#letters from hell

[kedreeva]

Can I have your attention for a minute

It's nothing bad!

I wanted to share a little website with you, one i have used in the past. It's called Future Me.

All it is is a little web based word processor, that you fill in a letter to your future self, fill in your email address, pick a date, and hit send. The site will store the letter, and send it to your designated email on your designated date. It's completely free, though they accept donations if you like the service.

I've used this site for YEARS, it's not at all new, but it has at times been a little bastion of hope and good things for me. Every year on my birthday, I send a letter to myself, and I receive the one I sent the year before. I write about what I've been through that year, what I've accomplished, and what my hopes are for the year to come.

I have cried every single time I've gotten that letter. I know it's from me, but by the time it comes around, I've usually forgotten I sent it. But... every year on my birthday, I receive a letter from Past Me, who cared enough to sit down and have hopes about my future. And it makes me want to pay it forward to Future Me, and dare to hope that she, too, will remember that someone cared a lot about her future, and choose to keep going even further.

Anyway, I am giving you the link now, because there are definitely going to be rough times ahead of us, but I feel like maybe writing ahead to Future You, to the You that has made it past the rough times, might make them ever so slightly easier to endure. Knowing that Future You is waiting at the end of the line to welcome you, holding onto the letters you sent.

[blizardstar]

Me when Ashton Greymoore is denied honorable and meaningful self-sacrifice, and now must face the reality that they MUST keep living after it’s All Over

[xiaolanhua]

The Judge from Hell 지옥에서 온 판사 (2024) Dir. Park Jin Pyo – Ep. 3-4

[batcavescolony]

Xavier: if the ghost gives me permission can we dig up their grave legally?

Sheriff Baxter: ummm how... *trying to be a good dad* Hypothetical is this question?

Xavier: we were just wondering.

S Baxter: please tell me if you're gonna dig up a grave. I PROMISE I won't be mad. If you just tell me first.

Xavier: ... We'll definitely tell you.

[nitrateglow]

Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

[sunlighthroughthe-ashes]

“you are the knife i turn inside myself; that is love. that, my dear, is love.”

~ franz kafka, from 'letters to milena'

[thetimelordbatgirl]

Look we can acknowledge the fact that the people who wrote letters in support of Brian Peck were not filled in on the situation and were misled by Brian on what the charges were and such, but can we fucking acknowledge that one of those letter writers actually victim blamed the then 15 Year Old Drake Bell with acting like he tempted Brian who would never do such things unless well, tempted.

[rebouks]

Previous // Next

Hey Bird Boy!

I promised I’d write didn’t I? I’m missing you already, which is kinda stupid and cheesy, but true! There aren’t any other kids around now the holidays are over, so it’s just old people and super outdoorsy people who walk really fast with weird sticks and stuff, lame! Daddy lent me his crappy polaroid he uses for work so I can send you pictures and stuff so at least I’ve got something to do, they won’t be as good as yours but it’s better than nothing.

I tried to get a good picture but it’s hard to hold this huge thing with one hand and this is the best I could do but my teeth are totally starting to grow back so maybe I won’t look so dumb soon.. you can’t really see em but I can feel em poking through!!! It kinda hurts but I suppose we only have to grow em once so it’s not so bad. Growing teeth as a baby doesn’t count cos you can’t remember it.. how many teeth does your little sister have?!

I’m super looking forward to getting to know you properly since I can ask you stuff now! I’ll try n remember to ask you things instead of talking about myself the whole-time cos that’d be annoying to reply to, wouldn’t it?

By the way.. I took a bunch of pictures of my dad until I caught him laughing just to show you that he can be fun and nice, not always grumpy! He thinks he looks cool with his gold teeth but I think they make him look goofy, like a wannabe pirate haha!! YARRR!

I set Amber free cos I started to feel bad about keeping her cooped up in that tiny plastic box and I don’t think I’d like it if I were her, like how I’m starting to hate this stupid tower! I miss looking at her but I decided to start collecting fancy rocks instead since they’re not alive and don’t have any feelings. Dad digs up stuff for work sometimes so it makes total sense!! He said I’m not allowed to join him for that but we can do it on our own instead.. he bought me a big pretty one to start my collection, even though it’s kinda like cheating it still counts!

We found a birdwatching book stuffed in the back of the bookshelf looking for this notebook and dad said we should put some food out to see which ones we could spot.. they attacked him whilst he was putting the seeds out though so he said it was a stupid hobby and that he didn’t want to do it anymore. GET READY FOR THIS!!!

