do you?

Jean: A fellow queer knows her people, cutie. *Winks and leaves*

At first, Tomassian’s not impressed, but after seeing Jean hold off on his own against Anar’s advances and beating him and Santiaco to a pulp, Tomassian finds herself unexpectedly attracted to him

Meanwhile, Karan and Sanvee confess to each other that that they are not sure they like their son’s new friends and would prefer if he was friends with Spinelli again

The night of Chloé Bourgeois’s homecoming party, Tomassian flirts with Jean at a 7-Eleven, where the latter extols the virtues of the Slurpee for numbing his grief about his mom

They would’ve kissed if not for Armbruster barging in demanding for Corn Nuts

At Chloé’s homecoming party, Tomassian gets incredibly drunk and a bit high as he’s having too much fun at his first high school party

It’s all going great until Spinelli shows up looking for Chloé. When he finds her, he shows her the note and tries to explain that he’s not interested, but Chloé’s a mean drunk. Seeing him, the Austins get an idea

Right in the middle of the party, as a treat, the Austins propose that one lucky student should get to whack a piñata in the shape of the rival school’s mascot. And that lucky student is Spinelli

Oh, but get this. They made the piñata- a pig- look like him

Tomassian’s surprisingly lucid enough to throw the piñata in the pool, and he angrily resigns from the clique right before vomiting on Armbruster’s shoes

He vows to destroy Tomassian’s reputation and make his life a living hell on Monday right before he heads back inside. With nothing left to live for, Tomassian breaks into Jean’s bedroom to have sex with him…

But, Jean sees that he’s obviously drunk, and offers to cuddle him instead

Jean: You’re drunk.

Tomassian: You’re sexy.

After suffering tormenting dreams, Tomassian with Jean in tow, heads over to Armbruster’s estate the next morning to apologize and get back in his good graces

But, he’ll only accept the apology if they mix him a hangover cures. But, while Tomassian gets the ingredients, Jean adds toxic drain cleaner to the mug when he’s not looking

Armbruster: *Drinks the poisoned Prarie oyste and starts choking* … Corn… Nuts! *Collapses*

Tomassian panics, but Jean convinces him to forge a s*icide note, which paints a more complex, misunderstood Austin Armbruster. This fictionalized version of him fools the cops, wins the school's sympathy, and Armbruster becomes even more worshipped in death than he was in life

Tomassian tries to get on with his normal life, but he is berated and mocked by Austin Armbruster's ghost, who warns that he had kept the other two Austins in check and with him gone, things will get worse

One evening, he receives a call from Jean, pleading him to come to the cemetery, where he finds Anar and Santiaco passed out on the ground

Tomassian: What happened?

Jean: I was just pouring a brewski on Armbruster’s grave, as, you know, solitary and shit. Then this jackass comes out of nowhere and tries to grab my ass!… So, I kicked his.

Meanwhile, An unleashed Austin Quinlan assumes Armbruster status and symbolic silver ring, becoming even more of a tyrant than Armbruster was

And Anar and Santiaco tell everyone they had sex with Jean last night. Jean is branded a slut, and when Tomassian tries to attack them to defend Jean, they savagely beat him

Jean and Tomassian comfort each other and plan a vengeful prank: he will lure the jocks to the cemetery with the promise of making their fictional threesome real, then together they will shoot them with tranquilizer "Ich lüge" bullets to knock them out before leaving a forged s*icide note confessing, they were gay lovers

When the jocks arrive, Jean shoots Anar, but Tomassian misses Santiaco. As he realizes Anar is dead and the bullets are real, Jean shoots Santiaco dead and proclaims his undying love and devotion to a horrified Tomassian. No one can come between them, and no one can ever hurt him

At Anar and Santiaco’s funeral, Tomassian, distraught reflects that they could have outgrown their immaturity, but Jean shuts that down

Grief-stricken, Anar’s proclaims that even though his son is gay, he still loves him, and always will.

Anar’s dad: I love my dead gay son!

Convinced the murders are for the greater good, Jean urges Tomassian to target Quinlan next

He refuses, so they complain about doing nothing in the face of injustice, revealing they witnessed their mother's abuse toward their father as a young boy, causing their constant moving around to avoid her

Relenting, Tomassian gives him an ultimatum: give up violence and live a normal life with him, or lose him forever. Jean agrees and they reconcile with a kiss

The next day, Spinelli tells Tomassisn he suspects Jean of murdering the jocks and Armbruster, believing Anar and Santiaco’s rumor to be proof along with the prank at Chloé’s party

Tomassian, urged on by Armbruster’s ghost, confesses that he forged the note to humiliate Spinelli, who runs off in tears

Guidance counselor Alonzo Grotke holds a televised therapy assembly

He urges everyone to reveal their fears and insecurities, and so far, every student is coming out, confessing every anxiety and doubt, until Austin Boulet admits to s*icidal thoughts, explaining that it’s like being in a tiny lifeboat with everyone pushing to make room. And if he makes one mistake, he’s dead weight and needs to go

Quinlan mocks him and whips the students into a frenzy, causing Boulet to run away in tears

Tomassian lashes out and blurts out a confession — "they didn't kill themselves! I killed them!" — but everyone laughs mockingly, believing he is only desperate for attention. Shortly after, Boulet tries to kill himself by overdosing in the bathroom, while Quinlan taunts him in his subconscious

Tomassian is able to stop Boulet in time and holds him in his arms so he doesn’t go for the pills again

Moments later, Jean walks in and, believing Tomassian is cheating in him, drags him out of the bathroom and tries to persuade him one again to kill Quinlan. Realizing how unstable he is, Tomassian breaks up with him

Using old photos of him and Spinelli, Jean blackmails Quinlan into making the student body sign a petition to get a band to play at the school and promote s*icide prevention

Spinelli, believing he doesn’t have much to live for due to his dysfunctional home life with his chauvinistic father, constantly drunk mother, and losing his only friend jumps off a bridge, but he survives

While playing a round of croquet with Boulet, Quinlan approaches with a clipboard and explains to Tomassian how it was Jean’s idea to get him to sign

When he doesn’t, he just forges his name like he did with Spinelli’s, and tells Tomassian that he jumped off the bridge

Tomassian rushes to the hospital, taunted by the ghosts of Anar, Santiaco, and Armbruster. His parents meet him there and tearfully show a s*icide note that he supposedly wrote

But when Tomassian quickly realizes that Jean wrote it, he rushes home, where Jean breaks in. As he barricades himself in the closet, they reveal that the petition, signed by every student, is actually a mass s*icide note — along with their plans to blow up the pep rally and make it look like a mass s*icide, using his uncle’s demolition expertise to devise the plan

Jean wants Tomassian to be a part of their plan, and isn’t taking ‘no’ for an answer. They break open the closet to find Tomassian dangling from a noose. Grief-stricken, they leave to complete their plan

Tomassian, having faked his s*icide, races to stop Jean. He confronts him in the boiler room, but in their struggle, Jean is shot. Unable to disarm the detonator, Tomassian takes it to the empty football field, out of range to detonate the bombs as he figures this is a fitting punishment

Jean convinces him to let him take the detonator instead. Before he runs away from the blast zone, Tomassian kisses him. The bomb explodes, killing Jean alone

Returning to school, Tomassian takes the silver ring from Quinlan, kisses him on the lips, and ends the era of social ridicule

[exactlymittali]

Types And Advantages Of Laser Assisted Root Canal Treatment

Introduction:

Good dental health is often underestimated, yet it plays a crucial role in enhancing one's overall quality of life and preventing potential health problems. Unfortunately, many individuals tend to neglect their oral hygiene, leading to dental complications such as tooth decay and gum problems. In the realm of dental advancements, laser-assisted root canal treatment has emerged as a modern, minimally invasive approach to address infected or damaged tooth roots. This article delves into the benefits of this cutting-edge treatment, the technology involved, the procedure itself, and how it surpasses conventional root canal treatments. For those seeking top-notch dental care.

What is Laser Assisted Root Canal Treatment ?

Laser-assisted root canal treatment, also known as laser root canal therapy, is a modern and advanced dental procedure that utilizes laser technology to address infected or damaged tooth roots. This innovative approach represents a departure from traditional root canal treatments that typically involve the use of drills to remove infected pulp and clean the root canal.

I. Understanding Laser-Assisted Root Canal Treatment:

Laser-assisted root canal treatment represents a significant leap forward in dental technology, offering a more precise and minimally invasive method for addressing tooth infections. This approach involves the use of laser technology to remove infected tissue, sanitize the root canal, and stimulate the healing process. The laser's precision allows for targeted removal of infected tissue, preserving more of the natural tooth structure. Consequently, this procedure is safer, less time-consuming, and yields positive outcomes for patients.

II. Types of Root Canal Treatment:

Traditional Root Canal : The conventional root canal procedure typically involves the use of a drill to create a small opening in the affected tooth. The inflamed or damaged pulp is then removed, and the root canal is cleansed and disinfected. The cavity created during the process is filled with a rubber-like solution to seal the tooth.

