justanother-randomhuman

[justanother-randomhuman]

quick reminder that my own lesbian-nonbinary-ass genuinely supports the hell outta each and every one of you. regardless if i know you or not, im happy to be living in this shithole of a life in the same world with you.

and im proud of you, i know in my heart just how beautiful, amazing, talented, smart, and worthy you are and i hope you can see that too🏳️‍🌈🌈

[justanother-randomhuman]

Fathermom & Motherdad

[justanother-randomhuman]

TV WEEK 2022 Day Five: Best TV Fight Scene: The Great (1.10)

[justanother-randomhuman]

Wild that Peter was just meant to be a shitty husband but Hoult’s performance and chemistry with Elle got us the iconic romance like enemies to lovers needs to be on their level for me to even consider it they’re iconic I’ll never stop missing them

heterosexual marriage can work if ur both clinically insane and hot <3

[justanother-randomhuman]

ULTIMATE SHIPS CHALLENGE - Declarations of Love [2/5]

[justanother-randomhuman]

THE GREAT SEASON ONE EPISODE TEN

[justanother-randomhuman]

A KIND OF MUTUAL HAUNTING

Rare Monk, ‘Happy Haunting’ Emily Brontë, Wuthering Heights The Great, 1x10 ‘The Beaver’s Nose’ Fiona Apple, ‘Slow Like Honey’ Judith McNaught, Almost Heaven @sunsbleeding​ (x) Beyoncé, ‘Haunted’ Fleetwood Mac, ‘Silver Springs’ Theodore Roethke, On Poetry and Craft Naiche Lizzette Parker, ‘Halloween’ Iris Murdoch, An Unofficial Rose

[justanother-randomhuman]

[justanother-randomhuman]

All of the music I’ve ever made... now belongs to me. And all my music videos. All the short films. The album art and photography. The unreleased songs. The memories. The magic. The madness. Every single era. My entire life’s work.

[justanother-randomhuman]

So, I just rewatched Atlantis: The Lost Empire, and aside from a lot of small yet amazing details I hadn't noticed previously (it was released when I was 5-6, and I hadn't watched it in a few years), I got to the ending scene, where Mr. Whitmore reads Milo's card while seeing the crystal.

That's when, for the first time, I understood that the "Thanks from both of us" part wasn't on behalf of (or, at least, not restricted to) Milo and Kida, but on Milo and Thadeus'.

Preston Whitmore had been one of Thadeus Thatch's closest friends – the former did everything he could to keep the promise both of them made, and after Milo he may have been who wanted the most to prove Thadeus was right. He was eager to vindicate his memory and reputation after what those academics did to him.

So yes, maybe what I always thought (Kida and Milo's thanks) could be right, but now I also believe it was mostly about Milo and his grandfather.

[justanother-randomhuman]

I love how you can see clearly just how eager she was for this hug, after all that's happened to her. She knew she could die and how much it took from him to save her. She knew she could never see him again and when she finally saw him she realized just how grateful she is that she did. This hug says more than a hundred kisses in it's place would.

[justanother-randomhuman]

Model sheets for Milo from Atlantis: The Lost Empire by John Pomeroy

[justanother-randomhuman]

Princess Mina’s story💎

More NextGen stories to come…

[justanother-randomhuman]

Adding Jonathan Bailey to my suspiciously similar looking nerd collection

[justanother-randomhuman]

ahh hahah milo

[justanother-randomhuman]

Spoilers: Eggers' Nosferatu

There's a lot of debate right now on if Count Orlok represents Ellen's shame/trauma/abuse, or if he represents her repressed erotic desires, and in turn there's debate on whether or not viewers who find the Ellen/Orlok dynamic alluring are "missing the point." Eggers and Lily-Rose Depp have both said in interviews that there's a mutual pull between Ellen and Orlok, and even that there's a love triangle element, but obviously the experience is terrifying for Ellen. How can we reconcile the sexual tension and the horror?

