Tumgik
espumado · 3 hours
Text
why is "mummies are so rare bc the british ate them" always presented as like a morbid fun fact and not an example of heinous racism and dehumanization of people of colour to the point of cannibalism. a little bit odd if im honest.
15K notes · View notes
espumado · 16 hours
Text
Tumblr media
just wanted to share one of the best tiktok comments i’ve ever seen
21 notes · View notes
espumado · 18 hours
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
"darry and i did play tug of war with him, with never a thought to how much it was hurting him"
"i'd make myself sick to make you feel better"
THE MIDDLE CHILD: soda curtis (the outsiders) & sugar berzatto (the bear).
51 notes · View notes
espumado · 19 hours
Text
Tumblr media Tumblr media
kyn by alex evans, makeup by vittorio masecchia & hair by castillo + assistance by berenz
656 notes · View notes
espumado · 20 hours
Text
Guys, you don't know what just happened to me!! I love soundtracks so I stopped to listen to The Bear's, i found the official FX playlist on Spotify and was listening to it when suddenly a podcast starts and I was like???? So i looked and it was about a horror film??? I, tring to understanding, went to the FX site to see the playlist and the episodes and saw that it was the song from the beginning of the ep5- Children (the lullaby) with our beloved Natalie💖...So what happened was that the music is from a horror film and instead of putting the soundtrack they put on this podcast!!! And I don't know if it was on purpose or just a mistake!!! (And all this reminded me of the people here who started a tag, I don't know who, about The Bear being a haunted/ghost story💀)
It's this scene, with this song:
And the Playlist has this podcast:
But i was like Nat why you have a horror movie song playing in your head??? And cause I'm curious, I went to find out more about the film, cause I didn't know the movie (horror isn't really my thing) and I discovered that: 
The Night of the Hunter is a 1955 American film noir thriller directed by Charles Laughton. Despite receiving negative reviews upon its original release, it has been positively re-evaluated in later decades and is now considered one of the greatest films ever made. “The movie is best known for Robert Mitchum's extraordinary performance as serial-killer-posing-as-priest Harry Powell, a menacing religious misogynist who marries widows for their money and kills them off in the name of the Lord. Having been jailed for stealing a car, he shares a cell with father-of-two Ben Harper, soon to be hanged for murder and the theft of $10,000. Before his arrest Harper hides the money in a rag doll belonging to his little daughter Pearl, making her and his 10-year-old son John swear never to tell where the money is hidden. The plot hinges on Powell's pursuit of the money and John's determination to protect his sister and escape from a psychopath whom others assume is virtuous. Hiding his past, Powell woos, then marries Harper's widow Willa (Shelley Winters). When she discovers his motives he murders her, and the children escape on a boat down the river. A tense chase ensues. The film exists in that cinematic no-man's-land of fairy tales for adults, is a children's fairytale – strange and idiosyncratic – but also a noir thriller, laced with the darkest elements of both genres: death, guilt, greed, poverty, cruelty, biblical references and a terrifying pursuit by the scariest of bogeymen. Laughton described it as "a nightmarish sort of Mother Goose tale". John, played superbly by the steely eyed Billy Chapin, is pivotal as the boy who is alone in perceiving Powell's true motives. In a tale of innocence and experience, he must quickly grow up in the most sinister of circumstances; he must resist adult hypocrisy and stupidity, and a new "father" who pretends to be loving, but is secretly abusive. Gripping in its narrative, the film is also frequently and darkly humorous.”
“Thinking of The Night of the Hunter in terms of its visual impact on other filmmakers, there’s a striking echo to be observed between its unseen presence in films by Scorsese, Spielberg, the Coens, even Ari Aster, and the influence of silent cinema on Laughton’s own filmmaking choices.”
“We can notice the importance of one particular scene: the escape of the children in a boat (they are running away from the killer). This scene, being so important, is also one of the most memorable of the entire film. The components that make it so memorable are: setting, lighting, framing, blocking and music. In the river sequence, the usual realistic environment of the film disappears, giving place to such an artificial setting that it seems that we are watching a whole new film.[...] Again, we feel that the children are safe again in the boat, as they run away from their hunter.
“The river symbolise safety – it is what separates (even temporarily) John and Pearl from Powell. In a way, it is a metaphor for the transformation of a past full of terror into a brighter future¹ with Rachel.”