Laser Root Canal : Laser-assisted root canal treatment follows a similar procedure, but the key distinction lies in the use of laser technology instead of a traditional drill. The laser can precisely and rapidly eliminate damaged tissue, leaving the tooth cleaner. Notably, laser root canal treatments often result in less bleeding gums, providing a more comfortable experience for patients. Some individuals who have undergone both traditional and laser root canal treatments have reported reduced pain and discomfort following laser-assisted procedures.

III. Advantages of Laser-Assisted Root Canal Treatment:

Precision and Accuracy: Laser technology enables precise removal of infected tissue, ensuring minimal damage to healthy tooth structure. This precision is particularly beneficial in intricate areas of the root canal.

Minimally Invasive: Compared to traditional methods, laser-assisted root canal treatment is minimally invasive. The focused nature of the laser allows for targeted treatment, reducing the impact on surrounding tissues.

Reduced Discomfort: Patients often experience less pain and discomfort during and after laser-assisted root canal treatment. The efficient removal of damaged tissue contributes to a smoother and more comfortable recovery.

Faster Healing: The use of lasers promotes quicker healing, as the laser energy stimulates cellular activity and tissue regeneration. Patients may experience a shorter recovery period compared to traditional root canal treatments.

Less Bleeding: Laser technology cauterizes blood vessels during the procedure, resulting in less bleeding. This is a significant advantage for patients who may be averse to the sight of blood.

IV. Addressing Concerns: Are Lasers Really Safe?

The notion of dental lasers might evoke images of science fiction, with fears that a laser could cut a tooth in half like a lightsaber. However, it's essential to dispel these misconceptions. Dental lasers are not lightsabers, and the professionals performing laser root canal treatments undergo extensive training to ensure precision and safety. Dentists skilled with both traditional drills and lasers can navigate the intricacies of the procedure, providing patients with a secure and effective treatment option.

Conclusion:

In the ever-evolving landscape of dental care, laser-assisted root canal treatment stands out as a transformative approach, offering patients a safer, more precise, and minimally invasive alternative to traditional methods. The benefits of this advanced technology extend beyond the treatment room, providing individuals with a more comfortable experience, faster healing, and improved overall oral health. For those in search of exceptional dental care, Sakra World Hospital in Bangalore exemplifies excellence in the field, embracing innovative techniques to ensure optimal patient outcomes. Embracing the future of dentistry through laser-assisted root canal treatment is not just a technological advancement but a testament to the commitment to providing superior dental care for all.

You can also verify this information at National Institutes of Health.

[headoverhiddles]

Back Seat - Mr. Wolf (Pulp Fiction) x Reader [Smut]

Synopsis: After two hitmen pick you up from the scene of a now double homicide, you're mixed up in the cleaning of their car when your former business associate is shot by accident. The Cleaner takes an interest in you.

@this-is-mysuperwholockd-design Harveyyyy😍

"Oh man, I shot Marvin in the face!"

"WHY THE FUCK'D YOU DO THAT?!"

"Aw, I didn't mean to, it was an accident!"

You sit in the back, shocked. The pieces of brain somehow mostly missed you, but you've still got blood on your denim shorts and tank top.

The hitman with the long hair just shot your business associate, Marvin. You had been working with him and two other guys on a job regarding a briefcase for Marsellus Wallace. It had been your idea to keep the briefcase. All the other guys had been too chicken shit, so you told them you'd take the case and run if they didn't agree to it. Ultimately, it was basically your fault they were killed for it, but you don't like to cry over spilled milk. Or spilled brains.

You and the two other men pull up to a suburban house, green lawn cut nicely and picket fence painted white. You frown out the window as you pull into the garage. What the fuck were you doing in a place like this? Kissing one of their wives goodbye before shipping off to jail?!

"Get out the car," Jules snaps at you, jerking the door open. He's still pissed about what you did to his boss. Vincent offers you a hand as you step out, and the two men escort you inside the picture perfect house, looking over their shoulders the whole time.

A guy with messy hair in a checkered bathrobe comes breezing out of the living room, swinging the door open.

"Get in, get in," he mutters, closing it after you three. He stands back, and sighs. "Who the fuck is she, man?"

"Very close to ending up like that dead son of a bitch in the car," Jules warns, and you cross your arms.

"I said I'd let Marsellus deal with me himself, what more do you want, assholes?"

Vincent huffs. "Hey Jimmy, where's the Cleaner?"

Mr. Winston Wolf arrives at the door precisely on time. He introduces himself, and comes in. You look him up and down. He's dressed in a suit that fits him well, and has his hair slicked back, with a crisp mustache above his top lip and a sexy squint.

"I'm Winston Wolf. I solve problems."

Your lips quirk up. Just your type-- a daddy who knows what he's doing.

Jules and Vincent shake his hand, and then he parts them to look at you.

"And who is this young lady here?"

The man in the suit's eyes roam to meet yours, and he offers a polite smile. You hold your smirk. No, he's definitely not like the other imbeciles in this room.

"This bitch is one of them motherfuckers who was tryna fuck Marsellus Wallace," Jules steps in, scowling.

Wolf's eyebrows raise at you. "You tried to fuck Marsellus Wallace?"

"Not in the literal sense," Vincent mutters, rubbing his temples.

Wolf just chuckles, and slaps the two men on the back. "Well. Show me to the car, fellas."

You all walk to Jimmy's garage, the neurotic host fidgeting away. It takes about 40 minutes for Jules and Vincent to get their shit together and finish cleaning the car, and at that point, it's about five minutes away from being sparkling clean.

"Hey, um..." Jimmy clears his throat, "I hate to be that fucking guy, but Bonnie's on her way home, so you guys have gotta be fast."

"Jimmy," Wolf says calmly, putting both hands on his shoulders, "Everything is, and will be, under control. Would you get me another cup of coffee while the boys put the blankets in and I chat with the young lady?"

Jimmy nods, taking everyone's mugs, and Wolf comes over to you.

"You must think I'm a big bad gangster, waltzing in here at 8AM in a suit," he laughs quietly. You shake your head.

"You strike me as the opposite, actually."

He smiles, humming. "Well, that's good, sweetheart. That's good. I am a big bad gangster, but it's nice to know I don't frighten young girls off after first impressions." He narrows his eyes. "You never told me your name."

"(y/n)." You grin. "I'm a big bad gangster too."

"Are you?" he asks playfully. You grin back, just as playfully.

"I just shot four men last night and my landlord over a briefcase and tried to double cross my crime boss with my partners for ten bricks of solid gold."

"You are a big bad gangster," he affirms. You lean against the wall, hooking your thumbs through the belt loops of your short shorts.

"I like your suit," you mention.

"Thanks," he says, smoothing it out, "Speaking of clothing... we've gotta get you out of yours. They're covered in dead guy."

"Marvin," you correct.

"Dead Marvin," he nods. You smirk again.

"Okay. Be my guest... take em off."

He looks over at you, staring at you for a moment. "Okay." He turns, whistling. "Boys! That's enough." He nods to each of them. "Go hose yourselves down in the yard. I'll inspect the car, see what kinda job you did."

The two men skulk off, and Winston opens the car door, gesturing for you to join him. "After you." 

You slide in, and he shuts the door, preparing to get in the other side. Just then, the door from the house opens, and Jimmy sets the mugs down. "Hey, hey! Mr. Wolf! Are you... fucking a chick in my garage?!"

"It's fully within the boundary of my timing to do so, Jimmy." He walks over, and leans in. "I help you. You help me help myself."

Jimmy rubs the back of his neck. "Shit... okay, I guess. Just be quick, Bonnie's home in fifteen minutes."

Left alone once more in the domesticated garage, Wolf opens the back door of the car, and gets in, shutting it. You already have your top off, and he admires your breasts held in your bra. He scratches his head.

"You know, you're awfully forward."

"Would you rather I took... my... time?" you ask, teasingly tugging your shorts back up. He takes your hand, stopping you.

"That's one thing we don't have, sweetheart. Time."

He then yanks your shorts down, and turns you over so that your stomach and breasts are pressed to the blankets on the seat. You hear him undo his belt buckle and unzip himself, and bite your lip in excitement. He's still fully clothed in that suit, while you're in your bra with your panties tugged down to your knees-- it gets you so hot thinking about the power he has over you.

"Ready?" he murmurs.

"Mhmm," you moan, and he grunts softly as he goes in from behind, welcomed deep as he pushes into you as far as he can. He lifts your ass higher for a better position, and slaps one of the cheeks as he pulls back and thrusts back into your pussy. His pace leaves no time for adjustment, and you wince, grabbing at the car door to brace yourself for his size.

"I sincerely apologize for my lack of bedroom etiquette, (y/n)," he says softly, pounding in and making you moan, "I'm usually a slow lover, I even light a few candles sometimes if I'm feeling particularly romantic. But for one thing, we're not in a bedroom, and another, the only time we got is for me to fuck you fast, and rough."

You groan, clawing at the blankets. "Wolf...”

“What was that?”

