#the movie is diehard

[mcytadventevent]

@cuterrguy is creating for Day Nineteen!

Prompt: Traditions

His piece is drawn, featuring Martyn and Ren!

Credit links:

https://www.tumblr.com/cuterrguy

https://bsky.app/profile/antowoknee.bsky.social

https://youtube.com/@antowoknee?si=7_LPdmJYOWZW3Eqw

[flowery-laser-blasts]

"Using packaging tape like that is pretty nifty though!" "Don't start getting ideas for missions, Stoppable." Enjoy some cozy movie binging! :) If you haven't watched Die Hard yet, go watch it now! It's a classic!

[twicearoundthebend]

Okay so this makes perfect sense in my head but idk if anyone else thinks like this-

In the books, it’s Legolas x Gimli all the way. They’re in love and their round the world trip is clearly their honeymoon. It’s the classic enemies to lovers, rivalry to teamwork (while still making it a competition), Romeo and Juliet but gay and happy.

But! In the movies I very much understand the Legolas x Aragorn vibes. Like- their banter? Top tier. How quick Legolas is to defend Aragorn? That’s his husband. The poster child of best friends to lovers relationships.

Also- the two ships have very different vibes, but I appreciate both. Legolas/Gimli is all about the slow burn, watching their relationship develop from rivalry into companionship, and what that means in relation to their cultures. But Legolas/Aragorn start out close already, and that bond really raises the stakes in dramatic moments

[toruandmidori]

Looking for a super simple halloween costume that also doubles as an ugly Christmas sweater? Get in here!

Get festively frugal with our hand drawn replica of that iconic sweater from everyone’s second favourite Christmas movie - Die Hard. 

Makes an easy trick or treat costume and great holiday gifts for movie fans. 

Buy online here.

[magpod-confessions]

Hi there…. I sent an ask a bit ago and wanted to share my son’s opinion on “The Magnus Protocol”….. he seems to enjoy it. He keeps going on about things I don’t really understand (What is “Dyhard?” I swear this kid is just making up words to mess with me 😂) He also really likes this “Mr. Bonzo” character. I don’t quite get it, but I guess that just goes to show that we all have different opinions! 🙂

.

[reiverreturns]

two glasses of wine in and i'm prepared to say with gusto that if you locked me in a room with the writers i could fix every problem the twisters script has within half an hour

[modernspellsword]

"I'd sick my rubber ducky on the terrorists from die hard." Annalise said casually.

[vonlipvig]

gonna watch cabaret tonight!

[flowery-laser-blasts]

Probably Drakken being the only one in the audience:

[seilon]

finished watching fight club for the first time for film analysis class and can I just say. what the fuck

[aroaceinthestreets]

AroAce at the Movies: Violent Night

I had an aroace moment while watching Violent Night with my parents.

The story opens with a divorced? separated? estranged couple and their daughter going to see dad's insanely rich family Christmas. Amidst all the other set up for the movie there's a scene where the daughter tells Santa that what she really wants for Christmas is for her parents to make up. And she's a cute little kid so right away you know the movie is going to end with the parents getting back together and giving things another go.

Now, I'm not inherently opposed to this happening, but to pull this off a movie needs to give me a good reason why a couple is getting back together that is not Well, it'll make our kid happy. No. If they were ready to call it quits despite the kid before, there needs to be a good reason why both parties believe that the thing causing tension in the relationship before won't be a problem anymore or will get better.

What's causing tension in this relationship you might ask. Well dad's rich family are all very terrible people and husband's kind-of a terrible person when he's around them. Wife wants him to cut ties with them and stop sucking up to his terrible mother in a vain attempt to be named heir over his terrible sister.

So surely, when the couple later starts making out in the snow surrounded by dead and battered home invaders, that concern has been at least partially addressed right?

No. Not even a little bit. The previous scene with this couple was a reveal that the husband had stolen 300 million dollars from his mother (who had stolen it from the US military) and had planned to leave the family mansion with his wife, daughter, and money in the middle of the night, leaving his mother a taunting note to unwrap in her present on Christmas morning. Needless to say, the wife was not pleased with this.

When I complained about this my parents told me Well, dangerous situations bring people together. They explain well it in Speed.

And I gotta say, I didn't buy that when they did it in Speed either. Is this just a thing that danger charges people up? I would think that immediately after surviving a terrorist attack or a home invasion hooking up with the other people who have just been traumatized would be the last thing on my mind. In fact that seems like the worst possible moment to start a new relationship. Is this a real thing or something the allos made up for the movies? I understand feeling close to someone after a shared experience but why would shared trauma automatically translate into romantic/sexual feelings?

[blindrapture]

june 25th.

so the Tally Mark logs are done, and the narrative resumes. we're now in the next story arc, we're entering the Exodus arc. this will bring us all the way up to Act 2, the part what I'm all excited for. but there will be moments even in this arc that I'm excited for too!

do I feel like rambling right now. not really. it's been a toasty warm series of days and I hate it. I could say something about the slender man again, getting into the actual, like, devices and influences. or I could say something about how, like, Rapture may have started out as a story with an "unrealistic" protagonist who seems to make choices that heighten the excitement of the narrative (go walking out into the rabbit holes!), only to then rather swiftly "devolve" into repetitive urges-based "spend days milling about one general area." that is a contrast I am aware of, and I just want to point out that it isn't inconsistent, it is characterisation. Jordan acts as the context drives him. but frankly, my readers probably already figured that out and did not observe this as something needing an explanation. we're now in a pretty square "mill about a general area" territory. arguably the second major iteration of this theme. just. pointing that out.

