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#helene sweeney
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Burnt (2015) Daniel Brühl as Tony Balerdi
When someone *just* discovers the wonders of your Blorbo—e.g. an actor you've spent years worshipping—and you know EXACTLY what this obsession entails.
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ober-affen-geil · 8 months
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Part 4 of This Might Be It For Tony (1, 2, 3)
[Begin image description
All gifs are from Burnt (2015) and are of Tony Balerdi and Adam Jones, Helene is in the background. Tony is wearing a well-tailored navy suit with a matching tie and his hair is slicked back, Adam is wearing a white short sleeve t and black pants, and Helene is in chef's whites with her hair up in a bun. They are in Adam's hotel room, Tony having just delivered good news.
Gif 1: Tony glances from where Adam is sitting on the bed (out of frame) to Helene standing by the door (out of frame) and back, grinning expectantly. The camera cuts to Adam sitting on the bed with a neutral expression, looking at Tony. Without responding, he looks away towards the window. The camera cuts back to Tony who says "Hey, laugh or something!" His words are in white on the bottom.
Gif 2: Cut back to Adam on the bed, who slowly stands and walks towards Tony, still not reacting. The camera abruptly cuts to focus on Tony as Adam grabs Tony's face and kisses him on the mouth. Tony blinks once in shock and freezes with his eyes open, not moving. He is stunned.
Gif 3: Wide shot of Adam holding Tony with his hands cupped at his jaw as he kisses him. Tony is standing stiff with surprise and Adam is craning slightly to kiss him. Helene watches calmly from the side with her arms folded. Cut briefly to over Tony's shoulder, focus on Adam whose face is hidden behind Tony's head, then cut again to over Adam's shoulder, focus on Tony as Adam pulls back. Adam's hands are still cupping Tony's jaw and Tony looks only surprised for a moment before his brows knit in confusion, his eyes flicking between Adam's eyes and lips. He cannot process what just happened.
Gif 4: Cut to focus on Adam over Tony's shoulder, still holding Tony's face; he smiles at Tony with deep fondness, and lets his hands slide down to Tony's shoulders. The focus cuts to Tony over Adam's shoulder as Tony shifts on his feet a little, and Adam's hands slide off his shoulders. He licks his lips and looks at a loss for words.
Gif 5: Tony can't decide where to look, moving from Adam's chest to his eyes, down to his lips and to his eyes again. He is clearly flustered, and after a pause says "Thank you." He nods slightly and swallows, finally turning his head to look to the side. He hollows his cheeks and looks at the ceiling as if looking for inspiration on what to say. His words are written on the bottom in white.
Gif 6: Cut to Focus on Adam over Tony's shoulder. He is still smiling fondly, but as Tony starts to speak he makes a 'of course' face and looks to the side slightly, his hands moving to his hips. Tony, after a pause, is still looking to the side but brings his hand to his nose to rub in a considering, nervous tick. He says "The kitchen may be in good hands but, uh..." His words are in white along the bottom.
Gif 7: Cut to focus on Tony over Adam's shoulder as he continues speaking. He tries to look at Adam but can't seem to bring himself to, looks to Helene (out of frame) once before settling on the middle distance he started from. He says "Kaitlin can't handle the front of the house. She's got beautiful legs but, uh..." and pauses while shaking his head to himself. His words are on the bottom in white.
Gif 8: Tony finishes his sentence, turning out a little more towards Helene (out of frame) but not looking at her, and turns back towards Adam while nodding decisively. He tries to look him in the eyes but can't quite manage it, looking quickly away towards the window and licking his lips. On the bottom in white it reads "she's not very useful on the phone."
Gif 9: Focus on Adam over Tony's shoulder as Tony nods to himself and turns to move towards the door. Adam is still smiling fondly, and tracks Tony's movement with his head.
Gif 10: A wide shot, Adam in the background, as Tony walks over to Helene who standing with her arms crossed. He stops to speak to her and she listens attentively. The camera cuts halfway through to just the two of them, Helene nodding when Tony finishes with a small, genuine, smile. "Stay here and make sure this idiot doesn't have a concussion." is written in white along the bottom.