“Mr. Wolf, sir..."

He begins to grunt more, his thrusts coming faster, faster, harder, until both of you gasp and cry out in record time, Wolf pulling out of you just in time to come all over your ass.

Catching your breath, you both wait a second, and then he takes out a handkerchief from his breast pocket, carefully cleaning you up. When he's satisfied with your state, he pats your hip, and you turn around lazily, grinning.

"I thought you were supposed to be cleaning this car... not making a mess of it."

He chuckles, gesturing around. "Do you see a mess, baby girl?"

Getting out of the car, Wolf helps you out and closes the door after you. He then takes out a comb and drags it through his slightly mussed hair a few times, before tucking it away again and knocking on the door to the house thrice. Jimmy comes out, looks you up and down, then looks to Winston.

"Did you take care of what you needed to, Mr. Wolf?"

Wolf smiles at him, slinking an arm around your waist. “I certainly did, Jimmy. Thank you."

Vincent and Jules, dressed in wet shorts and t-shirts now, wait outside for you both. You go out, and stand in front of the hose in your underclothes as Wolf sprays any extra blood off of you with the garden hose. When that's all finished, Jules sticks out a hand.

"Thanks for your help, sir."

"Not a problem," Wolf nods, shaking it. He then looks to you. "As for her..." Everyone turns to look at you standing there shivering in your bra and panties. You roll your eyes.

"We're taking this little kitty to Marcellus, see if she wants to fuck him then," Jules says sternly. Wolf cocks his head.

"No, you're not."

Vincent does a double take, states at Jules with a 'this guy' look, and Jules raises his eyebrows. "Pardon me?"

"You're not taking her to Marcellus Wallace, because she's coming with me, boys. We have unfinished business involving a few scented candles."

"And a bubble bath?" you tease, taking his arm. He smiles a little.

"Sure, baby. And a fucking bubble bath."

"Uh... that lady is nothing but trouble, you know that," Jules says. Wolf smirks, hand feeling down to your ass to snap your panties.

"I've noticed."

As everyone prepares to disembark, you all hear poor Jimmy open the door.

"Hi, Bonnie, honey! There's totally no dead body in there, or anyone who just had sex in our garage!"

[softpadawan]

Does Fisherman Kanan live close by to the shore? Is his house within flopping distance for Merman Ezra? I like the idea that he sometimes crashes his house uninvited

He does! Kanan lives in a tiny 2-bed 1-bath house on the beach that belonged to his adoptive aunt, Depa, who died when he was 18. She left the house to him. Kanan can just barely afford to pay the property taxes. Ezra lives in the basement of the lighthouse across the bay with his three fairy godfathers “uncles”, Rex, Wolffe and Gregor*. It’s about two miles’ (3km) distance between these residences, as the crow flies. Kanan’s house is visible from the lighthouse.

*I’ve got about a 3k word explanation for this situation, but I’ll save that for a later discussion and just stick to answering your question for now.

After a lot of pleading and whining, Ezra finally received permission from Rex and Wolffe (Gregor is more lenient about letting Ezra roam) to go visit Kanan at his house. He visits almost every day, except on the weekends, when Kanan comes over to the lighthouse to visit Ezra. But Ezra is always more interested in going over to Kanan’s.

One Friday evening, Ezra shows up unannounced and Kanan decides to make a date of it. He carries Ezra into the house, rinses the salt off of him in the shower, towels him dry, and gives him his favorite Pearl Jam shirt to wear. (Ezra loves wearing clothes, even though he doesn’t need them and can really only wear shirts and hats.) Kanan lets Ezra use the phone to order pizza—Ezra is so stoked about using a phone for the first time and ordering pizza like he’s always seen on TV—and while they’re waiting on the pies, Kanan carries Ezra around his house and shows him his CD and VHS collection, his guitar and amps in the garage, and all the things Ezra hasn’t seen a lot of in real life, like kitchens and beds and appliances like vacuum cleaners and clothes dryers.

The pizza arrives and they settle in with a couple movies like The Crow and Pulp Fiction, all the R-rated stuff Rex never lets Ezra watch at home, and eventually they fall asleep on the couch.

The phone rings around 11:40pm. It’s Rex. “Is Ezra with you?”

“Yeah,” Kanan answers, pinching the sleep from his eyes. “He’s on my couch right now. Konked out watching Forrest Gump.”

“Okay,” Rex grumbles. “Just send him home before first light. And make sure he drinks lots of water.”

Kanan already knows this from the long list of “Rules For Seeing My Boy” Rex recited to him a couple weeks earlier, but he just sighs and says, “Will do.”

“Have fun, you two!” Gregor calls from the background.

Wolffe pulls the phone over and growls, “If so much as one scale is out of place on him, Jarrus, I’ll rip your nuts off and feed ‘em to you. Is that clear?”

“Crystal, sir,” Kanan squeaks. He doesn’t doubt Wolffe’s threat for a moment.

After an awkward goodbye, Kanan returns to the couch and wakes Ezra up, makes him drink a glass of water so he doesn’t dry out. Ezra falls asleep again almost immediately. Kanan makes sure Ezra is comfortable, turns off the TV, kisses his forehead, and goes to bed.

Early the next morning, he carries Ezra down the beach in the semi-darkness and puts him back in the water. Ezra is glad to be back in his element again, but reluctant to leave and return home.

“I had a really great time last night,” he says with a shy smile. “Thanks for the pizza and movies. And for letting me use the phone. It was awesome.”

“No problem,” Kanan says. “Maybe next time I’ll actually take you to see a movie in the theater. Or out to eat at an actual restaurant.”

Ezra’s eyes go huge. “Really? But—but Uncle Rex would kill you for taking me in public. And how am I supposed to hide this?” He thrusts his fins out of the water, pointing emphatically.

“Don’t worry,” Kanan replies with a smirk. “I’ve got an idea. I’ll tell you about it when I come by the lighthouse later, okay?”

Overjoyed, Ezra throws his arms around Kanan and plants a kiss on his lips. When he pulls away, Kanan has the dumbest, dopiest, most smitten look on his face.

“See you in a few hours!” Ezra waves, and disappears with a splash.

[nishisun]

suna rintaro is NOT a genius.

summary: you loved the idea of soulmates. suna rintaro didn’t. it isn’t that hard to put two and two together to realize that maybe people with different opinions on things don’t belong together.

part 2

a/n: this was literally supposed to be a series, i gave up on it because i just didn’t like the way it turned out. it used to be called “out of my league” and this was the intro. i also renamed it. just emptying drafts!! please don’t get confused with the random timeskip, once again, this was a part of a series i never ended up posting😭

WARNING!!: suggestive themes, mentions of death, idk kinda angsty but tell me if i missed anything

Soulmates. Whatever the hell that means. The idea of soulmates is something I truly don’t understand. It’s bullshit, honestly. It’s all-pervasive.

My mother always told me I'd eventually find "the one.” I used to believe that when I was younger of course. But in my opinion? It’s all cliches. It's unhelpful, and it's certainly not true. Destiny is an excuse for the weak. Why do you think most marriages end in divorce? It's 'cause people who believe they are “destined to be" assume everything will fall into place without any effort. I don't appreciate people pontificating bullshit like that just to make me feel better, especially if they haven't found their "soulmate" themselves. My sister once told me, “People who believe in soulmates are more likely to break up and encounter more difficulty in their relationship, which will lead them to give up on one another eventually.”

I sure do believe that.

My mother is a prime example. Fumeiko Suna, my dear mother. Well, she clearly hasn’t found hers. I found out when I came home after a tedious day of school in 5th grade and found my dear mother on the floor crying, with bruises all over her face and a busted lip.

Initially, I thought a burglar had broken into our home once again, but if that were the case then there would’ve been missing furniture. But there wasn’t.

In fact, the place seemed cleaner than usual. When I ran up to her and asked her what had happened, there he was. The devil himself. My father. He reeked of alcohol, and I could detect his shadow towering over me. It’s funny how that I think of it. I used to fear that son of a bitch. Now, I’m way taller than him, and hate his guts. I turned around to see a faux-sympathetic smile plastered on his face.

He explained how my mother was being “clumsy” and had fell and busted her lip on one of the corners of the kitchen table and when I turned back around to face my mother, she smiled gently and nodded in agreement. She didn’t say anything after that.

It was then I realized my father had beat my mother to a pulp.

Long story short, when I found it was my father, sure, I was frightened. In fact, I remember going into my siblings’ rooms to inform them, they shrugged it off and told me that dad had been doing it for a while now.

Over time, when my dad had found out that I was aware, he didn't mind beating the absolute shit out of my mother in front of all three of us. This was when my burning hatred for that man started. Nobody in the house even attempted to stop him. I did a few times, though. He took all his anger out on me. At least my mom had a break for the day.

I almost pitied my mother. Almost. Maybe if she was strong enough to leave him, then yeah, I’d feel bad. But she still decides to stay with his sorry ass. It’s pathetic. It’s unrequited love or whatever you call it. How could she still love that asshole?

