labyrinthphanlivingafacade

[labyrinthphanlivingafacade]

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recontextualizing fry and leela as an annoying but earnest twitch streamer and his inexplicably hot and intimidating girlfriend

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great films available on the internet archive part two

first post + the archive collection with all of them

la haine (1995) dir. mathieu kassovitz

carnival of souls (1962) dir. herk harvey

andrei tarkovsky's filmography

a nightmare on elm st. (1984) dir wes craven

possession (1981) dir. andrzej źuławski

the silence of the lambs (1991) dir. jonathan demme

safe (1995) dir. todd haynes

psycho (1960) dir. alfred hitchcock

cops (1922) dir. buster keaton

sherlock jr (1924) dir. buster keaton

when harry met sally... (1989) dir. rob rainer

the bride of frankenstein (1935) dir. james whale

man with a movie camera (1927) dir. dziga vertov

coffee and cigarettes (2003) dir. jim jarmusch

m (1931) dir. fritz lang

it happened one night (1934) dir. frank capra

casablanca (1942) dir. michael curtiz

purple noon (1960) dir. rene clement

carrie (1976) dir. brian de palma

eraserhead (1977) dir. david lynch

they live (1988) dir. john carpenter

female trouble (1974) dir. john waters

do the right thing (1989) dir. spike lee

wings (1927) dir. william a wellman

fallen angels (1995) dir. wong kar wai

velvet goldmine (1998) dir. todd haynes

black panthers (1968) dir. agnes varda

american psycho (2000) dir. mary harron

the manchurian candidate (1962) dir. john frankenheimer

girlfriends (1978) dir. claudia weill

more to come ♡ glad you all like movies.

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Having an abusive parent is kinda funny in retrospect like mommy why do you have beef with me im 4 i love you

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rip magneto you would have loved killing elon musk

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the first law of tragedies: the end is already written and inevitable. the second law of tragedies: your actions are all your own and you can choose to get off this ride whenever you want. the third law of tragedies: we both know that you are never going to do that.

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no but the thing is, when the hero falls in love with the villain she is falling in love with the darkest parts of herself. she is owning her shadow and the owning makes her stronger. it is not about whether a ship is toxic or romanticising abuse because it’s not about two individuals. the struggle is not one between two people, just like the love is not between two people. when the hero falls in love with the villain she is loving herself. when she loves herself she is stronger, better, able to transform darkness instead of running from it. at the moment of loving, a person changes. the loved changes. and the love of the villain changes the hero. it’s all about this, don’t you see?

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who up wanting to change things that can't be changed

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Frog and Toad Find Human Remains

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One thing I really like about Beverly Engel's book It Wasn't Your Fault, which is about PTSD-induced toxic shame, is that quite a bit of it deals with people who haven't broken The Cycle of Abuse (TM) and have gone on to hurt others. That's a really underserved and vulnerable patient population, and statistically, it's also MASSIVE. I don't think I've read a single other self-help type book on PTSD and self-loathing that confronts the possibility that you're exactly as bad as you think you are.

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I bet getting crossed off a to do list feels good as fuck for a task

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what if people over a certain height had a special currency called tall coins that short people didn’t know about. And one day you’re walking with your friend (huge) and she drops something and you pick it up and say what is this and she says oh that’s my tall coin don’t worry about it. But you did worry

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"Don't you dare tell me I did anything wrong!"

NBC Found did Margaret so dirty.

Remember at the beginning of the season, when Margaret was coming off of acknowledging how she failed her daughter but could start a new relationship with her? When she was suicidal after remembering how she failed Jamie at that bus station? When she ASSAULTED A BUS STATION EMPLOYEE???

Never mind! Ignore all that. No, that's too interesting and complex. We can't have that! Whittle her down until there's nothing left but Mother.

Jamie's back! Everyone celebrates Margaret for never giving up! She found Jamie!

...Except for how Jamie found her, due to her work at M&A. She didn't actually find him. If she had moved on and taken care of her daughters and worked at M&A so that people could get the answers she never could, Jamie would have found her then, too. But ignore all that, everyone circles around Margaret and says Hip Hip Hooray you did it!

And those parallels between her and Carrie? The way neither of them let go of their sons and how that hurt those around them? How both of them lost children due to their inability to care for them? Anything to show Margaret as the interesting character she was at the beginning, flawed and broken but kind and strong? Naaaw, forget all of that. She's the Perfect Mother! So perfect!

Mother! Mom! Just a good mom! So good! Perfect, really! So good and perfect. Don't acknowledge anything else about her. All she is is Mother, now. And that's all she ever was! Perfect mother. She has kids, did you know that? And she was always so good and perfect with them, we can see that now in hindsight. Never made any mistakes! We thought she had, but we were wrong. She was entirely justified and right and correct and good so good one of the predestined good ones who can never fail. Because bad mothers are terrible! So scary! We hate any mother who isn't perfect. Only perfect mothers allowed here! And Margaret is one!

Did you know she has a son who loves her entirely and knows she has no flaws?

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I'll put you in your coffin, Father.

Interview With the Vampire (1994)

The Hunger (1983)

Queen of the Damned (2002)

Baldur's Gate 3 (2023)

Interview With the Vampire (2022- )

Bit (2019)

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& to whoever at nbc let them release this trailer knowing full well this season was just gonna be 22 episodes of gabi's guilt complex & white woman mcmicroaggression getting narratively validated for abandoning her daughters to sleep at a bus station for 12 years i hope your pillow is extra warm & fucking moist tonight

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Let’s observe with mama

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In one of your older posts I read about how Marcus Lovett deliberately echoed Raoul and Piangi for some scenes, because he thought that Erik would mimic them in terms of “manly” behavior. I thought this was really interesting, and I was wondering if you could talk about any scenes in particular that stood out in this way?

One scene that definitely stood out was the proposal after “Point of No Return”, before the unmasking. Here Marcus Lovett’s Phantom seemed to perfectly mimick Raoul’s movements and manners in the Rooftop scene.

I thought it was an interesting take on it, and I brought it up when talking to Marcus Lovett after the show. He looked mighty pleased that I had noticed that detail. He told it was an acting choice; that he envisioned the Phantom studying the men of the opera numerous times to try and understand how a man was supposed to appear to the world. Which is why the Phantom has a slightly theatrical flair, because without realizing he was just as much studying opera roles than actual men. But with Raoul he saw genuine affections towards a woman, and this is what he figures out Christine wants - hence the PONR moment (albeit he could probably pick up more clues from Raoul, given what happens next...!)

There’s something deeply human and adorably clumsy about this, and when seeing Marcus Lovett’s Phantom again with this arch in mind I loved him doubly. He had really thought of every single little detail he did on stage, from hand movements to grander arch storytelling. Which is also why, despite moments of rusty vocals, I list him as one of my favourite Phantoms.