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#yeah I really like this movie
shih-na · 1 year
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Various appearances of Paprika
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aarchimedes · 3 months
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for context: I read the hobbit first over the course of two years when I was like 13, but I'm only now starting to read lotr. having a blast tho!
anyways, reblog if you feel like it 🙌🏻
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mjulmjul · 1 year
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Katya / Goncharov
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ryssbelle · 1 month
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Brozone reunion concepts for this little thing based on this ask
As stated in the ask idk fully how this moment would go, this concept was mostly building off the premise presented within the ask :D
Bonus:
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ophanim-vesper · 9 months
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everyone wants Chihiro and Haku to reunite but WHAT ABOUT THEM
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marisatomay · 2 years
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i’m so sick of writers who proudly proclaim that they don’t read and directors and actors and other filmmakers who smugly say that they rarely watch movies or any artist who acts like an audience is stupid for connecting with their work like what the fuck is wrong with you that you hold such contempt such derision for the art that you have chosen to make the art that so many people dream of the opportunity to make the art that brings meaning and connection to people’s lives it’s unbelievably disrespectful to both your audience and the art-form and if you can’t muster basic respect for either your art-form or your audience then kindly fuck off and do something else
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andreycoded · 1 year
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SUPERNATURAL 5.18 (2010) / GONCHAROV (1973)
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andthebeanstalk · 9 months
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Me: hm, I want something to put on the TV as background noise... Huh. Looks like YouTube is recommending something called The Last Unicorn. That's perfect, it's probably some old shitty animation that has aged poorly! I can watch it ironically!
Me, 2 hours later as the credits roll: *crying, cheering, buying the book, composing the songs*
Me, 2 weeks later: So I have compiled all of the quotes from the book that I think could make good tattoos, and also, HOW HAVE I NEVER LEARNED ABOUT HOW THE LAST UNICORN FUCKING SLAPS??? This gay-ass little fairytale fed my soul! Watered my crops! Transed my gender! Can't believe I heard of this story from youtube recommendations, of all places!!
#original#the last unicorn#tlu#peter s beagle#molly gru#schmendrick#schmendrick the magician#two of my favorite characters in anything right there in the center of the story! and I'm glad I saw the film first!#my reading ability has diminished due to trauma disability etc. but it seems like having a visual reference actually really helped!#no wonder i only ever want to read fan fic! turns out reading is not actually Superior to other types of Storytelling. it's just different.#to say otherwise is snobbishness I have been eminently guilty of in my life!#but like it is easier for me to consume tv and movies and that is fine actually. also that's why I'm doing a graphic novel lol#because i wanted to make something i would actually be able to read if i found it at a library. altho the audio book IS gonna be bomb#the audiobook is for visually impaired readers and anyone who wants or needs it! accessible stories for everyone! yeah!!#my gender was already transed but now I've gained an ADDITIONAL gender! which one? I'll never tell 😘#i am so powerful i have so much fuckin gender. my wife has no gender. and she is equally as powerful.#and also she has STUDIED THE BLADE#mostly zoro's blades from One Piece#normally YouTube recommends me shit movies like idiocracy or smth this is like if every day ur cat brought you a piece of rotten food and#then one day it brings you a BEAUTIFULLY ANIMATED TALE FEATURING MY BELOVED TWINK FUCK-UP WIZARD FRIEND AND MY ALL-TIME HOMEGIRL MOLLY GRU#and also it's soft and beautiful and funny and fucking weird!! i wrote melodies to the songs in the books on my ukulele
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turtleblogatlast · 5 months
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One of the earliest examples of Leo’s “I’ll do my own thing to accomplish our goal without discussing it with my team first” is in episode one. It’s super, super quick, and ultimately inconsequential, but it subtly sets up a great precedent that I think is very interesting.
When the boys need to grab the medallion from Splinter without Splinter noticing, Raph, Mikey, and Donnie huddle together with Raph taking the lead in trying to devise a plan to get the mystic device. Meanwhile, Leo slinks away and grabs the device by clocking the situation (by knowing his father well enough to predict his actions - something he does with each family member multiple times in the series) and making a move on his own.
It works out perfectly fine, and is ultimately the best move, and it’s honestly okay that he didn’t consult everyone for something so small when it’s such a non issue to get it, but it nicely sets up how this tends to go in the series, including how it goes in the movie.
To be honest episode one is actually really good at setting up a lot of things for each character in the long run, this is just one example that caught my attention, as small and unassuming as it is.
#rottmnt#rottmnt leo#rise of the teenage mutant ninja turtles#im just ranting at this point feel free to ignore me I’m tired lol#anyway#Leo constantly just goes off and does his own thing#and yeah honestly his own thing often works??? but he alienates his brothers/team in the process#BUT also this isn’t necessarily a one way street#when Leo DOES try to consult his brothers or give his thoughts on matters he’s not really taken seriously#best example here is bug busters where he CONSTANTLY makes his worries and suspicions known only to have them ignored#so it’s almost understandable that he doesn’t often open up about his thought process when it’s easier to just do it#than to try and fail to justify it#after all it almost always works out for him when he does so why not?#and then the movie happens#and that line of thinking doesn’t quite hold up does it?#BUT ON ANOTHER NOTE#like I said episode one is super good at setting characters up#from showing off Donnie’s preference for tech vs magic/mystic#from showing Mikey’s innate talent for mysticism#from showing Raph’s anxieties and how easily they can stack up#there’s more but I’d have to do a closer deep dive on the ep and man am I tired#so off the head rambles it is for now#sorry everyone for my constant spam of Too Many Words into things that are prob Not That Deep#it’s honestly just fun haha#EDIT: bc I saw someone mention it! yeah all the boys have communication issues through the series and it’s super interesting and realistic#Leo in particular stands out to me here because his communication issues are a constant theme that pop up much more often#but each of them experiences this in some form
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tangledinink · 1 year
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ninja turtles are here for projecting and processing grief, apparently.
