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#no forgiveness for this man

thegranddewru · 3 months

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Solomon Lauter is an absolute asshole and a shit dad, and I 100% believe he uses his tracking of Steph's phone for unkind purposes. But, they also live in Hatchetfield, where people go missing every day. Which makes me think I can understand the temptation to track your kid's phone.

#not saying it's okay to do secretively #no forgiveness for this man #but i love when things are wibbly wobbly and shit heads still #sometimes have good intentions in some things #like real life humans are complicated and so I find it fun #when characters are #hatchetfield #solomon lauter #stephanie lauter #nerdy prudes must die #i would be having a conversation with my kids #and they would be tracking me too #you never know when you could end up in sheila young's dungeon or something!

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dykealloy · 8 months

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how does shanks manage to have some kind of sexual tension with every warlord in the sea whilst also having practically zero screen time. ramona-esque dilf of the east blue. luffy wants to be king of the pirates but is stuck sailing through the several deadly seas of his dad's evil exes. they see the straw hat and it activates their fight reflex. half-convinced that shanks gave it away with full knowledge of this

#one piece #son. return my hat after you've defeated my several evil exes #how does one man have so much divorced energy with so many people while also not being present to give this context #monkey d. luffy vs. the world #yeah im still watching the anime #forgive thy sins of weeb posting #opla #shanks #red haired shanks #mishanks #shuggy #CJ's op watch-through

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idolomantises · 6 months

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I’ve said this before, but I always found stories that frame heaven as “evil” and hell as “good” (or less bad) to be genuinely boring. I like more nuanced approaches to each realm.

I understand that for a lot of people, Christianity is a religion they like to criticize and mock, but I feel like if you don’t even understand the fundamentals of the religion, why even attempt to critique it?

#txt #an Angel wouldn’t be happy with mass genocide or abuse unless they convinced themselves there was a righteous reason for it #and more importantly. forgiveness and redemption is a huge part of Christianity #like as a queer person myself I get annoyed when queer writers pull the ‘well Christian’s oppressed us so we can do what we want’ card like #alright man. if you want to criticize the religion I am completely behind you #but if you’re going to heavily mischaracterized christianity to make it a black and white ‘evil’ religion. you look dumb

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la-pheacienne · 2 months

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I'm reading the lord of the rings and I'm once again amazed at how... good most characters are. Like, they are genuinely good people. They are a bunch of kindhearted, gracious, caring people, coming together under adverse circumstances and trying to figure things out and find a solution and support each other through it all. Like Frodo and Sam meet Faramir and Faramir is a bit suspicious at first and kind of implies Frodo may be a spy, and then when he hears his story and he's like Frodo, I pressed you so hard at first. Forgive me! It was unwise in such an hour and place. And this blows.my.mind. He wasn't even particularly mean or threatening to him in the beginning, he's just such a kind, considerate man, recognizing the kindness and honesty of another man. And they're all like that. Even Gollum starts slowly changing (for a short while) when he encounters Frodo because that's the thing about kindness and humility and grace, they are contagious. They transform people, even a creature like Gollum cannot be immune to that. Like, you may consider all this simple and basic and I get it but, hear me out. It is quite rare to see that in modern media and it is also pretty difficult to pull off in a way that is not corny and simplistic. It is mind blowing that you actually don't have to present the entire palette of human cruelty and vice in order to tell a compelling story, contrary to popular belief. Lotr does the exact opposite, and it is just beautiful and it warms my heart. Especially taking into consideration tolkien's pretty grim growing-up experience, him being a double orphan without a home, raised between an orphanage and a priest and having no family apart from his brother and then the war and then he almost dies and then he's poor as hell and then a second war and it all makes sense somehow. He writes to his wife who is also an orphan two days before the marriage "the next few years will bring us joy and content and love and sweetness such as could not be if we hadn't first been two homeless children and had found one another after long waiting" and, yes, yes! The love and sweetness just radiate from his work, the entire lotr series is a little radiant bubble of hope and love and grace that he imagined in his head to deal with a dismal reality and then he just gave that to the world, and isn't that what imagination and art is all about after all?