About the music: “Composer Walter Schumann called the heavy four brass chords that often accompany Preacher a “‘pagan motif, consisting of clashing fifths in the lower register,’” which cede to the lullaby “Dream, Little One, Dream” with a shot of Gish. This celestial lullaby foreshadows her adoption of the children after they escape downriver. In the opening and river sequences especially, audio-visions juxtapose fantasy and reality, and good and evil, to propel the children to safety.[...] In these sequences, Laughton’s visual constructions and Schumann’s score establish abstract contours that take root in spectatorial memory. When the overture transitions from Preacher’s pagan motif to a tranquil lullaby, celestial sounds and Gish’s presence seem to safeguard the children from Preacher’s tyranny.[...] Schumann’s pagan motif, Miz Cooper’s lullaby, and the sounds of the children’s river journey mix realistic tropes and emotional flourishes in the manner of 1950s melodrama films, which especially employed music to articulate these opposing poles. For Peter Brooks, music punctuates the wordless gestures of the melodramatic “text of muteness”: its sweeping rhythmic motions render space and time tangible to imbue characters—especially muted victims—with emotional depth².[...] Analyzed through a motivic model that binds characters to themes, Hunter’s river lullabies foreshadow the children’s eventual safety with Miz Cooper even though maternal figures are not visible.”
So there is this important and well-known scene in the film when the song plays. When the kids are finaly safe in a boat on the river (the part of the song they use in the series starts at around 3:55):
youtube
So basically: there's a father who hid some money in the kid's toy (which reminded me of the money in the cans of tomatoes- KBL); an orphaned brother and sister; children looking for shelter; during the escape they are they feel safe in a boat on a river (when the lullaby plays) and in the end they are adopted and everything is fine.
I wanted to understand what this means for Nat, what it has to do with her. When the scene starts the song says "fear is just a dream…" then she thinks about her fears: her brother, mother and a mom's funeral (Marcus), then the song continues "so dream, little one, dream", like, it's not real, no need to fear it!
So…this is ep5 called Children, where: 1-Syd and Marcus take his mother's stuff out of the house and talk about their family 2-we find out that Ever is going to close (a funeral will happen) 3-Marcus and Nat talk about his mother and to start a new project to honor her while Nat is resting from pregnancy discomfort 4- it's the ep The Computer appears and Nat defends Marcus 5- there are the Faks, including John Cena, talking about their family and the hauntings 6- Syd and Uncle Jimmy talk and he says he wishes he had done more for the kids (she reminds him that he is there for them) and finally 7- Carmy goes to the basement and finds a box with photos of the family (Donna and Mike and himself too and a baby that could be Nat?!!!) then some riffs of the song Mixed Emotions by Rolling Stones start and it cuts to the credits with the lyrics right in the part: You're not the only one, You're not the only ship, Adrift on this ocean. And that's it! Just these lyrics and then just instrumentals. They cut the song to fit the scene and without any other part of the lyrics!!!
Tumblr media Tumblr media
Carmy my man, Nat needs you! And she was the one who reminded him in the first season: "did you know i recently had a brother die too?" She's trying. She wants help, she already told him, "the thing that pisses me of is that you never ask her how i am doing!!!" but he can't ask her that "because he feels trapped, because he can't describe how he feels, so asking someone else how they're feeling seems crazy to him" (like, he literally told her that in S1). They need to talk, they need each other, they need family (a new one probably...the restaurant...uncle Jimmy too?? She talked with him about be a parent last season and he is always there for them, saving them). Nat managed to talk to her mother, even asked for help (it’s not a solution for everything, but it was a start)...but Carmy...there's still a long way to go, a next season thing. But I think it may be a thing they need to do together somehow, i dont know...
Nat is afraid of her past, motherhood and knows family is complicated, she is looking for a brighter future¹. She and Carmy (and Mike) are children of a abusive/alcoholic parent and live with the consequences of that (some people here have already talked better about the subject). So they are like the kids from the movie, who are muted victims—with emotional depth², in a complicated family, going throught the river until they reach a safer place with better people.
And also, last seasons they showed the "pyromaniac tendencies" of the Berzatto brothers, there were these references to setting the restaurant on fire as if that was the solution to their problems...and now in season 3 I thought that had been forgotten...instead, the ep1 already starts with (first a train, and then) a lake, which appears other times throughout the season... Copenhagen Carmy living in a boat on a river!!!, and all happy and safe, drawing on a bridge over a river!!!