Ahahahahaahaaa I almost dropped his camera laughing at him and he took it off me for a couple days but it was totally worth it, please please pleaaaaase keep this picture cos I almost didn’t wanna send it to you so I could laugh at it forever and ever hahahaha!!!!

Oh, and I told daddy to take some pictures of me whilst I wasn’t looking like you do cos I thought it’d be neat, but I forgot I asked him to do it and got mad at him cos I was in my pj’s and my hair was all crazy.. it’s kinda funny I GUESS!! Plus, he said it made us even for me sending you the picture of him with the birds so here you go BUT DON’T KEEP THIS ONE!!

I got carried away and forgot to ask you stuff so here’s a list!

How old are you?

When’s your birthday?

Do you have any pets?!

What’s your favourite food?

Do you have all your big teeth yet? (it totally looked like it but you never know!!)

I was gonna think of more stuff to ask you and now the back of this page looks really empty but my brain farted and I really wanna send you this so you can send one back! I’ll think of more I promise!! I’m looking forward to “talking” to you so I guess you can write about whatever you want.. and I wanna see your house!! I bet your pictures will be way better than mine!

Yours excitedly, Alex :]

[grits-galraisedinthesouth]

Plagiarist: "The Art of the Handwritten Note" is by author Margaret Shepherd NOT Meghan Markle, Duchess of Sussex County

The Art of the Handwritten Note: "Corresponding on paper let's you elevate a simple pleasure into an artform." -Margaret Shepherd 2002

Plagiarism has become an artform for Meghan Markle Duchess of Sussex County who frequently quotes Margaret Shepherd (famed author and calligrapher) without crediting her book or work.

Photos from my own copy of The Art of The Handwritten Note (published by Shepherd in 2002):

Pretentiousness

MM obviously practiced her hand lettering and penmanship for this series because it looks much more polished and presentable. She really thinks her handwriting is the definition of "classy." Perhaps as a child it provided her with immediate praise that fed her narcissism. No thanks to Thomas Markle who contracted with Nickelodeon to film her writing the dish soap letter from hell.

Harry has to explain to the people of Sussex why it's taking such a long time for his wife to sign her name.🤪

"That's How I Paid My Bills"

She claims to have paid her bills by working as a "freelance calligrapher." Paula Patton did not hire Meghan Markle to address her wedding invitations, she hired Paper Source Retail Stores.

MEgain worked as a retail associate for Paper Source where they sell stationary, gift wrap, party supplies, etc. The associates are trained to teach customers how to use their products. Sometimes they offer mini workshops throughout the year: bookbinding as a craft, gift wrapping, hand lettering, and of course some stores will also address your invitations.

"Our kids have REAL sets" she bragged 🙄

What kind of parent recommends that toddlers play with REAL trowels in the backseat of the car as a "distraction" during the ride home from a toddler's birthday party?🏨🏥🚑 Oh and no candy in those bags, just a manuka honey stick gifted from a person who said she doesn't even like honey. 🤪

Moma Knows Best

Meghan Markle's handwriting is "faux calligraphy" with doodles & flourishes. Lady C described it as "pretension gone riot." In this episode she's obviously clapping back at her critics by revealing to the world she made an A- in handwriting due to "those little swirls."

"I'll take the minus for a bit of character."

Right there she's explained to us that it's her way or the highway. She knows what's required but chooses not to meet those expectations because in her narcissist mind, she actually knows best.

Soho House Tradwife plays Hostess

In the context of this lifestyle series, Lady C made some excellent points about how an experienced hostess doesn't have the time to spend on tasks that should be assigned to the hired help. When I reviewed the images from her luncheon, it was obvious that the guests didn't enjoy her food. Perhaps in part because the hostess covered up the table in those ridiculous flowers instead of creating SPACE for people to actually sit down at the table to eat their meals.

Revisionist History

This "SERIES" was another Solo Meghan attempt at an image make over and infomercial. With each new man, her adult life seems to be a transactional stepping stone of revisionist history. In the case of the Spare, Harry offered her his name, titles, family, country, wealth to erase her Soho House yachting lifestyle and launch her into global stardom. In exchange the Spare would receive his freedom from what he perceived as a trapped future and the rigors of royal service. The Spare made a deal with the devil, but that is a topic for another time.