i've seen lots of 'the death of future donnie' comics, most recently ofc being from @somerandomdudelmao (i went back and forth abt tagging but then decided i would, because this is directly their fault, /pos) and then, of course, all the fan content that was made in response to said comic... and i love seeing so many people make so much awesome work! but it's also really fucking sad.
so often in the real world, there are no goodbyes, no dying in the arms of a loved one, no heroic sacrifices, there's just... death. people just die and it sucks. especially because in real life there's also no cool storyboarder assuring you that there's gonna be a happy ending and you'll see them again. and so it's like... then what?
i dunno. i was just sad about it for a while, and i wasn't really sure what to do with that, but i guess this is my answer. sometimes you don't get to say goodbye or hold them when they leave you, and you dunno if you'll get to see them again. but you can still have the mark they left on the world and hang onto that. because no matter what, once upon a time, they were there, and you remember. other people probably do, too.
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jay-wasstuff · 6 months
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Vanessa did a great job as a police officer by:
Neglecting her duties (to hang with Mike and Abby),
Not patrolling/being stationed where she was needed,
Wrongfully threatening to shoot a civilian (not due to legally reasonable reasons),
Protecting and preventing suspects/criminals from facing justice due to favourtism,
Obstructing justice by not turning in her father (child serial killer) and withholding/tampering evidence,
Supplying an untrained/unqualified civilian with police weapons,
Did I mention wrongfully threatening to shoot an unarmed/harmless citizen?
Tasking a civilian to perform police duty in taking down a highly dangerous criminal/suspect,
Refusing to aid a civilian in danger or preventing the danger,
Hesitating to take down her child serial killing father (who also held a knife pointed at her but was happy to threaten Mike because he was endangering his sister??? So you want to shoot Mike for that but your father...nevermind, at least she eventually shot him),
Committing medicine theft or destruction of property and disposing of it improperly. (Prescription medication is a difficult adjustment for your body whether you begin it or stop it as well as being a burden on your finances and she just....threw it).
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ink-the-artist · 8 months
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Dude some of those popular so-bad-its-good movies are unironically outsider art and I don’t think they get enough appreciation for that
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ferrisbuellers · 9 hours
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20 YEARS OF MEAN GIRLS Released on April 30th, 2004
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potatoes-tomatoes · 8 months
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Instagram ask doodle— someone requested Lola as Barbie!
I think of the deleted exchange she had with lebron in SJ2, where she says “Looney is who [Bugs] is and what he does. I’m not like that.” and I mourn the executive meddling. It was supposed to be satirical, critical and maybe even a lil more cynical and all Looney… but too many mandated rewrites left a sour taste in my mouth, especially when it comes to Lola. She doesn’t really have a place in the world of LT outside of being Bugs’ arm candy and “Basketball”…..Sj2 coulda had that conversation. poor gal
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nipuni · 7 months
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OH my god we just watched Dr.Who "Human Nature" and "Family of Blood"
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steveyockey · 9 months
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Some would rebut that “Oppenheimer,” being a Hollywood blockbuster with serious global reach (whether it will play Japanese theaters remains uncertain), will be many audiences’ only exposure to the events in question and thus might “create a limit on public consciousness and concern,” as the poet, writer and professor Brandon Shimoda told The Times. A corollary of this argument: The crimes committed against the people of Hiroshima and Nagasaki were so unspeakable, so outsized in their impact, that Oppenheimer’s perspective does and should dwindle into insignificance by comparison. For Nolan to focus so exclusively on an American physicist’s story, some insist, ultimately diminishes history and humanity, even as it reinforces the Hollywood hegemony of the great-man biopic and of white men’s narratives in general.
I get those complaints. I also think they betray an inherent disrespect for the audience’s intelligence and curiosity, as well as a fundamental misunderstanding of how movies operate. It’s telling that few of these criticisms of perspective were leveled at “American Prometheus” when it was published in 2005, that no one begrudged Bird and Sherwin for offering a meticulously researched, morally ambivalent portrait of their subject’s life and consigning the destruction of two Japanese cities to a few pages. That’s because books are books, the argument goes, and movies are movies — and this perceived difference, it must be said, reveals a pernicious double standard.
Because they seldom achieve the narrative penetration and richness of detail of, say, a 700-page biography, movies, especially those about history, often are hailed as achievements of breadth over depth, emotion over intellect. They are assumed to be fundamentally shallow experiences, distillations of real life rather than sharply angled explorations of it, propelled by broad brushstrokes and easy expository shortcuts, and beholden to the audience’s presumably voracious appetite for thrilling, traumatizing spectacle. And because movies offer a visual immediacy and narrative immersion that books don’t, they are expected to be sweeping if not omniscient in their narrative scope, to reach for a comprehensive, even definitive vantage.
Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision.
A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence.
That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not.
For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come?
I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.”
Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.
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