I mean, I’m not even going to lie, I’m an asshole too, but I’m definitely not my dad. I would never want to be him. He’s not someone I looked up to, he doesn’t do anything inspirational. He’s a businessman. He travels the majority of the time, and I’m pretty sure my mom invites men over when he’s gone. I don’t care enough to find out. But if I ever hear some guy rearranging my mom’s guts, I’ll kill him. I don’t even blame my mother. What she’s doing is wrong, she knows it and so do both of my older siblings. But they don't seem to care so why should I?

Who knows why she just won’t leave him. Maybe it’s cause they don’t want to ruin how people view our “picture perfect” family. I wonder what they’d say. “I thought the Suna’s were the ideal family? I guess not.”

My dad would probably lose it if he heard that.

Both my mother and my father are the cause of this broken family of mine. They never fed me or any of my siblings the love we always desired when we were younger. They never came to any of my volleyball games when I was younger. They never applauded me for the little recitals we’d have in class in primary school. They were never even here for most of my childhood. They always put money first and left us with the housekeepers. Hell, the housekeepers probably know me better than my own parents.They failed as parents. I despise them for it. They’re most likely the reason I am the way I am, but to be honest?

I don’t give a fuck.

In fact, I should thank them! Because of how they “raised” me, i’m extremely blunt, which is why people respect me. I use the hatred I have for my family and take it out on people and no, I’m not proud of that. I may be a heartless asshole, but I like that people fear me. The hell? Does that make me a sadist? Either way, people know to never fuck with me cause I’d fuck their shit up. I’ve overheard many people say it’s ‘cause of my privilege. It probably is. Money can’t buy happiness, but it sure can buy you many other things.

If my parents were broke, I’d probably be expelled from school by now. Abuse of alcohol and drugs are forbidden on school property. I don’t even take them at school, I somewhat care about my education and health, but sometimes I just need to blow some steam. Even if I did, nobody’s gonna say shit since my dad is the head of Japan’s board of education. How did his ass even get there?

Call me lonely or cynical. Maybe I am. But how is that a bad thing? Why do people need a significant other to rely on? What, a soulmate is just going to turn my life upside down then suddenly bring me happiness? Pfft, I’m gonna need actual proof that shit like that still happens. I’ve only seen shit like that in fairy tale movies. It’s whatever, though. I can live with being alone. I’ve basically been alone my whole life and it isn’t as bad as people make it.

You loved the idea of having a soulmate. The thought of meeting someone who just understood you, accepted you for who you were, and most importantly, loved you excited you. You couldn’t wait to meet your soulmate.

But recently, you weren’t sure soulmates existed.

When your older sister, Akira, came into your room and burst into tears, it frightened you. Your older sister, the one who’d always provide you advice on relationships and how to keep one was in your room sobbing hysterically because hers hadn’t worked out.

“I just can't believe it,” she sobbed.

You couldn’t believe it either. Your sister had recently gotten engaged to her boyfriend of 9 years. They started dating at the age of 15 and managed to make things work out even after high school, and out of all those years of dating, they never broke up. Not even once.

They’d go on romantic dates on Saturdays and they’d always write love letters to one another every day, just to remind one another of how grateful they were to have each other in their lives. On Halloween, they’d dress up as fictional characters from TV shows and books and take cute selfies and bake a bunch of sweets. They’d invite you to come bake with them, but you would politely deny. You knew they were only offering so you wouldn’t feel left out, which you appreciated.

Of course, they’d argue every now and then, but at the end of the day, they always managed to talk things out. Oh to have a relationship like theirs. They were everything you wanted to have in a relationship and more.

“I really thought he was the one for me, y’know?” No, you don’t know. But that doesn't matter. What mattered was cheering your sister up.

“Maybe he wasn’t ‘the one’ Akira, and that’s okay! People come and go all the time, soulmates come and go all the time as well-”

“You still believe soulmates are real, huh?” she let out a humorless laugh and sniffed her nose, “What If I missed my one shot at love, Y/N? What if I lost my soulmate?”

That’s some deep shit.

Now that you think about it, were soulmates real? Soulmates come and go, yes, you’re aware of that, but even though they leave, it’s always temporary. Soulmates always find a way back to their other half, the piece that completes them.

Your dad never made it back to your mother.

He died in a car crash 5 years ago. Your mother and father had been arguing because she claimed your father was cheating on her since he wouldn’t let her check his phone.

You were 13 at the time. Your sister Akira was accompanying you in your room, listening to them arguing back and forth with one another. There was furniture flying across the room, glass breaking, and both of them throwing curses at each other. You were scared. They never argued in front of you and your sister. They'd bicker sometimes, but it was never anything too deep.

Eventually, your father had enough of your mother’s false accusations, and out of anger, he packed his things and left home. For weeks. It wasn’t until one of your uncles called your mother and broke the news. She didn’t take it very well.

Late 2012-early 2013.

Not many people came to your father’s funeral, his family didn’t like the fact that he and your mother were together, they said your mother was trouble, but your dad still stayed with her, even if that meant it would completely destroy the bond he had with his family. Now that’s true love, you had thought. Only your mother, Akira, the Sunas, your uncle, and you, of course, attended the funeral.

It hurt a lot. It hurt when your mother informed both your grandparents on your mother and father’s side and all they could do is put the blame on her. It hurt how they had claimed you, Akira and your mother were a hindrance to your dear father’s well-being. How could they be so cruel at a time like this?

That was the first time you ever questioned if soulmates were real. Maybe they fell in love at the wrong time? Who knows.

After your father’s passing, Fumiko Suna, your mother’s best friend, was there to help your family out financially. Your mother couldn’t even find the motivating to go to work. Your mother and Fumiko have been best friends since junior high, they’ve literally been inseparable ever since. In fact, after they both got married, they decided to live right next to each other.

Your mom didn’t cope with your father’s death very well; none of you did. But your mom had it the worst.

She would cope with alcohol and clubbing which would always result in her bringing different men home almost every night. You didn’t say much about it, you thought it would be selfish to since that’s what seemed to make your mother feel better about herself, but your sister hated it. She was already 19 and in college at the time, but when she visited and found out that your mother had basically been neglecting you, she was furious.

“Seriously, mom? This is what you’re gonna do while your 13-year-old daughter is in her room having a literal mental breakdown because of your childish behavior?” Your sister had barged into your mother’s room when she thought you were asleep, she was screaming loud.

“You’re interrupting something important, Akira. You know better than to-”

“Oh, shut the hell up mom. You’re the last person on earth to be saying shit like that.”

“Well, if you’re done, you can leave my room now. You’re being disrespectful, and this behavior is not tolerated!” Your mother was screaming now. The man in the bed covering his body under the covers and looking back and forth between Akira and your mother.

“Sakiya, maybe you should hear your daughter out-”

“Not now.” your mother scarcely interrupted the man, eye contact never leaving Akira. “Y/N has never complained about this when you were in college. She knows this is my way of coping, why can’t you understand that too!”

Akira scoffed. “So what, getting fucked by random strangers you find on the filthy streets is your way of coping? Getting wasted every damn night to the point where Y/N has to drag you up to bed is okay with you? Do you even know how much this is affecting Y/N? Did you even bother asking her how she felt? I hate breaking it to you mom, but you need serious help.”

“You selfish child!” Your mother screamed, grabbing a towel and wrapping it around her body, getting up from the bed. “How dare you say that to your own mother?”

“I’m only telling the truth! If you’re the mother, then it’s your job to be taking care of Y/N, not neglecting her. When’s the last time you’ve engross in an actual conversation with her when you were fully sober?”

Your mother was silent. She quickly walked up to Akira and grabbed her by the hair and slammed her headfirst against the wall.

“You’ve got a big mouth! Maybe I should wash it with soap like I did back in the day, hm?” Akira was attempting to push her mother away, but she wouldn’t let go of her grip. The man that was still on your mother’s bed was in panic, yelling her name, which didn’t have any effect. He might as well stop.

"Look," Akira mumbled, struggling to get away from your mother's grip, "I know it's been hard ever since dad left-"

“Mom! Let go of her!” You cried from the door of her room.

All 3 adults froze and looked at your glassy eyes, mouths wide open.

“Hey, kiddo, I thought you were asleep?” Akira playfully said, your mother let go of Akira and crossed her arms then looked away from you.

“Well, I can't really go to sleep when there’s a bunch of adults yelling about my well-being,” you muttered incoherently. You quickly wiped the uncontrollable tears off your face and sighed.

“Honey,” your mom started, she walked slowly to you, carefully examined your face, and attempted to hug you, but you didn’t accept the offer which made your mother frown. She stopped walking until she was almost face to face with you and placed a hand on your shoulder gently. “Baby, your sister told me that you weren’t happy. Is this true?”

You looked away from her and stared dully at the floor, subtly shifting your feet, then you softly shook your head “no.”

“See Akira, Y/N is happy. So please stop stressing her out.” Your mother said through gritted teeth, then faced you once again. “Y/N honey, how about I go tuck you into bed, hm? I’m so sorry for the excessive noise that was caused.”