End description]
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alkaline-soda · 17 days
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Them but with…
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Smol Beans
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shiveagit · 1 year
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[It’s man devouring man my dear.  And who are we to deny it in here]
Donnie April and Mikey dress as Sweeney Todd
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atimburtonfan · 4 months
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Behind the scene of Sweeney Todd.
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shadessallow · 10 months
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WAS THAT A SWEENEY TODD REFERENCE?????
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retropopcult · 2 years
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“Total Bastard Airlines” (Saturday Night Live, 1994)
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bloodmaarked · 4 months
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➸ reading list
just added:
prophet, helen macdonald + sin blanché
our share of night, mariana enriquez
the sun and the void, gabriela romero-lacruz
a greek love: a novel of cuba, zoé valdés
the thursday murder club, richard osman
black england: a forgotten georgian history, gretchen gerzina
black people in the british empire, peter fryer
the end of men, christina sweeney-baird
the actor, chris macdonald
the black queen, jumata emill
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storywritergemini2009 · 10 months
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Sophia Lillis if she had to be in a movie with actors to play a family.
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maxluciani · 6 months
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MAX LUCIANI + THE LANGHAM FAMILY.
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THE QUEST FOR THE ULTIMATE MURDERGIRL
What is a murdergirl?
A murdergirl is a character who:
Is female
Either commits murder, commits attempted murder, or directly or indirectly causes a significant amount of otherwise avoidable death, e.g. by starting a war, or knowingly allowing a preventable disaster to happen
The fandom for the piece of media they're from absolutely does not know how to be normal about them. ("[x character] did nothing wrong" vs "[x character] is the literal devil" type arguments, for one example)
(with the murdergirls I also think the girlbossification of their actions is also a common element, such as replying to someone listing the character's crimes with "good for her <3" or "god forbid a woman do anything 😤". that's just a personal observation rather than a requirement though)
So what are we doing here?
Simple, silly! Having found tumblr's official Ultimate Murderboy (congrats again Guillermo), we're now running a tournament to find tumblr's ultimate murdergirl!
(Before you attack me for you your fave not making the list: the list was originally nearly 50 before I narrowed it down to the required 32. Turns out tumblr is absolutely full to bursting with female characters who kill people who no-one in their fandom is normal about. It was very very hard but I did my best to represent as wide a scope of media as possible while still making sure people who absolutely HAD to be there were there. Here's a link to the The Best Of The Rest poll, to see some of the murdergirls who ONLY JUST didn't make the cut.)
Just for fun:
Here is the server's unofficial official spotify playlist!
Okay, that's enough stalling, let's get down to business.
Round one:
Medea (Greek Mythology) vs Pink Diamond (Steven Universe)
Mapleshade (Warrior Cats) vs Morgana (Merlin)
Edelgard (Fire Emblem) vs Villanelle (Killing Eve)
Helen (The Magnus Archives) vs Mrs Lovett (Sweeney Todd)
Catra (She-Ra and the Princesses of Power) vs Carrie White (Carrie)
Grell Sutcliff (Black Butler) vs Harley Quinn (DC)
Missy/The Master (Doctor Who) vs Hollyleaf (Warrior Cats)
Circus Baby/Elizabeth Afton (FNAF) vs Tiffany Valentine (Child's Play)
Zira (The Lion King) vs Cersei Lannister (Game of Thrones)
Imperatrix (Yonderland) vs Tracy Barlow (Coronation Street)
Lady Macbeth (Macbeth) vs Junko Enoshima (Danganronpa)
Azula (ATLA) vs Nadja of Antipaxos (WWDITS)
Monika (Doki Doki Literature Club) vs Jennifer Check (Jennifer's Body)
Vriska (Homestuck) vs Misa Amane (Death Note)
Grace Monroe (Infinity Train) vs Starlight Glimmer (My Little Pony)
GLaDOS (Portal) vs Cheryl Blossom (Riverdale)
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lumpsbumpsandwhumps · 3 months