#i literally wrote this because faramir said 'forgive me'#like that was the inspiration here #terminal brain damage don't mind me #BUT #i have a point #i do!#i am cringe but i am free #i love these books so much #i love this man so much #lotr #the two towers #frodo baggins #faramir #gollum #the lord of the rings #aspa rambles #tolkien #aspa reads tolkien

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the-phantom-peach · 11 days

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I saw ur Tp fanart and it made me wonder

Idk man teenage Colin gettin a big hug from his big bro Adult Tp link

can i tell you about the hard reset my brain did when i first read your ask some time ago and how the exact same thing happened when i read it again to respond to it (i mean this positively i love these two so very much you don’t understand).

So here it is. I’m normal and didn’t spend an hour on this yeah

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croziers-compass · 6 months

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Like to kiss that old man. Reblog to break his hips.

#the terror #francis crozier #fuck that old man friday #john lynch #forgive me you're pulled into this

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whaliiwatching · 10 months

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diagnoses u with fanfic tags

yeah i caved. welcome spideysona

their universe is 1990s san francisco. by day they work as a struggling writer for the bugle, sort of following in the footsteps of (movie-adjacent) eddie brock; by night they’re spider-scrawl, fighting systemic injustice, writers’ block, and the occasional mad scientist invention. his world is less rife with supernatural evils than most, but he’s also fucking with the government and corporations and all, so it balances out

their unique thing is that they have, like, shitty meta clairvoyance in the form of inherently understanding tropes, clichés, story structure, etc. like if cinemasins/wins were a superhero. they were approached to join the society because miguel thought they’d be chill or even helpful with canon events—unfortunately scribble here is not whatsoever into following rigid plot structure for the sake of unnecessary thematic suffering, saw the plot twist a miles away, and peaced. but not before snagging a day pass so they could watch atsv in person

they never take off their mask, and no one knows their name—he says it’s because he doesn’t want to lose his identity in a sea of spider-people, leading most to theorize that san-fran-spidey is some flavor of peter parker, but who’s to say for sure? the doylist reason, which he is in fact aware of, is that i don’t know either lol

#spider man: across the spiderverse #spidersona #spider scrawl #spider punk #spider noir #hobie brown #noirpunk #just a tad ;)#brass tacks means facts!#haha do you get it miles like a mile away but miles was the one wh—#so anyway sona shit #eddie in their universe has left the bugle for better things (read: got fired movie style)#still a bangin journalist tho and scrawl aspires to be like him #their deadpool is just as meta as them. they’re buddies #usually i’m not one for sonas but this was fun #static and colors inspired by that can u ever forgive me movie from 2018 #scrawl puts on the mask to feel more confident about fighting the system #hopin & prayin it’ll do the same for me :’)

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kaybaeisgay · 1 year

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no but really let’s talk about the dynamic between the older gen spideys vs young gen spideys for a moment, because it’s really got me fucked up.

miguel and all the older gen spideys seem so entirely accepting of all these “canon compliant” rules, because those rules absolutely validate the trauma that every one of them has gone through. the idea of “oh our pain had a reason, oh our heartbreak was for something after all” is a VERY powerful notion that—understandably—they welcome with open arms because they have already lived it.

but the younger gen spideys…. yes, most of them have bought into miguel’s logic for most of the movie, because of course you’re going to listen to the 1,000,000 adults all telling you the same thing when you’re fucking fifteen and desperate for any semblance of mentorship. and it sure does make a lot more sense when you yourself have also experienced a similar trauma to all the others.

but that’s exactly it, isn’t it? they’ve all experienced the same trauma—

that miles and pav have not.

so, no. actually, fuck your rules. and really, fuck your demands that i must suffer what you suffered just because you cannot accept me without it. and good on miles for saying it—good for all of the spideys who realized he was right—realized he was asking all the right questions instead of drawing all the wrong conclusions.