“Mom, how clueless can you be? Y/N looks miserable! It’s unhealthy for Y/N to be living-“

Slap.

Your mother just slapped Akira on the face.

“I know what’s best for my daughter! I am her mother! You are not the one who should be telling me how to take care of my own kid!”

“That’s enough, Sakiya.” a familiar voice said from the door.

“Fumeiko-“

“It’s fine. Sakiya, we need to talk.” It was Fumeiko Suna, your mother’s best friend, also known as your next door neighbor. She had been standing in the hallways the whole time, you didn’t even know she was there. Akira was the one who called her over.

That night your mother agreed to get help for her drinking problem. She was gone for 6 months. During those 6 months, the Suna’s took you in since Akira would be in college and you couldn’t have been more grateful.

You and Rintaro were the only kids in the house, being that you both were the same age and the others were in college. It was okay, they were all very polite, dinners were awkward, you could feel some sort of tension between the family but you didn’t pay any attention to it.

When your mom finally came back, it was awkward at first. She still seemed the same, loving and caring, just sober and free of alcohol. It was nice. You two spent the weekends bonding at the mall, watching a movie, or even getting your nails done. Eventually, she gained your trust back, and you couldn’t have been happier.

January 2017.

“Akira, don’t say that. You may not believe me now, but you are such an amazing person, don’t ever think you’ll never find love again. It’s all about having a positive mindset!” you said, thoughtfully stroking her hair as her head laid on your chest.

“I told you that.”

“You did,” you chuckled, “you should take your own advice.

“Oh, shut up!” you both laughed, and Akira let out a shaky sigh. “Thank you, Y/N.”

“Of course, you don't need to thank me. I love you.”

“I love you too.”

— so this is one of the writings that i wrote in January 😭 it’s been in my drafts and i re-read it once and instantly hated it right after. if there’s any typos please tell me!!

— also i wanna apologize again for putting gmds on hiatus,, i feel so bad 😭 i wanna make it up to you guys but idk how so if you have suggestions pls tell me

[fresherbrine]

[chief-of-restless-hearts]

“We all wanna be Mike. Mike's there, ya know? Mike does it." There's something inherently appealing and admirable about The Fixer, the Cleaner. Think of Winston Wolf from Pulp Fiction. Leon Montana from Léon. A character who embodies an unparalleled work ethic, who is competent and skilled in their craft, the consummate professional. Someone who shows up and solves problems quickly, efficiently, and with pragmatic grace. 

These characters are attractive because they make crime seem less brutal, less senseless, it changes the skew of horrible deeds to be dispassionate and just business. But is that really something we should want?  People are killed, lives are ruined, destruction and havoc occur and these are all things we should just sweep under the rug? Just problems to be solved, like equations on a blackboard, the truth is that in order to become this kind of person you cant be a person at all. Mike becomes more like Gus than is healthy, too much is given to the stone cold businessman, to where the loving grandpa is left hollow. A façade, a construction, that crumbles under the weight of his sins. It's amazing what people are capable of, once they convince themselves there are no other options.”

- excerpt from a Jonathan Banks interview (--according to a youtube comment, anyway. If anyone could tell me where to find the interview I’d greatly appreciate it!)

[introvertguide]

Pulp Fiction (1994); AFI #94

The most recent movie for review was the Quentin Tarantino crime thriller comedy (probably more things) Pulp Fiction (1994). It is a very complicated story that is told out of chronological order and focuses on scenes of meaningful character interaction. This confusion meant it lost out to movies with a more straight forward time line at the Oscars, since the move was nominated for seven awards but only took home one. The single win for best screenplay was well deserved and I still believe it is one of the most creatively written films of all time. I want to go over the plot to show what I mean, but let me do my standard due diligence:

SPOILER WARNING!!! I AM ABOUT TO GIVE THE BASIC DETAILS OF ONE OF THE MOST COMPLEX STORY LINES IN MOVIE HISTORY!!! IT WILL NOT LIKELY SPOIL MUCH OF ANYTHING, BUT I AM STICKING THIS WARNING ON JUST IN CASE SOMEBODY FINDS SOMETHING!!!

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The film begins with what is pretty much a prologue but what turns out to be about the middle of the film chronologically. A couple is at a diner and they are talking about robbing banks. They only refer to each other as Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer). They discuss the best kind of places to rob and they decide that a diner would be a good change of pace. Impulsively, they pull out guns and hold up the diner and...title card with awesome spaghetti western music!

Two hitmen are talking about Europe as they go to do a job. Vincent Vega (Jon Travolta) talks about his adventures with Jules Winnfield (Samuel L. Jackson) as they pull up at an Los Angeles apartment complex. The two discuss their boss Marsellus Wallace and how touchy he is about his wife. The boss has apparently sent them to get something from a bunch of guys. Jules and Vincent call on an apartment with 3 college age men and intimidate them into giving over a briefcase with something glowing inside. The case is what they came for, so the hitmen take it and kill two of the men at the apartment...

Flash to a new scene in which Vincent is going to get some drugs from his dealer (Eric Stoltz). Vincent is a heroine user despite cocaine being the popular drug. It turns out Vincent was asked by his boss to take out his wife...the one he is very protective of. He just needs to hang out with her so she is not bored and not get into trouble. To accomplish this, he shoots up some heroine and goes to meet the wife named Mia Wallace (Uma Thurman). They seem to get along and he drives her to a restaurant called Jack Rabbit Slims. The place is fantastic, all the waiters are dressed up like American movie icons and the booths are repurposed cars from the 50s (if this place actually existed, you can be sure I would search it out and go there at least once). The two bond over dinner and then volunteer for a twist dance contest.

Mia and Vincent go back to her house and Vincent goes to the restroom to talk himself out of trying to score with Mia. She is pretty cool, but not worth dying for. While he is away, Mia finds some heroine in the pocket of Vincent’s jacket and thinks it is cocaine. She snorts it and immediately starts to overdose. Vincent panics and decides to drive her to the dealer’s house. The dealer has a nurse kit that comes with a giant needle full of adrenaline which Vincent stabs her with. She wakes up and Vincent takes her back home and is glad that he will live another day...

We jump to a flashback of a young boy who is has lost his father in Vietnam. An officer is visiting that has a gift. Apparently, there is a family watch that belonged to the boys great grandfather and had been passed down through the generations. His father had it when he was captured and gave it to the officer before the father died in the POW camp. The officer escaped and found the boy to give him the watch...

A boxer named Butch (Bruce Willis) wakes up from a dream. He is the boy all grown up. He is about to throw a fight for Marsellus Wallace (Ving Rhames), the same boss that everyone is afraid of. Butch does not throw the fight and accidently kills the other boxer. It turns out that he bet on himself and now he needs to get out of town before Marsellus Wallace catches him. He goes to a hotel where his rather dumb girlfriend is waiting for him. They go to bed and then are about to leave the next morning when it turns out that she forgot his watch. Butch freaks out and goes back to their old apartment to get the watch (note the very long take following Bruce Willis as he takes a back way to get to the apartment). Vincent is there waiting for him, but Vincent is in the bathroom and Butch is able to get a gun and kill Vincent as he is coming out of the bathroom. Things seem good so Butch drives off...

As Butch drives home, he sees Marsellus crossing the street in front of him so Butch hits the gas and runs down the boss but also hits an oncoming car. Both men are injured but Marsellus gains his senses and chases Butch into a shop where both are captured by a weird redneck with a shotgun. Butch and Marsellus are tied up in the basement of the shop and a man named Zed shows up. The shop owner has a gimp in a box (all leathered up and everything) and other fetish things downstairs. After a quick game to pick who goes first, they take Marcellus into another room to rape him. Butch manages to escape and is running away...but he decides can’t leave somebody to be assaulted like that. He grabs a weapon from the shop and kills the shop owner and frees Marsellus from Zed. Marsellus is not happy and says he will go “medieval” on Zed and allows Butch to leave town. Butch collects his girlfriend and leaves immediately...

Flash back in time (we know this because Vincent is alive) to right after Vincent and Jules shoot the guys with the case. Another guy in the other room jumps out and unloads six rounds at the two and misses every shot. The hitman kill that man, but Jules is shaken and decides to give up the business. They take a fourth gut with them in the car to go back to see Marsellus. On the drive over, Vincent accidently shoots the passenger while going over a pothole. The inside of the car is absolutely covered in blood and brains, so the two have to find a safe house. They go to the home of Jimmie (Quentin Tarantino) who will help them but says they have to get out in a couple of hours before his wife gets home. They call Marsellus, who sends over a cleaner named Wolf (Harvey Keitel). They are able to get everything cleaned up in time and leave with the car and the body. Jules and Vincent have to change out of their bloody clothes and decide to take a cab out to a diner for some food before seeing Wallace.