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could you name a few yandere horror movies that have the slasher x final girl trope please
you said there's not a lot but i'm dying for reccs
SLIGHT SPOLIERS FOR THESE MOVIES but also almost all of them are like 10+ years old so--
Killer Actually In Love With Final Girl:
Texas Chainsaw Massacre 2 (1986)
Valentine (2001)
The Boy (2016)
Halloween Ends (2022)
Piggy (2022)
Phantom of the Opera (2004) ((yeah maybe he's not a slasher but he does kill/attempt to kill like 10 ppl so))
Killer Obsessed With Final Girl:
Halloween (1978)
Halloween (2007) ((familial yandere, not romantic))
Friday The 13th (2009) ((also familial yandere))
Candyman (1992) ((could be argued that he's actually in love with Helen too))
Prom Night (2008)
Final Girl With Stockholm Syndrome:
The Collection (2012) ((okay technically she's not a final girl but she's still a girl who the killer liked enough))
The Poughkeepsie Tapes (2007)
If You Squint Hard Enough Lmao:
Behind The Mask: The Rise of Leslie Vernon (2006)
Hellbound: Hellraiser 2 (1988) ((I mean, Pinhead and Kristy to end up being together in the most recent comics soooooo))
My Bloody Valentine (1981 or 2009) ((and yes, they both actually have different plots and killers!))
Prey (2022) ((I will die on that hill about the bear scene))
Honorable Mentions (not necessarily slasher x final girl, but still a killer in love romantically or platonically):
Misery (1990)
American Mary (2012)
Megan (2022)
Child's Play (2019)
May (2002)
Sweeney Todd (2007)
Crimson Peak (2015)
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alkaline-soda · 2 years
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An updated version
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gshsjdkdoid · 27 days
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Fictional characters that I would absolutely destroy:
. Stephen Stotch
. Helen Tweak
. Laura Tucker
. Mettaton EX
. Pollution from Good Omens
. Crowley
. Grantaire
. Enjolras
. Joly
. Combeferre
. Inspector Javert
. Edward Hyde from the MazM game
. Sweeney Todd
. Probably Mrs Lovett
. Tony the talking clock
. Stanford Pines
. Bill Cipher(triangle form only)
. The Narrator from TSP
. Joe Gargery(I'll show him how it's done🥴)
. Bob Velseb
. Streber
. Kevin
. Dexter
. Frank-N-Furter
Of course this list is incomplete but if I made it complete I would waste my whole day. I hope y'all liked this little taste of purgatory.
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shcherbatskya · 2 months
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do you think helen shaw of the new yorker has an email… i want to know what that woman thinks of mr. tveit’s sweeney if she thought that josh groban “couldn’t menace a mouse”…
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hosseinis · 5 months
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boyd/raylan 19 :) :)
send me an ask with a ship/fandom + a number from 1 through 100 and i will write a small ficlet (100 words or more) based on the song at that ranking 
#19: Poor Thing from Sweeney Todd cw warnings for alcohol use, vomiting, and heavily implied non-consensual drugging
There ain’t a lot of parties around Harlan, or at least as far as Raylan’s concerned.
Parties are for the college kids who drink too much rum and cokes around town, who snort cocaine off their parents’ credit cards and drink whole bottles of vodka to get into their fraternities so they can wear letter jackets and act like they’re better than everyone else. Harlan boys are better than everyone else, in different ways than they’d have you believe. They throw parties with moonshine and weed and shotguns.
Raylan doesn’t care for it all that much, though he goes when he gets an invite. He’s college age, even if he isn’t actually in college, and it isn’t like he’s against the idea. It’s that going down into the hole when you’re hungover is a bad time, and Raylan’s not keen on having a mine come down on his head because he was too busy trying to remember how much he drank the night before. Arlo don’t seem to care either way whether Raylan comes home drunk, depends on his mood most days, but Aunt Helen’s definitely tanned his hide once or twice for being irresponsible.
He can handle his liquor, though, and when a few of the other boys from around town invite him over for a bonfire—which means something else entirely in their part of the country than most others—he figures aw, what the hell. It’s been a while since. He can have some fun, pace himself, and maybe even get laid if he’s really of the mind to do so.