(yet. for all my anger i feel towards the older gen for pressuring him in that way….i also understand why they cling so desperately to these stupid “canon” rules. because, if miles can manage to resist it—if he or gwen or pav can escape what they never could—then suddenly, they have to ask the question of:

“what didn’t i do right?”

and

“was all that pain really for nothing?”

and accepting your life after having to ask those questions instantly becomes much more difficult.)

#and isn’t that all the perfect representation of the divide between generations in reality?#anyways fuck miguel #miguel hater to the day i die #not bc he’s a bad person #just because he was mean af to my baby boy miles and i will never forgive that #spider man across the spiderverse spoilers #spider-man atsv spoilers #miles morales #gwen stacy #pavitr prabhakar #hobie brown

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youngpettyqueen · 5 months

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I love Garak rolling his eyes at Julian's flirting with women in Our Man Bashir because I truly believe that if Julian started laying those moves on him, Garak would explode

#star trek: ds9 #elim garak #julian bashir #otp: I need to know that someone forgives me #yes im watching Our Man Bashir again dont look at me

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flanaganfilm · 2 years

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Good day Mr Flanagan. please what does "the rest is confetti" mean to you and in the context it was used in hill house??

Okay, here we go. Buckle up for a long read.

To answer this, I've got to explain a little bit about what was happening and where I was when I sat down to write episode 10 of The Haunting of Hill House.

Hill House was not a fun shoot. The picture above is from very early in production, when I was still chubby and happy.

It was my first foray into television. I was absolutely terrified that I'd mess it up. So I'd opted to direct all of the episodes myself, figuring that - if nothing else - I'd have no one else to blame if it went south.

It was the most grueling professional experience of my career. The shoot was by no means a smooth one, every day was an uphill battle from a budgetary perspective, and between the three giant production entities involved with the production, I spent a lot of time fighting over the creative and logistical elements of the series.

I began losing weight. I was smoking two packs of cigarettes a day.

By the end of the shoot, I had dropped almost 40 lbs.

I was very depressed. Every day was a battle, and for the first time in my career, I wasn't excited to go to work in the morning. We were fighting for basic resources, fighting for the show we wanted, and even fighting amongst ourselves by the end. It was grueling.

We hadn't written all of the scripts when we started production. I believe we had finished through episode 7, but the rest of the scripts had to be finished while we were already shooting.

We'd mapped everything out in the writers room, and I had great support on the other episodes, but I was writing the finale solo. I'd thought I'd be able to juggle it with everything else. I quickly fell behind.

I finally got to the script about halfway through production. I'd work on it between takes at the monitor, and then get home to our tiny rental house in Atlanta, where Kate was waiting with our baby son. (One of the rare bright spots of this shoot came when Kate found out she was pregnant about halfway through production. We even named our daughter Theodora, in honor of her origins.)

I'd typically fall down from exhaustion when I got home, but I had to push through it and work on the script. My weekends were spent shotlisting and prepping for upcoming episodes. We didn't have enough time to stay ahead of prep, so every available day was used for that... I went three months without a single day off at one point.

I'd sit up late staring at the script. I was in a dark, dark place. Overwhelmed, exhausted, and feeling like I lived in an eternal present. Each day bled into the next and it didn't feel like there was an end in sight. That feeling of unreality was heightened because we kept returning to the same sets, same locations, and even the same scenes throughout the 100 shooting-day production. Stepping back into the exact room we had shot in days or weeks or even months ago made the whole thing feel absolutely surreal. Making movies is always an non-linear experience, but this one felt particularly so... it was like the days of our lives were happening to us all out of order.

I remember feeling something like despair creeping into my daily experience on the show. And I remember dwelling on that when I got into the scene work of episode 10.