I could also say something about how, like. this arc still adheres to the "roman a clef" nature of Act 1. the goal is to get the hell out of England. the summer of 2011 did have that same goal for me in real life. I didn't get out until around August in real life and pulled it back to June for Rapture for some reason, but I did write this arc towards the end of July, so it was still appropriate. like the fiction, I fled England without my family, at age sixteen. I still have a tendency to view this action as "running away." I ran away from home. the original act 2 was written in my new location. and it didn't.. work out. actually rather traumatically did not work out. and so the original act 2 got dark, because I was not in the right position to write it. I elected to dump the "roman a clef" consideration for future acts, diverging fictional Jordan's arc from my own. and the core of what I did in rewriting act 2 this year was commit to that more, remove the roman a clef from act 2 as well. though there's still elements in there, they are handled much more fictionally now and are no longer jarring in unintended ways.

because, like. while rapture dropped the "roman a clef," it still engaged with the self-insert as a fictional thing. act 1 is honestly fine in this regard. act 1 is many many things, all of which are rooted in a transition. metatextually, it's the transition from a Jordan rooted in real life into a Jordan engaged in the fictional world around him. so it makes sense for its original plot to remain and just receive some polishing, fine-tuning, cleanup. which it did.

I will do another ramble about this sometime early in act 2.

the great internet personality Film Crit Hulk once said, as a piece of critical writing advice, "DON'T WORK OUT YOUR OWN PSYCHOLOGICAL PROBLEMS ON THE AUDIENCE'S FIFTEEN BUCKS." I can't actually definitely say I disagree with his point, but it is safe to say I undercut it in the spirit of nuance. and anyway I thought it would be funny to leave this post on that quote.

see you tomorrow.

[carlocarrasco]

If you enjoyed the game Die Hard Arcade, then you must watch this in-depth retro gaming video.

Watch the video from start to finish.

[houseofhurricane]

games without frontiers

Summary: Azriel and Eris, in the Autumn Court at the winter solstice. But who has the knife?

Pairing: Azris

Word Count: 15,460

This fic is a gift, with so much love, for @iftheshoef1tz as part of the @acotargiftexchange​— though I have to say, who thought it was a to write Azris for my favorite Azris writer in the fandom, who also happens to be a good friend and the person you talk about writing with? Kidding aside, this fic is so much less than what you deserve, but I hope you enjoy it anyway 🧡

Thank you to @poisonivy206 for the beta! All mistakes, as always, are my own.

You can read this fic on Archive of Our Own.

“I need eyes in the Autumn Court,” Rhys says, a few weeks before the winter solstice.

Azriel had come to give his report on the latest dealings in the continent—bleak, as they have been for months—but Rhys had spoken as soon as he’d crossed the threshold.

Outside, snow falls thick on the gardens of the river estate, and Azriel considers the situation, his first recommendations, trying to keep his own guilt from his posture. He’s spent years trying to get his spies into the Autumn Court, but something has changed since the battles with Hybern that have made entry all but impossible. The corpses left after his latest attempt make regular appearances in his nightmares.

“You know how tightly they’re warded,” he says finally, flexing his hands. The shadows writhe at his elbow.

“I thought we could send Gwyn for their solstice celebration.” Rhys’ voice is too light, as if he wants Azriel to think he’s considering only the twelve days of excessive, fussy revels for which the Autumn Court is known.

Though Rhys must know what it would mean to send her, why Azriel’s Siphons flash cobalt as soon as the words are spoken. That he would never send the priestess he rescued from Hybern into such a pit of vipers, no matter her success in the Blood Rite. He cannot allow it. Not after what they did to Mor. Not after what happened to the last spies.

The words are a trap.

Two years ago, Azriel never would have suspected this of Rhys. Even as spymaster of the Night Court, Azriel believed in Rhys’ general goodness. Then came the moment with Elain at solstice, Rhys’ censure. He began to think of the blood he’d spilled in the dungeons of the Hewn City, the Court of Nightmares left to fester in the dark. The monsters howling beneath all of it. Everything a swirl of dark inside his mind, so that when the war came, Azriel was happy to throw himself into it, to think of nothing but strategy and steel and blood until something like clarity returned.

“Eris can’t give us what we need?” he asks, trying to evade the pull of this new mission. In spite of everything, the winter solstice has always been special to them, the Court of Dreams, a few days when everything else fell away and they were simply a family.

“He says he’s being watched.” 

Rhys isn’t lying, exactly, but he’s concealing something. Which means what’s happening at the Autumn Court is vital for reasons Rhys doesn’t yet want to reveal.

Or, of course, he’s newly concerned about the possibility that Eris could turn on them. In spite of the information he’s managed to pass to Rhys, there’s always the danger that Beron or Koschei could bring him over to their side.

Though, even considering the disaster of such a betrayal, Azriel wouldn’t mind putting his dagger through the column of the Heir of Autumn’s pale throat. Even if, now, that dagger isn’t Truth-Teller. His aim is still impeccable.

“What do you need, brother?” He sees Rhys’ eyes widen slightly at the phrase, knows he understands the weight of it. Azriel has never been like Cassian, comfortable with spoken affection or touch. But in spite of everything, he would still die for Rhys, his friend and High Lord, the person who first rescued him from darkness.

“I need you in the Autumn Court, then,” Rhys says, and there’s no light in those violet eyes, only grim determination. He’s not sure if he has ever seen that look on Rhys’ face before, even when the fight against Hybern looked most hopeless.

So Azriel does not think about the implications, about his place in the Night Court, about a solstice ruined. Instead, he nods, accepts his fate.

Read the rest on AO3.

[nicohischier]

finally started star wars (started w ep iv bc. there was too much reasoning behind the other methods). immediately realized i didn’t adequately prepare myself for the 1977 cgi

[michaelholdenenjoyer]

WHO THE FLIPPP HAS JUST SEEN THE NEW BEETLEJUICE TRAILER OH MY FLIP GANG