The two are at a familiar looking diner discussing whether their survival was a miracle and whether Jules should quit. Vincent goes off to the bathroom and, while he is gone, Pumpkin and Honey Bunny from the beginning declare it a robbery and it is evident that we have circled in time back around to the beginning. The couple hold up the diner, but, when they get to Jules, he takes Pumpkin hostage and devises a plan for everybody to leave. Jules allows the couple to leave alive with all the wallets, then the two hitmen follow quickly behind them before any police can show up.

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I put a spoiler warning at the top, but there is so much to this film that there is no way you could spoil everything. I find new things to enjoy about this movie each time that I watch it and the watch count has to be at least two dozen times at this point. This film is so rich with allusion and homage to movies of the past that you might never see everything. Tarantino is truly a lover of old films and he worked every reference he could into this film. This is truly like candy for a cinephile. 

I have, however, had a love hate relationship with this movie: I love this movie and I hate it when people tell me it is too violent. There was a lot of negative response to the films toxic masculinity, romancing crime culture, incredible amount of swearing, drug use, extreme gun violence, and very adult themes. There is a very famous interview between Quentin Tarantino and Jan Wahl in which she accuses him of using excessive violence and he tells her it is because it is a lot of fun to watch. His stylistically gory violence stems from exploitation films of the past and there is an established audience that enjoys it. He makes his movies for himself and this group of people.

Kind of like the comedy of Eddie Murphy, Richard Pryor, and George Carlin, you have to wade through a sea of swearing to find the comedic banter. The things that Jules and Vincent say to each other are some of the funniest stuff I have ever heard, but you really have to pay attention. Their attempts to express their feelings while maintaining their hard exterior persona is ridiculous. This is probably why many people enjoy the scenes with Vincent and Mia: there is a lot more courtesy which reduces the tirade of cursing.

The violence is very very over the top, but it is no where near the level of gore that Tarantino has become known for over the years. I must admit that he likes his torture scenes and this film is no exception. I would like to note how clever the torture scene with Butch and Marsellus is because they are both tied up and facing camera so only the audience can see the mischief that is being prepared behind them. 

The soundtrack for the film is well worth mentioning as it also pays homage to 50s, 60s, and 70s exploitations films. There is a lot of silence in the film with sudden bursts of fast paced music that help with transitions. Most famous is the intro music after diner prologue, a surf rock classic by Dick Dale and The Del Tones called Misirlou. It is pure speed guitar riff along the lines of Wipeout and transitions the scene perfectly. Take a listen for yourself:

https://www.youtube.com/watch?v=ZIU0RMV_II8

Maybe the biggest thing about this film and Tarantino in general is the inspiration of the slick gangster dialogue. There had been a push for more melodramatic dialogue or the complete absence of much talking. Tarantino added in this slick, fast moving comedic dialogue that is said over extreme violence and adult situations. Marsellus Wallace talks about having some crack heads torture a man to death immediately after being raped in a basement. The hitmen talk about appropriate manners while cleaning out brains from the back of a car. Jules talks about the meaning of the bible during a robbery. Everything seems out of place in the real world but perfectly acceptable in Tarantino’s world. This is probably why I have no problem with the violence in the film.

So should this film be on the AFI top 100? Absolutely. It is an homage to film history while simultaneously introducing a sub genre that mixes current dialogue and exploitation touches to grindhouse action. It is fascinating and fun. Would I recommend this movie? If you are old enough. I can’t emphasize enough how fun I find this film, but I cannot deny that it is filled with adult situations like drug usage followed by driving, secret dungeon rape, and cold blooded murder with no consequences. If you can differentiate between Tarantino’s world and the real world, then this is great. If you can’t, then maybe try something else with slick dialogue like Butch Cassidy and the Sundance Kid.

[iraxevans]

—A STUDY IN IRA EVANS: TASK 001

tw: abuse

steven crain (the haunting of hill house), large image: kicking it off with the obvious, as steven shares a face with ira (though cleaner cut and with shorter hair), the physical differences are some of the most obvious between the two. ira holds a great deal of denial in his life for the way he was treated by his father as a child, though much of it is simply a lack of realization that he was ever mentally / emotionally abused in the first place. ira and steve are both more realistic with their outlooks on life, and prefer to rationalize out the situation at hand than face the obvious facts, when presented them. like steve, ira is steadfast to those he cares for, though unlike steve he is not much of a public speaker.

spike spiegel (cowboy bebop), small image 1: the main character of the science fiction anime, spike is aloof and carefree with seemingly no care for the trivialities in life. he shares this trait with ira, who can come across as very disconnected from issues that one might insist the importance of. spike laughs in the face of dangerous situations, though can be quite serious if specific topics are broached, and ira holds much of the same attitude. like spike, ira was burned by a past love that’s lead him to be more disinterested and otherwise disengaged from the romance aspect of things. fortunately unlike spike, ira made it past 27 years of age.

tim gutterson (justified), small image 2: dry in sense of humor and top notch in sarcasm, tim gutterson and ira share their often monotone expressions and voice. tim is known for giving his 2 cents on a topic, usually some comical innuendo that is otherwise unexpected and fully shares this humor with ira. tim’s unflinching sense of worth with his particular skill set rivals ira’s knowledge of human anatomy with his work where ira never second-guesses his talents. the two also share a mutual dislike of their fathers, “ at least you got to shoot your father. mine had the nerve to die before i got back from basic with skills and a loaded weapon. ”

the wolf (pulp fiction), small image 3: the main inspiration for ira as a character, the wolf is cool, calm, collected and classy in his brief appearance in the film. no-nonsense and business-minded, the wolf is unflappable with his task to clean up the car marvin was killed in and get jules and vincent out of their jamb. there’s always been the possibility of ira stepping into the world of the illegal, especially with his morally gray compass, where he’d conduct himself in a similar manner to the wolf - a neutral party paid a handsome fee for making people’s problems disappear.

will graham (hannibal), small image 4: sharing will graham’s dislike of social situations (and preference to be left the fuck alone, if given the choice) ira bears striking resemblances to the main character of the hannibal series in this vein. a genius in his own field (though less eclectic and troubled), ira admittedly took to the field he works in because of how little he would have to interact with the living. known for needing to charge his social battery before interactions, ira and will are one in the same when it comes to their lack of interest in others, notable in disappearing once that social battery hits 0 to retreat and relax.

raylan givens (justified), small image 5: the titular character of justified, the show tim gutterson also hails from, raylan is business-minded though doesn’t mind bending the rules to get his results. despite his station as a deputy us marshal, raylan is often operating in the land of the morally gray - which is where ira happily resides. his disinterest in questionable activity is obvious: so long as it doesn’t affect him directly. ira (like raylan) has no issue in voicing his opinion or unwilling participation in a matter. it’s all the field of moral ambiguity.

vash the stampede (trigun), small image 6: to those that know ira, however, he can be light-hearted and goofy - much like the last entry. vash attempts to see the good in people and things (not an ira quality) but conducts himself in a way that suggests he’s attempting to enjoy himself despite it (a very ira quality). when pressing matters are concerned, vash straightens his attitude out and becomes a connoisseur of handling it swiftly and professionally, with as little involvement from outside sources as possible —a quality he shares with ira evans as well.

[add-to-inventory]

Gav played: Serial Cleaner

The game: Serial Cleaner by Draw Distance.

Score: It's a game!, did not finish.

"It's a game" covers a lot of gray territory, what is it here? It's a well-made game that I got stuck on too quickly to have a strong opinion on! You play a mustachioed criminal trying to clean crime scenes without getting caught by the cops. The art is great, I enjoy the 70s aesthetic and references to thriller movies, and I like that there's some variety in the goals for each level--and that when the player gets caught, things shift around a little.

But? I just struggled so much with getting caught over and over that I only played the first few levels. I like stealth games, but I do much better with titles like Untitled Goose Game or the Assassin's Creed series, where getting caught simply means I can do something else and try again. I couldn't stick with this one, and it's not the game's fault.

{An elaborate Monty Python and the Holy Grail-inspired crime scene, with multiple bodies and big splashes of blood.}

Hearing disorder corner: All information is provided by on-screen text, and I did not notice any audio-only cues.

Try it if you like: Pulp! Gritty crime fiction, illustration-style art, fun music, stealth games that aren't about killing people...yourself...

[thatsanswitch]

So I had a thought, that after the heist they didn't really die, and they started new lives. White became someone you call to fix things, a cleaner, if you will, as seen in pulp fiction and point of no return. Orange became a bellhop, as seen in Four Rooms. And Mr Pink?

Well, Mr Pink gets a job as a waiter, as seen in pulp fiction.

[esonetwork]

'The Eldritch New Adventures of Becky Sharp' Book Review By Ron Fortier

New Post has been published on https://esonetwork.com/the-eldritch-new-adventures-of-becky-sharp-book-review-by-ron-fortier/

'The Eldritch New Adventures of Becky Sharp' Book Review By Ron Fortier

THE ELDRITCH NEW ADVENTURES OF BECKY SHARP New Expanded Edition By Micah S. Harris Minor Proft Press 181 pgs

What follows is our review of the first edition released in 2008. All we’d add to it is the expanded edition has more wonderful artwork and a cleaner overall design. Still a great book.