As I worked through the draft, I recall that despair coloring a lot of what was on the page. My filter was breaking down. There's a monologue at the beginning of the episode where Steven's wife Leigh (played by my dear friend Samantha Sloyan) spews out a torrent of eviscerating insults about Steve's value as a writer. That is just me vomiting onto myself. She was voicing all of my deepest insecurities about myself at the time, and of what I was doing with this series.

She says "Is anything real before you write it, Steve? The things you write about, they're real. Those people are real, their feelings are real, their pain is real - but not to you, is it. Not until you chew it up, digest it, and shit it out onto a piece of paper and even then, it's a pale imitation at best."

This was the mindset I was in for a lot of the shoot. The writing became a reflection of a lot of that turmoil, and I knew who I was referring to in that monologue - I was talking about my family. I was talking about how much of their lives I'd used as building material for this show. I was talking about the fact that I'd lost two loved ones to suicide, and seen what it had done to my mother in particular. And I knew I was using - possibly even exploiting - those people for this series.

There's a lot of despair in this episode. The Red Room, as we conceived it, was a place that would feed upon those emotions. Grief, sadness, loss... those were the real ghosts of our series, and where our characters find themselves at the start of the finale. They're being slowly digested - eaten alive - by those feelings.

So finally, it came time to write Nell's final scene with her siblings. I knew from the outline we'd constructed in the writers room what this was supposed to accomplish - she was supposed to be their salvation. She was supposed to take all of these feelings that we'd been wrestling with and finally provide catharsis... finally say something that would free everyone.

I remember sitting with a blinking cursor for a long time. The Crain siblings had just turned and seen Nellie standing by the door, and suddenly were able to hear her speak. But what should she say? What would I say? What would I want someone to say to me?

What she ultimately says lays bare a lot of what I was thinking about when it comes to grief. It exists outside of linear time, much as I felt I existed at the time. That sense of eternal present, that sense of a nonlinear eternity of moments and memories - it all came out in her speech to her brothers and sisters.

I remember feeling, looking at my insane present and looking back at my past, how strangely overwhelmed I was by memories. That I wasn't experiencing time in a straight line, and hadn't been for a while - for the better part of a year, I'd felt more like I was standing in a whirlwind of moments. "Our moments fall around us like..." Nell said, and I recall sitting back and trying to find the words.

"Rain," for certain, but there was something too uniform about that. The moments of life as I experienced them weren't that orderly, they weren't that small. They didn't fall the same way. Some sailed by, fast and unremarkable, while others lingered in front of me, twisting and stretching. So it was a good word, but not the right word. I left it on the page though.

"Snow" was my next attempt. Better, in that I imagined the snow blowing in the wind, swirling and dancing and feeling more organic. More chaotic. More like life. But for some reason, the word that stuck with me, the word I felt Nell Crain would connect with was...

"Confetti."

And that was because I was thinking not of Victoria Pedretti at this point, but of Violet McGraw.

Violet played Young Nell, and I wondered what she might have said if she experienced time this way. As an adult, Nell was despairing. Nell was overwhelmed. But as a child... there was an innocence to the word. There was a joy to the word.

I imagined moments falling around her, this little girl with the big smile and the wide eyes. Her moments would be colorful. They would be of different shapes and sizes, some falling fast and some falling slow, flipping and turning and dancing in the air, independent of the others. Sparkling, whirling, doing lazy summersaults as they sauntered down to Earth.

I thought of myself, and of the members of my family. I thought of those we'd lost. I realized what I hoped for them, and for us all, in the end... was to look upon that mosaic of experience, that avalanche of days and minutes and moments... and to smile with some of the joy we had as children.

And this, I thought, was something that gave me hope. This gave me a glimpse of some kind of salvation for them. This was also how I hoped my life might seem if I was a ghost - a cascade of color and light and shape and movement, something I could dance in.

So Nell smiled and said... "or confetti."