It’s two drinks in, though, that he realizes something might be wrong. He can handle his liquor. He’s a Harlan boy, and a Givens on top of that, but the two beers and the shots of moonshine seem to be taking a quicker toll than they’re supposed to. His stomach is doing all sorts of somersaults when they ain’t supposed to for at least another hour. He looks at his near empty bottle and takes a deep, steadying breath.
“Everything alright, Givens?” It’s one of the boys that he’d gone to high school with. There’s a gleam in his eye that Raylan doesn’t like. He’s got good sense, and good instincts, and there’s something predatory in his expression. He looks like Raylan’s sudden intoxication isn’t a surprise to him in the slightest.
Raylan squints back down at his bottle, eyebrows coming together. Had it tasted off?
Ah, fuck.
“M’fine,” Raylan says, though it comes out almost as one word. He tries to move away, but stumbles over his own feet somehow. Raylan’s not a stumbling kind of person, he likes to keep a tight hold of his faculties as often as he can. Things are dangerous in Harlan, and Raylan doesn’t have a gun on him. He’s actually not sure he’d be able to shoot it, anyway.
“Whoa, Givens,” the other boy says easily, moving forward to grab him by the wrist. His hand is too big and too warm, and Raylan wrenches it away with a frown. “It’s alright, boy, relax. Just tryin’ to help. You look like you’ve had too much to drink. You want us to help you inside?”
“No,” Raylan says immediately, moving back again. A fucked up little dance. He moves back, the others move forward. “No, I don’t.”
That last little step ends up being too much for him. His knee buckles, head swooping hard with such a sudden wave of dizziness that he’s worried he may actually pass out. He makes a little grunting noise that he’s not sure is loud enough to scare off his pursuers, but at the last second someone snatches him hard around the waist, hoisting him back up onto his feet.
Raylan panics, throwing an arm out feebly to try and push the new person away, but they take his wrist as easily as if they were going to shake his hand and wrap it over their own shoulders instead.
“Easy now, Raylan.”
Oh.
He squints, the world still pulsing and squishing together.
“Boyd…?” Raylan slurs, staring up at him, but Boyd’s not returning the gaze. Instead he’s looking straight ahead, an easy smile on his face. His cheeks are a rosy red color, but his eyes are clear and his voice is steady and even. Boyd’s pretty good at holding his alcohol, but then that must come with being a Crowder.
That’s a bit mean, actually, Raylan thinks for some reason.
Upon closer inspection, though, he can see the way the skin has tightened around Boyd’s eyes, the way he flashes that beautiful smile at whoever he’s looking at like he’s actually baring his teeth. Back off, it says. I’m warning you. It’s a tiger circling its cage, knowing the keeper’s not paying proper attention. It’s a hawk sitting on a branch, waiting for the mouse to leave its den because it thinks everything’s safe.
“No one invited you to this conversation, Crowder,” one of the other boys says.
His tone is low and dangerous. As if that could somehow scare Boyd away. What a thought. Boyd ain’t scared of nothing, last Raylan checked. Except maybe his Daddy. Sometimes it’s hard to tell.
“Well,” Boyd says, his tone casual, “I reckon where the welfare of Raylan Givens is concerned, I am most unfortunately inclined to insert myself into the conversation regardless.”
Raylan’s stomach turns out of nowhere, and he very well thinks he may throw up if Boyd doesn’t get him somewhere to do so in the next few minutes. The world is spinning, a carousel of nausea and heaviness, and he mumbles Boyd’s name as loud as he’s able without burping up bile. He feels sick. Too sick. There really must’ve been something in his drink.
“We were just talking,” the boy says, and Raylan clutches at Boyd’s flannel, bending over as the weight of his nausea almost becomes too much to stand. “Ain’t gotta worry about it. We’ll take care of him if he needs.”
