Imagine Sydney getting offered her own restaurant and she can have her dream spot and be in full control by a poacher because they want to work with her. The poacher sees all the great work that’s went into the Bear and they head about the dishes she’s made and they want Sydney, and Carmy hears about it.

Carmy and Sydney have that argument that is obviously being built up too and by the end it completely mirrors the “Sydney quitting scene”. Carmy is just angry that Sydney was going to walk out on him and all the work they’ve put in. (It’s shown in the freezer scene that the memory of Sydney quitting enrages him, if you look at the montage). So when he hears the inside scoop from someone else that Sydney is leaving, his eyes go bloodshot.

He ends up saying crazy shit like “If you want to leave, leave. I don’t need you. Just leave.”

And Sydney is confused (to mirror Carmy in the quitting scene) like “What? What? Leave?”

And Carmy is just doubling down and spiraling like Mikey, refusing to let her in, pushing her out. “Just leave, I don’t want you here. So go.”

And Sydney just looks so heartbroken as she collects her things but the silence is palpable. And Carmy is fuming and refuses to look at her like the last time. Later, he runs into the poacher/inside scoop person/whomever.

And they’re like “It’s wild how people work.”

And Carmy is quiet but refuses to acknowledge that he regrets what he said. And says something along the lines of “Sydney got what she wanted. Good for her.”

And the person is just like “such a shame though.”

“What’s a shame?”

“That she turned it down.”

“What?”

“Yeah, she said she didn’t want to leave. That she didn’t want the offer.”

And the whole world just collapses on Carmy because he realizes what he did and what he said to her.

I KNOW ITS ANGST! I know! Fic writers, is this something?

pathologic but it's a lost 1920s german expressionist film [id under cut]

[id:

image 1: a digital drawing of a fake poster, using bright colours and rough, painterly brushstrokes. the title, 'pest' (german for 'plague'), is written at the top in spiky black text. in the foreground a man dressed as a tragedian is staring intently at the viewer, his hands raised and splayed as if in horror. in the background, the town is framed against a red sky, with the polyhedron in yellow behind.

images 2 and 3: fake casting sheets for the film, with the names of the actors and the characters they are playing above a black-and-white portrait photograph of them. all the text is in german. in english it reads: 'Pest', a film by Robert Wiene Alfred Abel as Victor Kain Ernst Busch as Grief Lil Dagover as Katerina Saburova Ernst Deutsch as the Bachelor Carl de Vogt as Vlad the Younger Marlene Dietrich as the Inquisitor Willy Fritsch as Mark Immortell Alexander Granach as Andrey and Peter Stamatin Bernhard Goetzke as General Block Dolly Haas as the Changeling Ludwig Hartau as the Haruspex Brigitte Helm as Anna Angel Brigitte Horney as Maria Kaina Emil Jannings as Big Vlad Gerda Maurus as Yulia Lyuricheva Lothar Menhert as Georgiy Kain Asta Nielsen as Lara Ravel Ossi Oswalda as Eva Yan Fritz Rasp as Stanislas Rubin Conrad Veidt as Alexander Saburov and Tragedian Paul Wegener as Oyun Gertrud Welcker as Aspity

image 4: four digital sketches of set designs for various locations. all are strongly influenced by expressionist imagery, using extreme angles, warped perspective, and dramatic shapes. they are labelled 'street 1' (a street lined with houses), 'street 2' (a square with a lamppost and a set of steps), 'polyhedron exterior' (the polyhedron walkway), and 'cathedral interior' (the dais at the far end of the cathedral).

image 5: four digital drawings in a black-and-white watercolour style, showing fake stills from the film. all are similarly distorted and lit by dramatic lighting. the first shows katerina's bedroom, with katerina standing in the centre of the floor. the second shows the interior of an infected house. the third shows daniil staring out of the frame in horror, one hand on his head and the other raised as if to ward something off. the fourth shows an intertitle with jagged white text reading 'the first day' against a dark background.

end id.]

Crowley Of The Day: gorgeous 😍

(I used up all my hashtags that I couldn’t do my usual GO tags that I always do lol I don’t care)

I know everyone is reading into the characterisation brought by the masks in Glass Onion, but I love how these clues rely entirely on the audiences shared experiences and connotations made from living during covid. It makes the film so personal, I think.

Look if you thought I wasn’t going to love Lisa Frankenstein then I don’t know what kind of person you thought I was because that film right there. Exactly what I needed in my life.

Ancient wisdom: Do not sew that which can be super glued together

I am still laughing over Francis Crozier going "You could have just joined up" to Hickey explaining how he killed a man to get aboard the Franklin Expedition.