 One of the true rewards of this job is being able to share with all of you amazing books that, for one reason or another, simply do not get the exposure and acolytes they deserve. This is such a case. It overflows with so much old fashion adventure, I’m hard pressed to describe the fun I had reading it. Be aware, it is not a graphic novel, despite both its gorgeous cover, by artist Loston Wallace, and its comic dimensions. It is a prose novel, but packaged differently with a nice overall design. It’s both very easy to handle and read. For those of you not versed in classic English literature, Becky Sharp is the heroine of William Makepeace Thackeray’s 1947 novel, VANTIY FAIR; a book that satirized the mores of 19th century English society. Harris actually teaches English Lit, thus his familiarity and obvious fascination for the character. But it is what he does with her in this madcap tale that is pure pulp genius. Since the lovely lass came to a rather tragic ending in the Thackeray version, Harris’s offers us a duplicate Becky Sharpe from an alternate world. In this reality, Becky is recruited by a sect of Lovecraftian aliens posing as human to help them defeat a rival monster known as Tulu. But to do so, Becky will first have to be granted immortality and then sent on a globe-spanning quest to obtain the required talismans needed to defeat Tulu. Once her journey begins, through both geography and time, Becky manages to meet Asheya, known as She-Who-Must-Be-Obeyed, encounters the giant gorilla Kong of Skull Island, enters into a passionate romance with the Scarecrow of Romney Marsh, travels with Nemo and battles a super strong Egyptian Mummy alongside the Ape Man of the African Jungle. And these are only a few of her amazing exploits. The delight of this book is not only its marvelous conceit, but Harris’ talent as a gifted writer. His use of language is deft and exact, with a very beautiful command of style. The narrative has such grace as to carry to reader along effortlessly, all the while painting unbelievable scenes of action and daring-do with panache. This is easily one of the best books I’ve read all year. Last word, if you enjoy reading fresh and original fiction, then consider picking up THE ELDRICTH NEW ADVENTURES OF BECKY SHARP as a Christmas gift to yourself. You can order it at Amazon or go directly to the publisher on-line at (www.booksofmicah.com). Tell them I sent you.

[crewfm]

         * 𝐜𝐥𝐨𝐬𝐞𝐝 𝐬𝐭𝐚𝐫𝐭𝐞𝐫  :  @honeytears​

        * IT’S NOT difficult to get crew riled up , as just about anyone would be able to attest to . it’s even easier for dylan to do so , especially when armed with the intellect to question crew’s statements and opinions as she does . he can’t even remember how the conversation starts , or if they’re even arguing against each other , but what he does know is he may just burst if he doesn’t give his unsolicited opinion .   “ if tarantino can cut the auto - fellation and stop self - inserting into his films , i’d finally have a fucking reason to not shit on pulp fiction every time someone wants to hype it up . ”     he flails his hand madly in the sky as if to punctuate his frustrations with the director who , in his not - so - humble opinion , is OBSCENELY over - hyped .    “ the man has no fucking self control and it shows . his shit would read so much cleaner if someone just called him out for being gross and making everything his wet fever dreams . ”     he pretends to gag , pointing a finger towards his open mouth dramatically .    “ anyone can write a male fantasy and call it art ! it ain’t fuckin’ HARD , yo , and everybody that defends his shit gets beet red in the face when anyone mentions how obvious it is that the douchebag fuckin’ hates women . you ain’t subtle , bro , like c’mon , i’m hurting for you , please ... ”

[joshrunit21]

A1 Types and purposes of editing for film and television:

Continuity Editing:

Editing with continuity is the process of combining a bunch of shots which are more or less related to each other. It basically tries to make the audience think that the shots were filmed as if the scene happened sequentially. A good example of continuous editing is when a character does an action. If a character were to throw a ball, the expected shots would be; the character moving his arms to throw the ball, the ball in the air and then the ball landing on the floor. Non-continuous editing is basically not following the rules of continuity. This may be used to make the audience change their mind about a certain character or change the atmosphere of the scene. Flashbacks and specific montages can be non-continuous editing. Non-continuous editing can be as impactful and as narratively useful as continuous editing. The director wouldn’t want to keep the audience from waiting too long, so the use of the jump cut would be useful, it is a really good way to manipulate time in the film.

Time Manipulation: 

Slow Motion - Slow motion is used to see the finer details in the shot, the deeper meaning of the shot can be clearly seen by the audience. If a sequence were to play at a normal speed, the audience would have surely missed the finer details which the filmmaker would have wanted the audience to see. Highlighting specific things about the scene can make the audience think differently about the scene. If the director were to make a scene more comedic, slow motion could be used to focus on expressions of the character and the other characters in the scene.

Sped Up Shots - A director would use this effect to create excitement in a scene, for example in an action scene, the director could film a fight scene in 22 frames per second and then speed it back up to 24 frames per second to make the action look faster and more snappier. This would also help in skipping unimportant details in a scene.

Time manipulation helps in highlighting and hiding information in a scene. When evaluating on time manipulation, I believe that slow motion is very effective when creating meaning on a scene, I think this because it is an easy way to explicitly show the audience what the director wants to show. On the other side of time manipulation, speeding up shots seems to have limited use in Western entertainment, only being used in action sequences. In terms of creating meaning, speeding up shots is not as effective as slow motion; the only way that sped up shots could create meaning is when the director wants to make the impacts in the fight scene look better. Therefore, in my opinion, I believe slow motion more effective as it lets the director explain and highlight aspects within the scene. 

Flashbacks:

They’re used to provide visual information about a character, they can also be used to present a backstory in order not to confuse the audience. Flashbacks have been presented with a cross dissolve to announce that a flashback is happening. In some films, flashbacks are announced with literal flashes and a compilation of shots put together jarringly, examples of this would be from the Bourne Identity. In Pulp Fiction, flashbacks are announced with title cards, some films go with the flow and give no announcement and the audience is left to figure out if the scene is a flashback or not. There are multiple types of flashbacks, there is the testimonial/confessional, the conversational, the object triggered, the thought triggered and the filmmaker initiated. Flash Forwards  - They may be used to foreshadow future events  in the story. 

In Hollywood, the flashback would more commonly used. As stated before, flashbacks help carry the narrative of the film, it is very effective when creating meaning in a film as flashbacks can provide more information of a character to the audience and possibly make the audience think differently about the character. On the other hand, flash forwards seem to be more uncommon in film, the only purpose I could see using a flash forward is when a character gets a vision of the future, this could create more suspense as the audience wouldn’t know the journey to get that point. I can only see flash forwards in the most specific circumstances in film, on a narrative standpoint, a flash forward is almost impossible to use in a common narrative. In my opinion I believe that flash forwards are less effective than flashbacks as I believe that the whole story would be spoiled, however, I think that flash forwards could be as good as flashbacks in the view of overall character development, a good example of the use of flash forward to develop the character is A Christmas Carol, when Scrooge sees his death, it would eventually lead to the character having a changed personality at the end. 

Controlling the perception of space:

This lets two separate clips seem like they are together. It allows the audience to think that there is a seamless narrative. The use of shot reverse shot would control the perception of space. 

Rhythm Control:

The most obvious purpose for controlling rhythm is when you are making a trailer and you want to sync the visuals to the rhythm of the music, syncing to music would also be used for musicals and montages.

In films an average shot is 4 to 6 seconds, once the editor has established his average shot duration, the editor could then speed up or slow down the duration. Fast paced duration would mean that there is tension within the scene. Slow paced editing would mean that the scene is calm.

You can say that editing a scene is like a storm, if for example in an action film, if you were to build up to a fight scene, you would want to have slow place shots at the beginning, you can think of this like the calm before the storm. When the fight actually happens, the shots become faster, think of this part of the scene as the actual storm. Once the fight ends the shots to become longer again. A good example is from the film Psycho.

Whilst assessing rhythm control, I think that it is very effective for the purpose for film and television, the pace of the film is really important in film as it makes the scenes make sense to the audience, pace and create a range of reaction to the audience, it can provide suspense, surprise, drama and a whole array of different emotions, hence why I think that rhythm control very effective for the purpose of film and television. 

Functions of editing for film:

Creating motivation to further the narrative:

Motivated editing suspends the audience disbelief when watching a media product. Motivated editing is where shots are chosen to push the story along and make the audience believe what they are seeing. For example, if an actor enters a room the next shot could possibly the actor’s point of view, making them be more engaged in the film. 

By doing this, the audience gets more involved in what they’re watching, this makes the cuts  between shots less noticeable. 

Development of Drama: Developing drama depends on a few aspects like shots. Drama can be shown by cutting to a reaction shot. Long cuts can also develop drama to develop tension and create a sense of danger. 

Providing and withholding information:

Filmmakers use this method to decide when it is the right time for the audience to find things out. Providing information or withholding information can change the emotions of the characters. Alfred Hitchcock has given an example of a bomb under a table, if the information of the bomb is withheld, the audience is most likely be surprised. If the information about the bomb is provided, suspense could be added to the scene. 