I think the broader theme is that Orlok represents everything in a woman's inner world that men refuse to acknowledge and accept - fear and shame and trauma, yes, but also our appetites . After the prologue, the story starts with Ellen begging Thomas to stay in bed with her; she says "the honeymoon was yet too short" and tries to pull him in and kiss him (obviously trying to start some nuptial bliss). But Thomas is anxious to meet with his boss and get his promotion, because he has a narrative he's going to fulfill: he's going to pay Friedrich back, buy a house, and then start having kids (he and Friedrich touch on this a bit later. Notably, Friedrich discloses Anna's pregnancy to Thomas before Anna has made it public.)

It's the start of Ellen and Thomas' married life and she just wants him to prioritize her sexual desire, but he chooses to focus on his ideal of success, which sets him on this path to confronting Orlok. We know Ellen doesn't care about having a house or fine things and she begs him not to go, but Thomas listens to Herr Knock and Friedrich, who tell him that as a husband he has to provide materially. He ignores Ellen's stated desires, and so fails to provide sexually and emotionally. When Thomas gaslights her about her nightmares and calls them childish fancies, he shuts down her vulnerability, which kills the intimacy she was enjoying in the literal honeymoon phase.

On a related note, there's a defence in here for Aaron Taylor Johnson's performance, which I've seen a few male critics call "over acting." In this story Friedrich represents the masculine ideal of the time, he's a rich business owner with a beautiful wife and kids. Thomas clearly looks up to him and wants to emulate him - he wants to give Ellen the life "she deserves." But Friedrich's elevated masculine status is why he refuses to listen to Ellen's "hysterical, sentimental" worries, he's too rational for all that of course. And his stubborn "rationality" leads to the death of his entire family. Friedrich IS the patriarchal ideal that crumbles when confronted with nuance and uncertainty. Some people see Friedrich and assume that a character like him is meant to come across as dignified, and that Aaron Taylor Johnson is messing up by making him look annoying, but really he is giving a great portrayal of a really common, annoying kind of guy. The kind of guy who melts down and has childish tantrums whenever they lose control of a situation, or their manly skills and values are shown to be irrelevant.

The men in the movie (excluding Professor von Franz) frame Ellen as childish for speaking about her dreams candidly, but their own childishness is revealed when her dreams manifest in the form of Orlok and become unavoidable. Ellen (partially? possessed in the moment by Orlok) tells Thomas how "foolish and like a child" he was in Orlok's castle. In the literal context that's cruel, and obviously that shit was scary as hell, but it hits on Thomas' failure in the metaphorical reading. He was a child playing house: 'I'll be the husband and make money, you be the wife and make babies.' When it came time to confront his wife's inner world and all the scary, traumatized, lustful complexity of it, he was completely inept. The message isn't that Orlok is what Ellen really needs, or that Thomas is a wimp, but he's not a perfect husband either. I think "the point" is that a real healthy marriage with sexual, emotional, and spiritual mutuality is impossible in that society with Thomas/Friedrich's ideals. In that kind of society, a spiritually and sexually potent woman like Ellen ("in heathen times you might have been a Priestess of Isis") will always be caught in a "love triangle" with her husband and her own inner world.

[justanother-randomhuman]

yes yes orlok as the grotesque manifestation of ellen’s hideous lust, monsterfucking blah blah blah. Hot.

But thomas… the lover that witnesses.. accepts… soothes… He saw her at her most depraved and still held her… you guys. He was the only other person who had *seen* what she saw in her dreams. He was there in that castle… was inflicted by orlok’s perversions. In the flesh. Still he made it home. Then he watched her, frothing at the mouth and shaking in demonic fury, to then crawling and begging at his waist for mercy, then a moment laters she’s looking up at him with the very devil in her eyes and tongue… and still, he held her! As she truly sobbed. He told her it was okay, that he had seen it too. Continued to love her as his woman, descend to hell and destroy the demon for her. And Ellen loved him too! She says she felt he was sent to her, made her feel normal and okay. Her salvation. A love that feels like depollution… to be so inspired by your love for somebody that for them you go, willing, to the altar as a sacrificial lamb. Her love for him gave her purpose! I love them… not orlok nor any contract could ever dissolve the bond between them.