Let me tell you, they were advertising this Expedition everywhere. They announced that they were building a crew for the Expedition to the Arctic to find the Northwest Passage and they emphasised that they were taking anyone. And I mean Anyone. They were NOT in fact, looking to curate a specifically talented and adept crew of skilled individuals with particular niche talents. They were not looking to form a balanced and well tailored crew for this Expedition. They were taking anyone and everyone that would have signed up within reason especially if they had little to no family and especially if they did not have a wife.

This is why it was so lucrative for the time. Any bloke could have gotten aboard so long as they were (iirc) at least 15 years old. No background? No History? No Family? No Wife? You're in. We want you above anyone else. Doesn't matter.

So essentially Hickey killed a man for a ticket that he thought was exclusive after having a chat in the pub - but they were handing these out en-mass a la a million t-shirt cannons across all of London, Wales, Scotland and Ireland, desperate to scoop up a crew.

“I never want the audience to be too comfortable watching my films. At some point, I want the film to attack the audience, to make them think about what they’re seeing and how it relates or doesn’t relate to their own lives. I want them to be mentally engaged. Perhaps I just feel that nonlinear stories are more life-like in a way. Film watching is a very subjective experience. … As a viewer, it’s never something just about being only there at that very moment. It’s about that and other things at the same time. I think it’s a more accurate way of trying to talk about the human condition. That’s probably why I feel like telling more than one story at the same time in my films.”

the boy and the heron (how do you live?)

beth harmon + vasily borgov — an illicit affiar, ch 2

❝ beth liked to taunt. smoke offered vasily casual obscurity to indulge in her wicked games.

#31

Getting into a villain’s lair has never been so easy. The hero more or less just walked in—there’s no security, the place in plain view. She’s half expecting to find the villain already putting cuffs on his hands when she finds him in this maze.

She finally—finally—comes across another human being lingering at the end of one of the endless corridors. One of the villain’s henchmen.

He spots her before she can hide, and he throws her a welcoming smile. “Ah, [Hero], right?” His voice echoes slightly across the space. “[Villain]’s just the third door on your left. Can’t miss it.”

She doesn’t trust this in the slightest. She slowly shuffles towards him, cautious. “What, you’re just giving me your boss’s location?”

The henchman shrugs. “He wants to see you. Big fan and all.”

“... of me?” the hero asks disbelievingly. She’s finally close enough to him, and he leans forwards slightly, lowering his voice. 

“Look, he’s not really a villain,” he says quietly. He checks down the corridor nervously, ensuring the two of them are alone. “He’s a nice dude. It’s just his birthday, y’know? He wanted to pretend to be this big scary guy for his big day.”

The hero can’t believe this. “So I’m not… arresting him?”

“Oh, no, he wants to be arrested. That’s part of it,” The henchman snorts amusedly, “unless he whoops your ass, which I doubt he ever could. Let him have this for today, please? Just play along.”

“Fine,” the hero snaps shortly, and the henchman beams, “but if you’re saying this to try and get my guard down, it won’t work, okay? The moment I think he’s actually a threat he’s going down. You too.”

The henchman nods quickly. “Of course.” He gestures down the corridor next to him. “Third door to the left.”

She rolls her eyes in exasperation as she sets off past him. Hopefully this means today’s job is easy.

Avatar2 made me actually insane. I could while watching it see the threads of like ten really good interesting character stories within it that all kept getting smothered under James taking three hours to wobble around so many points that I don't even know WHAT narrative he wanted me to take other than a rehash of "ENVIRONMENTAL EXPLOITATION AND COLONIALISM BAD"

I'm losing my fucking mind. It's like he used state of the art stunning visuals and tech to make a supremely shitty movie of a really interesting 20 book long scifi novel series that doesn't exist.

The entire movie was a repeated process of me going "oh hey there is a lot really cool set up you have here for- ok yeah. Yes James I got it. Yeah James...James I got the devastation and cruelty of exploitation and consumption. Yeah I got it when you spent ten minutes showing animals set on fire by landing ships it wasn't subtle James. I got it the first ten times so if we redirect over - wait why are we doing this plot point again?? James you did that already what about- wait how long were they with this island culture anyway???"

-Plush of Mario✨

computer how do i stop feeling insecure on my writting so that can i write. computer please

Been on a movie binge today. Had a cry-filled nostalgic moment watching Suncoast, laughed a little watching Good Burger 2, finally watched Wonka, and ended up watching Anyone But You and I kinda loved it.

just saw one of the most braindead takes of my entire life