[menlove]

I think as a historian the thing that annoys me about biographies is that they don't have to cite shit. if I ever wrote a biography I'd be footnoting every single paragraph like what the helllllll

[avocado62524]

[hopecomesbacktolife]

while I expected lots of cute moments with bb-8 and pew-pew adventures in Poe Dameron: Flight Log (which, don’t get me wrong, I definitely did get and was very happy about!!) along with lots of cool ship specs and tech details—

what I wasn’t expecting (a surprise, to be sure, but a welcome one) was several instances of incredibly heartfelt, evocative, and sweet introspections from Poe on his family, upbringing, philosophy / ethics, the resistance, and love 🥺 so many sweet characterization tidbits in this book, I really enjoyed reading it ♡

if you’re interested in reading it as well, I borrowed it (for free!) on internet archive which I highly highly recommend, it was such a fun read and it’s very easy & user-friendly to borrow books from them!

[perdicinae-observer]

{ Nemophilist's Hunt—»

A dove fled its gilded cage.

The land of Savigny has been consumed in the snow. The same trees repeat and stretch for as far as the eye can see. The château, too, disappeared among these trees. The mysterious letters ― fleeting salvations ― scatter across the land. Time is aimless, and so are these lands.

The dark branches breathed.

A carbine in hand and a will, its only occupant realises that he was never alone.

Be vigilant, for you are no longer the master of this realm.

——————————• General tag

Backstory i , ...

Interactions ⇲ Respite (The Masquerade) ⇲ Respite (Ney) ⇲ ?

——————————•

[starcurtain]

Genshin Impact 4.2 spoilers!

No really, I'm not over the absolute silliness of Furina's situation.

Imagine being Furina. You're faking being an archon. You have not an ounce of hydro power in your body. You cannot enact miracles, fight monsters, or even exhibit a single bit of godly energy. A Blubberbeast can bowl you over.

And then, out of absolutely nowhere, the sovereign dragon of water shows up on your doorstep and is like "Okay, I received your letter. I am here. I heard there is a job for me?"

I M A G I N E the blue screen this girl experienced.

"Letter? Ah, yes, right! The letter I most definitely sent! And the job I most definitely asked you to do! Er... I just want to confirm you fully understand my sacred request--what, exactly, do you think you've been invited here for?"

Did she know he was a dragon from the moment he showed up, or do you think she only found that out later??

Focalors: Don't worry babygirl, I am sending you help! 😘

Does she even know that archons and sovereigns are sworn enemies???

Do you think he got in line with everyone else to see her when he first showed up???

Furina: That's. A. Dragon.

Even more, like imagine the temporary relief. You're a young woman with no experience at playing an immortal being or ruling a country. You have no special memories or powers that will help you here, just a talent for acting.

Then a grown ass man with nearly flawless control of hydro and clearly otherworldly presence shows up, and you're like "Damn, I can work with this!"

...Only for him to end up being the most awkward person you've ever met, who struggles to carry on a conversation that isn't about water or judgment. He understands less about humans that you do. He cannot act to save his own life, and he doesn't remotely want to. He hasn't even noticed that you're not actually an archon. One day, he shows up for work with like 50 baby vishaps in tow and throws the entire country into interspecies chaos. The tabloids can't decide if you created this weirdo to be your familiar or if he's just a really hot oceanid. Nothing you say or do now will help make the situation any clearer.

Somehow, this circus goes on for 400 years, and your country only gets mildly blown up and drowned.

Furina is STRONGER THAN GOD, is all I'm saying.

Fontaine's entire plot is so sad and yet soooo funny.

[candyheartedchy]

Sorry if you've already been told about this BUT on Valentine's Day there's a game coming out on Switch called Date Everything that's a dating sim where the furniture in your house comes to life and you can date them. The IMPORTANT thing is Dana Snyder is voicing one of these datable household objects.

Anyways. Have fun dating a lamp or a stove.

BLAZE WHY WOULD YOU TORTURE ME LIKE THIS?!!! I FEEL LIKE YOU JUST PASSED SOME CURSED INFORMATION ONTO ME AND NOW IM GONNA END UP FIGHTING FOR MY LIFE!!

OF COURSE HE’S IN THIS AS A VOICE! OF ALL THE GAMES ITS THE DAMN DATING FURNITURE ONE AND THE FACT THAT HIS CHARACTER DONT HAVE A REVEAL FROM WHAT I SEEN IS SCARING THE HELL OUT OF ME IDJFKCKHG

[giftheplanet]