This technique has to be done correctly otherwise the film would be terrible. Subtle clues can be sprinkled around the film just like in The Sixth Sense. 

Through evaluation, I believe that providing and withholding information is the most effective form of editing to create narrative, the option to withhold information has the ability of changing the reaction of the audience, it can create suspense or surprise which in my opinion is very powerful when trying to create narrative. When reviewing the development of drama, I believe that it is not as effective at creating narrative as the use of information, because it is only the reaction of the character, yes a narrative is created through reaction but the audience is hand fed the reaction. Similarly, I believe that motivated editing is less impactful than the use of information but more impactful than the development, this is because, in my eyes, motivated editing just editing so that scene and the actors movements make sense, therefore, I think that motivated editing is more impactful than the development of drama because it helps the audience understand the scene more but it doesn’t have the power to unexpectedly change emotion. 

Create continuity between shots:

Following the Action:

Following the action is self explanatory. The camera basically following what the character is doing. When following the action, a wide shot is used. Tighter shots are ineffective as the camera would have to be constantly moving to fully capture the range of action. Jittery shots have negative effects to the audience’s enjoyment of the film. This technique was developed over the years as multiple camera action was used. This was mostly used for genres which usually have fight scenes so that the audience can have a full view of the fight. 

Changing location:

A change of location is used in films to carry on the narrative, the specific locations which have been scouted out must have importance to the story. A simple cut can be used to show this however, it would be too jarring for the audience. There should be some signal to the audience when a location change is about to occur, transitions like wipes and dissolves are a much cleaner way to show a change location. 

Changing Time Frame:

Timeframes change because it is rare that a film represents real time. One television show called 24 has represented real time by making one episode represent an hour of the day. Situations like 24 don’t happen often so the changing timeframe would be essential to carry out the narrative. A typical film would have to squeeze a couple years into at least 2 hours. 

Changing time frame can also mean that time is extended, we can add this to the bomb under the table example, you can extend time (make it a bit slower) to increase tension. 

Time could also be sped up, for example, a fight scene could be shot in 22 frames per second, it is then sped up to 24 (standard framerate in films) so that the fight looks better.

After reviewing, the functions to create continuity, I am convinced that following action has more effect when creating continuity between shots, this is because following the action makes the movement of the character have purpose, it helps the audience to explicitly understand what the characters are doing and why they are doing it. On the other side the creation of continuity, changing the location seems to have the least impact of the three functions. The change of location could mean absolutely anything, the location could have some importance to the characters in the film or the director might have thought that the location looked nice, in terms of continuity between shots, I guess it could be effective when a character walks into another room making the cut between the scene seamless. In my opinion, I would argue that the changing of the time frame has less impact to continuity than following action because I see changes in time as a utility, the director would have to fit what could be 2 years in real life into feature length. 

Create audience reaction and engage the viewer:

creating suspense:

The ‘Master of Suspense’, Alfred Hitchcock famously called films ‘Slices of Cake’ and suspense is one of the best ways to offer audiences a fork and dig in.

Suspense is also information, showing the audience what the characters don’t see, Dramatic Irony. This can be shown be presenting danger at the beginning of the screen and then letting the whole scene play out, however, the main character must be unaware of the danger.

Creating pace:

Pace affects the way the audience views a film and makes them understand a film differently. A fast pace would usually be used in the action films, a car chase scene would be fast paced, therefore the edit would use quick, short shots. Pace in a drama would usually be slow so that the audience can fully understand the characters.

When discussing the functions to create audience reaction, I believe that both functions are equally as effective, and I still stand by this opinion. This is because, in my point of view, I think that suspense would need pace and pace can lead to suspense, however, if I were to choose which function has more effect in the audience’s reaction, I would choose suspense. From my perspective, I think that suspense is the ‘meat’ of the whole film, what is a film without suspense? A film without suspense would be nothing as the audience would feel nothing also. 

Create meaning:

Juxtaposition: 

Juxtaposition in film editing is the technique of combining two or more shots to evoke a state of mind or idea. A montage can be a juxtaposition of two shots, but commonly refers to the juxtaposition of multiple shots to depict an event often in stretched or condensed time. 

Juxtaposition can also create meaning, if two unrelated images are shown one after the other, it makes the audience work out what it means. This is called the ‘Kuleshov Effect’. 

Creating Empathy: 

Empathy is defined as the action of understanding, being sensitive to and experiencing somebody’s thoughts and feelings. This is a goal for a person who is making a film, you want your audience to live through the characters because most people are engaged by this. 

You can edit to create empathy in many different ways, the use of overlaying sound can be used to create empathy, an example is from The Godfather, the scene where Michael Corleone sits in a restaurant talking to the men who tried to kill his father, we just don’t hear the character talking, we hear the other people in the restaurant and the train in the background. The train builds tension in the scene and reflects Michael’s mind before he stands up, when the sound of the train is gone, the sound of gunshots are heard. 

Empathy can also created through the choices of using different shots in the edit, it is advised to create the same scene but using different shots, you might find something new through each edit. 

Creating bias: 

All documentaries are constructions and the viewer discovers the truth through the director’s choices, these choices basically represent the director’s views. 

Bias can be presented when the director doesn’t show information about the other side of the argument, this doesn’t let the audience think critically about their own opinion. Showing only one perspective would be making a documentary bias. 

[svenerd]

Serial Cleaners - Official Gameplay Demo | gamescom 2022

Serial Cleaners – Official Gameplay Demo | gamescom 2022

Serial Cleaners – Official Gameplay Demo | gamescom 2022 From mopping up gallons of blood to unclogging limbs from woodchippers, Serial Cleaners has you sweeping up crime scenes like Harvey Keitel in Pulp Fiction. #Gaming #SerialCleaners Ansehen auf YouTube

[warmshadcw]

A STUDY IN IRA EVANS ------CHARACTER PARALLELS

                  tw: abuse

steven crain (the haunting of hill house), large image: kicking it off with the obvious, as steven shares a face with ira (though cleaner cut and with shorter hair), the physical differences are some of the most obvious between the two. ira holds a great deal of denial in his life for the way he was treated by his father as a child, though much of it is simply a lack of realization that he was ever mentally / emotionally abused in the first place. ira and steve are both more realistic with their outlooks on life, and prefer to rationalize out the situation at hand than face the obvious facts, when presented them. like steve, ira is steadfast to those he cares for, though unlike steve he is not much of a public speaker.

spike spiegel (cowboy bebop), small image 1: the main character of the science fiction anime, spike is aloof and carefree with seemingly no care for the trivialities in life. he shares this trait with ira, who can come across as very disconnected from issues that one might insist the importance of. spike laughs in the face of dangerous situations, though can be quite serious if specific topics are broached, and ira holds much of the same attitude. like spike, ira was burned by a past love that’s lead him to be more disinterested and otherwise unengaged from the romance aspect of things. fortunately unlike spike, ira made it past 27 years of age.

tim gutterson (justified), small image 2: dry in sense of humor and top notch in sarcasm, tim gutterson and ira share their often monotone expressions and voice. tim is known for giving his 2 cents on a topic, usually some comical innuendo that is otherwise unexpected and fully shares this humor with ira. tim’s unflinching sense of worth with his particular skill set rivals ira’s knowledge of human anatomy with his work where ira never second-guesses his talents. the two also share a mutual dislike of their fathers, “ at least you got to shoot your father. mine had the nerve to die before i got back from basic with skills and a loaded weapon. ”

the wolf (pulp fiction), small image 3: the main inspiration for ira as a character, the wolf is cool, calm, collected and classy in his brief appearance in the film. no-nonsense and business-minded, the wolf is unflappable with his task to clean up the car marvin was killed in and get jules and vincent out of their jamb. 

will graham (hannibal), small image 4: sharing will graham’s dislike of social situations (and preference to be left the fuck alone, if given the choice) ira bears striking resemblances to the main character of the hannibal series in this vein. a genius in his own field (though less eclectic and troubled), ira admittedly took to the field he works in because of how little he would have to interact with the living. known for needing to charge his social battery before interactions, ira and will are one in the same when it comes to their lack of interest in others, notable in disappearing once that social battery hits 0 to retreat and relax.

raylan givens (justified), small image 5: the titular character of justified, the show tim gutterson also hails from, raylan is business-minded though doesn’t mind bending the rules to get his results. despite his station as a deputy us marshal, raylan is often operating in the land of the morally gray - which is where ira happily resides. while he may eventually be made to become involved in other people’s business, ira (like raylan) will have no issue in voicing his opinion or unwilling participation in the matter. it’s all the field of moral ambiguity.

vash the stampede (trigun), small image 6: to those that know ira, however, he can be light-hearted and goofy - much like the last entry. vash attempts to see the good in people and things (not an ira quality) but conducts himself in a way that suggests he’s attempting to enjoy himself despite it (a very ira quality). when pressing matters are concerned, vash straightens his attitude out and becomes a connoisseur of handling it swiftly and professionally, with as little involvement from outside sources as possible —a quality he shares with ira evans as well.