“Actually, I plan on returning Raylan to his house myself, where he’ll undoubtedly be sleeping off this eventful night,” Boyd says sweetly, hoisting Raylan more securely against his side like it’s nothing at all to do so. “But your good will is much appreciated, friend.”
Raylan can hear the undertone as clear as day. One of Boyd’s talents is acting a good Southern boy and using good Southern boy manners, while also making it entirely clear that he’s issuing a threat. And when Boyd issues a threat, he’ll make good on it if it’s not heeded.
Not waiting for an answer, Boyd huffs and settles Raylan once more against his side before starting to move him away. Boyd’s lean but he’s got plenty of muscle to spare for a nineteen year old, and he has to all but drag Raylan towards his truck. Raylan can’t really see or hear much of anything at the moment, but he has enough sense to smack the back of Boyd’s head a few times to warn him.
Without a word, Boyd drags him around the truck and carefully bends him over until Raylan’s head’s between his knees. At the soft, gentle rubbing between his shoulder blades, Raylan finally pukes. It tastes awful, beer and moonshine and the sooty aftertaste of standing too close to a fire. He throws one hand out against the truck to steady himself and manages to ride out a second wave of vomit. It makes an awful splashing noise against the dirt, and he’s almost afraid some of it got onto Boyd’s boots.
“Sorry,” he whispers, and burps. It nearly brings up more puke. “Dunno what happened.”
“I do,” Boyd says calmly, and takes Raylan’s hand to tug him towards the passenger side. “But we will be talking about it when you’re not standing on the precipice of vomiting the entire week’s worth of meals.”
“Why you always gotta talk so weird,” Raylan groans.
Boyd just chuckles quietly and helps him into the truck. Raylan doesn’t remember much of the ride, and he’s half convinced that he’s going to wake up in the Crowder house. That’s a nightmare in and of itself, and he’s not looking forward to it, but when Boyd slows the truck to a stop and puts it in park, Raylan can see the white siding of his own house instead.
“Aw, hell,” he whispers, his forehead against the cool glass of the window. “Arlo’s gonna kick my ass.”
“He ain’t here,” Boyd says, and gets out of the car. “Johnny said he was at the bar again.”
Well, that’s a relief, at least. He manages to drag himself off the door long enough for Boyd to get him back out of the truck without him toppling into the dirt driveway, but his legs don’t want to work. It takes him a minute to get himself steady, and once he’s not in danger of passing out, he nods.
Boyd just wraps an arm around his waist again, and Raylan’s too exhausted and sick to protest. It’s kind of nice, really, to have the added support.
Aunt Helen answers the door, and Raylan doesn’t have to be sober to know the look on her face could melt iron. She must be piss mad, because he can feel it coming off her. No doubt she can smell the smoke and alcohol. He didn’t tell her where he was going, but it must be clear enough. He’s so fucked.
“Sorry to impose, ma’am,” Boyd says politely, and his fingers tighten against Raylan’s side. Don’t say anything, the grip warns. “But Raylan and I were sampling some of my cousin Johnny’s wares— at his insistence—and I think he gave Raylan a bit more than he could tolerate. May I take him to bed?”
There’s a pause while Aunt Helen must be taking that in, and then there’s a soft sound as she moves aside.
“Thanks for getting him home in one piece, Boyd,” she says stiffly, and Raylan feels himself get hitched up again. He’s gonna hear it in the morning, no doubt.
Boyd somehow manages to coax Raylan up the stairs, which is a feat given that Raylan’s still not entirely sure his brain ain’t leaking out of his ears. But once he gets himself onto his bed, he realizes what a good idea it was. He could fall asleep right now, with the gentle pressure of Boyd tugging his boots off and working him under his Mama’s quilt.
“Boyd,” Raylan finally says, eyes fluttering and voice slow and stupid. “Thank you. Didn’t have to do all that.”
There’s a long pause, and then Raylan feels lips against his forehead. There’s a warm hand on the top of Raylan’s head, so soothing that he leans into it like a cat.
“Yes I did,” Boyd says quietly. “Now go to sleep, Raylan.”
He must’ve already been asleep, though, because that couldn’t have possibly been anything but a dream.
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