Tumgik
#what a great movie!
secondbeatsongs · 5 months
Text
so when building the Racer family home in TS2, I keep coming back to the fact that I have no idea where the bedrooms (besides Speed's) are supposed to go, and this has been an issue! so I uhh. did something.
I broke down and requested a cameo vid from Paulie Litt (who played Spritle in Speed Racer), asking him if he knew where the bedrooms were supposed to be. xD
but ofc I figured there's a chance he wouldn't! I mean, I knew the set probably didn't connect in a way that showed where Spritle's room was, and even if it did, he was...thirteen? I think? when that movie was filmed? so there's no guarantee he'd even remember.
but still! I figured I'd try, so here's the message I sent with the request:
I'm making a model of the Racer house, and I can't figure out where the bedrooms are. Do you happen to remember how the house set layout worked? If not, alt question: was Spritle flipping off Royalton improv'd by you? (bc it's not in the script.) ty!
(it's really hard to write things and stick within the 250 character limit)
and today, the request was fulfilled! so here's this!
(tl;dw - he didn't know anything else about the layout of the house because the set didn't go that far, but he did tell the story about how the Wachowskis directed him to flip off Royalton!)
so even though I didn't gain any new knowledge about the Racer house, I did learn something else! and it's great that it was the Wachowskis who (last-minute) told him to flip off Royalton xD
45 notes · View notes
podcastwizard · 1 year
Text
if i were a fantasy protagonist i would NOT be seduced by promises of power but i WOULD be seduced by an illusory life of peace and tranquility. an evil wizard would go like "give up on trying to kill me and you can chill in this beautiful magic meadow for the rest of eternity" and i'm already nodding yes. "IT'S NOT REAL!" my companions would scream, but i don't care. i'm in the wizard mind prison eating grapes, soaking up a sunbeam. someone else can fight a dragon. it's literally not my business anymore.
17K notes · View notes
buttersteps · 11 months
Text
ayo edebiri: the movie reviewer we deserve
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
and her dad also has an account
Tumblr media Tumblr media Tumblr media Tumblr media
13K notes · View notes
linddzz · 11 months
Text
Thinking about Weird Barbie and how she's the very obviously queer outsider of the Barbie world, she straddles the lines between Barbie and the Real World. She's the most aware of the performative nature of it all. She supports Barbie while also gently mocking her panic at losing the hyperfeminine perfection. Her weird house is also home to the discontinued reject weird Barbies, the outcasts (including very gay earring Ken) who never fell into either the original matriarchy or the Kentriarchy brainwashing.
The other more classically heteronormative and beautiful Barbies both pity and fear her, and at first the narrative pities her as well. She's the vessel of girls going weird and crazy and feral on their dolls and that's amazing. Weird Barbie is aware of who she is and how the world sees her and she loves it. She's Weird Barbie and She Owns It.
6K notes · View notes
the-woman-upstairs · 1 month
Text
Really fucked up that, when they’re young, Patrick and Art are SO tactile with each other, so comfortable sharing the same space. Art lets Patrick touch him and move him and physically overwhelm him and easily acquiesces to it, if not outright enjoys it.
Then in the present, they’ve been so far out of each other’s orbit for so long, held such animosity that when they have their moment alone in the sauna, Art physically recoils from Patrick’s close proximity! It’s so painful to watch because even as Patrick’s goading him, it’s so obvious he wants to be able to get back into Art’s space. But Art has erected all these walls around himself, he refuses to give Patrick an inch or even admit to missing how close they used to be!
AND THEN we see Art and Tashi later and he wants her to hold him, to be gentle with him, and just TOUCH him. Like, he does miss that kind of close physical contact! He either doesn’t know how to ask for it or is uncomfortable being that openly vulnerable. Worth noting that he pretty much always defers to Tashi in regard to initiating physical intimacy (with their first kiss, though he does state his desire, SHE has to be the one to make the first move). And it seems pretty obvious that Tashi herself isn’t comfortable providing that intimacy, whereas Patrick actively seeks to provide it (the hug/forehead kiss after their win together in the early years, dragging the stool closer to him).
Art has tried very hard to act like he doesn’t need physical affection and even though his discipline and devotion to Tashi has made him a stronger tennis player, it’s made him a hollow person, which, in turn, has kept him from becoming a GREAT tennis player.
All of this, of course, is why the ending hits so damn hard.
1K notes · View notes
mychapel-004 · 7 months
Text
FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
3K notes · View notes
pimientosdulces · 11 months
Text
Tumblr media
hachi aug
2K notes · View notes
judyalvqrez · 1 year
Text
there was something really jim henson-esque and campy about how some of the non-human races were portrayed in the new dnd movie that i really enjoyed. they could’ve easily gone the shitty cgi route or just not shown those races up close at all, but no, they said you want a bird man? we’re gonna get you a bird man
3K notes · View notes
Text
something about how Lorraine Baines McFly raised her son to be someone that her younger self would have felt safe around. Especially since she was mistreated and harassed near-constantly by Biff. She raised her son to be kind and emotional and unafraid to stand up against bullies. No wonder she fell for him in the past.
409 notes · View notes
lonelyzarquon · 10 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Are you telling me that an ape that lived two million years ago got out of that crate, killed the baggage man and put him in there, then locked everything up neat and tidy, and got away?
Horror Express (1972) Eugenio Martín
1K notes · View notes
r0b0t1me · 1 year
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
. . . . . . . . .
Tumblr media
5K notes · View notes
minimenace · 10 months
Text
"the movie is better than the series" "the show absolutely bodies the movie"
me:
Tumblr media
2K notes · View notes
jekyllnahyena · 11 months
Text
Tumblr media Tumblr media Tumblr media
babygirl did nothing wrong
2K notes · View notes
everhearts · 2 years
Text
can i just say, austin butler as elvis presley ? HOT !
0 notes
itsjuliak5 · 1 year
Text
At the end of the first Guardians movie when Drax is comforting Rocket after Groot died, it probably reminded him of when Lylla comforted him since that’s the first and last time he ever received some form of comfort. It was also the first time anyone ever comforted him after the loss of a friend. And for Drax it was also the first time that he got to be in a fatherly role again. Now Drax gets to be a dad again to a bunch of kids in need and Rocket gets to be surrounded by his friends/family all the time, which is such a great full circle ending.
1K notes · View notes
gtbutterfly · 6 days
Text
Tumblr media Tumblr media Tumblr media
Y'know, if I had a nickel every time Disney cancelled an animated gt movie that would've been amazing, I would have two nickels, which isn't a lot but it's weird (and sad) that it happened twice
217 notes · View notes