It stuck with me. The rest of her monologue gets heavy again, and gets to the real point of the show - the point of the whole series, if I'm honest - and that's forgiveness.

I figured the only thing that would let the Crain children out of the Red Room was to be forgiven. I thought of the losses in my own family, and I thought of what I wished for my mother and for my aunts and uncles and cousins and I tried to pour that into her final words.

"I loved you completely, and you loved me the same," she said, "that's all." And this was the point I wanted the most to make. That at the end of our life, if we can say this about each other, the rest doesn't matter. The rest is that rainstorm, or that blizzard, that fell around this one central truth, and maybe built itself in piles around it, to the point we lost sight of it along the way.

And I thought again of that little girl, and almost as an afterthought, wrote "The rest is confetti."

I liked the way it sounded, but I was insecure about the line. I almost took it out, in fact. I remember asking Kate to read the scene and talking about that last line with her. "Is it too cute?" I wondered. She was on the fence. "Depends on how it's acted," she said, and I figured she was right. We could always take it out if it didn't work. The scene could end with "I loved you completely, and you loved me the same. That's all."

Why not shoot it and see what happened.

I turned in the script, we published it quickly so that we could start breaking it down and prepping it. And the next morning I was back on set. I'd deal with episode 10 when it came down the pipe again, sometime in the coming months. We had a lot of shooting to get through before I had to worry about it.

I recall Netflix asking me to cut a lot of that monologue, and I remember them also having questions about the "confetti" line. I pointed out that it didn't cost us any extra to shoot it all, it was only words, and fought to keep the script intact.

Ultimately, they insisted I make a series of cuts on the page. I begrudgingly agreed, but left Nell's speech alone. I made superficial cuts around it, throughout the draft, and even considered changing the font size to fool them into thinking it had gotten shorter (I ultimately was told I wouldn't fool anyone and not to risk starting a war). But Nellie's final goodbye stayed intact.

It must be said - Victoria Pedretti SLAUGHTERED this scene.

By the time we got around to filming it, things had never been worse for the production. There was almost nothing left for a lot of us. Tensions were sky-high, resources had been exhausted completely, and we were all ready to give up.

Filming in the mold-ridden Red Room was depressing, morose, and led to a lot of arguments and unpleasantness. The room itself just felt gross, always, and we were in there for days at a time. The last thing we had to shoot in there was Nellie's goodbye.

Victoria came to set having to push through pages of monologue, and she did so with captivating bravado. I recall being teary-eyed at the monitor watching her work. And when we finally made it to the last line, I watched her deliver it with... a smile. A sincere, innocent, longing, joyful smile. A smile informed by the sadness, grief, and loss of her own situation, of her own life... but a smile that finds forgiveness and grace after all. Pedretti knew how to say the line, and how that word would work.

And as she said it, I knew it would stay in the show.

Over the years, that sentence has become something of a tagline for The Haunting of Hill House. I'm always a bit mystified and touched when I see people approach me with the line on T-shirts, or even tattooed on their bodies.

I started signing it with autographs back in 2020 after enough fans asked me to. Now it's my go-to when I sign anything related to Hill House.

The line, for me, represents a lot of things.

It's about the insane, chaotic, non-linear experience of making that show. It's about trying to find and hold onto joy, even in the grips of despair.

It's about the way the moments of our lives aren't linear, not really, and how we may be unable to understand them as we exist in their flurry. It's about finding hope, innocence and forgiveness in the final reckoning.

And it's about how, outside of our love for each other, the rest is just... well, it's fleeting. It's colorful. It's overwhelming. It's blinding. It's dancing. And, if we look at it right, it's beautiful. But it's also light. It's tinsel. It flits and dances and falls and fades, it's as light as air.

The rest is the stuff that falls around us, and flits away into nothing.

It's the love that stays.

#haunting of hill house #the rest is confetti #that was a very long story #man I was not okay while we were shooting that #forgiveness #heal

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