We also had a scene with water being thrown on the kitchen countertop and "flooding" the space (with a song by Trent Reznor and Atticus for a war doc! that the director describes as profound, haunting, unsettling and deeply moving!!!) in a moment that the crew is cleaning the kitchen and everyone is tired and overwhelmed; there is Donna talking about the fish tank that breaks in a dream that takes place in a place she doesn't know that looks gray except for the tank (surreal, like a noir thriller maybe). These don't seem so safe, but they seem to be about the past, something to be overcome... And there's even a scene of Syd reflecting in front of a lake... Several water references...and I have no idea if that really means anything...or if i am going to deeper into this?😅
...but Nat, dear, are you okay?!...you feel like in a horror movie with your remaining brother seeking safety together somewhere or with someone, running away from a curse, a haunting in your family??? (in S1 Carmy talks about how she blames the restaurant, not her mother or Mike, she says the place sucks up all the work, money and time and all they get back is chaos and resentment) But seriously, someone help her!!!...and Carmy...She must have felt very lonely this season with Carmy like that...But I guess this all means that everything will be fine in the end, like in the movie!
Seriously, I couldn't come to a better conclusion about this but it left me curious and confused... And of course, it might mean nothing and just be an interesting song from an amazing movie that director Chris Storer likes because he likes great movies and that's all 🙃 But with all the movie references, great directors and hauntings...maybe I'm not so crazy😅 <<<I tell myself to feel better🫠
39 notes · View notes
espumado · 21 hours
Text
something something vibrant collaboration. something something Donna’s pregnancy dream about a vibrant and technicolor fish tank in the middle of a grey city. something something, Carmen doesn’t communicate with Natalie even though she’s a partner. something something you can see from the front of house into the back of house like tourists at an aquarium. something something Paupiette of Hamachi with blood orange, and The Seven Fishes
8 notes · View notes
espumado · 21 hours
Text
Tumblr media Tumblr media Tumblr media
Paris, Texas (1984)
150 notes · View notes
espumado · 21 hours
Text
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
MICHAEL & NATALIE BERZATTO
maurice sendak / the bear (2022- ) / jean anouilh / @starpeace
8K notes · View notes
espumado · 21 hours
Text
I think one of my biggest pet peeve’s rn is people acting like Sydney is 100% in the right all of the time and has never done anything wrong ever when what makes her such a compelling character is the fact that, in spite of all of her hang ups and obvious issues, she tries to be kind.
Sydney is bad at taking no for an answer, she’s impatient, she’s passive aggressive, she’s avoidant, she’s stubborn, sometimes she’s even an asshole. And guess what? None of that invalidates the fact that she’s also incredibly kind and empathetic, or how thoughtful and selfless she is.
She is complex.
Stop reducing her to The World’s Most Perfect Princess Who Can Do No Wrong just because her trauma response is more palatable than Carmen’s. And then, start writing meta on the implications of why a BLACK woman might be so hesitant to voice her concerns and discuss her needs and wants. And when you’re done with that, I want a report on my desk by end of day discussing why even that doesn’t excuse acting like people should just be able to read your mind and intuit everything they’ve ever done to upset you EVEN WHEN they stop and take the time to tell you that they’re there to listen to you. It simply informs why she would do it in the first place.
Support women’s rights AND wrongs. Acting like Sydney is a saint robs her of color and character and three dimensionality. Let Sydney be The Most Perfect Princess Who Can And Has Done Wrong But IDGAF Because She’s Trying Her Best
190 notes · View notes
espumado · 2 days
Video
146K notes · View notes
espumado · 2 days
Text
Tumblr media
this is the funniest shit i’ve ever read
54 notes · View notes
espumado · 2 days
Text
Tumblr media Tumblr media
3K notes · View notes
espumado · 2 days
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
"I'm no one if I'm can't- I'm not this monster. I'm trying to do the best with what I know how to-. It's like you're giving me a life sentence. You can't do that. Just send me to jail and then I can still skate." I, Tonya (2017) Dir. Craig Gillespie Movies watched in 2024
815 notes · View notes
espumado · 2 days
Text
227K notes · View notes
espumado · 2 days
Text
Tumblr media
kms
2K notes · View notes
espumado · 2 days
Text
eagerly awaiting the day daniel radcliffe, elijah wood, and robert pattinson just make the most fucked up bizarre unmarketable film together
63K notes · View notes
espumado · 3 days
Text
And now i'm crying over a chameleon death 🥲😭😭😭
Footage of Labord's chameleon in last moments of her short life shows her skin burst into 'chaotic technicolor patterns'— a spectacle never observed in the wild before. X
New PBS series "Big Little Journeys"
1 note · View note