#( thread: johnny. );;

[silkenwinger]

Soap's been having fun lately. Lots of gym, swimming. Eating his heart out. He misses the action, but his condition has finally improved enough that he can at least enjoy life's simplicities. He greets the old people in his complex, takes on small jobs to keep busy while he mostly lives off the pension until he finds something more meaty to get his hands on. He doesn't have a dryer back home, and he hates hanging clothes, so every Friday he gets to the laundromat, pays for his washing and sits there waiting for it to be done, sketchbook in hand. Every time he goes there, the same arrangement of people finds him: older ladies, some eternal bachelors, and the sweet younger thing that lives just upstairs from the laundry.

It's not his fault he tends to monopolise the attention, you hear him? Classmates would roll their eyes when teachers took him under their wing just because he was funny. Everyone there knows all of his business; his inside voice never really developed outside of life threatening situations. He announces he has an interview for some construction worksite ("they do interviews nowadays?") and that he's excited to have a full time job again. The pensioners wish him good luck. You, instead, invite him for a drink together back at your house.

You're lovely, really. Pretty, funny, the whole package. But, um. He's still not fully recovered from the incident. He's afraid he won't be able to perform at his best. He also thinks you deserve to be with someone a little less scarred, someone who can share a general life path with you. Not someone whose dream is already over. Not someone like him.

But he still has pride. A male part of him simply doesn't think he has any right to refuse your invitation. And it doesn't necessarily mean that you want him that way to begin with, he shakes his head. You have a generous nature, he can tell. Maybe you're a bit lonely in this big city and just need someone to talk to.

The two of you have a lovely dinner together, actually. You cooked the lamb meat tenderly, just as he likes it without even knowing it. He's just about to tell you that he's had a great time, but that he should really go back home, because the interview is tomorrow and he has to wake up early...

He starts feeling weird. Lead in his legs, his head throbbing where he was shot, blood pooling behind his eyes. He sees you get up from the chair before his vision goes dark.

He wakes up some time later, his head full of cotton. His back is on a soft surface and his limbs immobilized, still caged even as he shakes, full force not recovered yet. Hearing him struggle, you slither in the room, immediately coming to his bedside. Even as he yells and convulses, desperately trying to set himself free, you don't speak, just try to pet his hair through the shakes. He decides to shut up for a moment then, still not totally sure of what's going on, if this is a joke. You speak then.

"Oh Johnny," you sigh, looking at him with so much pity he's only getting more confused, your hand still in his hair, "you didn't think I would let you be in danger again, right?"

[davidkarofskyindie]

sunsrpmuses (Johnny/Ace)

@sunsrpmuses continued from (x)

Ace licked his lips as he took in the sight of Johnny’s massive cock. Just as big as he had estimated, as he’d hoped. Maybe even a little bigger. “What I want it for?” He let that question hang for a moment before he turned and tossed away his shirt. He dropped his gym shorts slowly leaving him in his jock strap. His firm ass was on full display. All the more so when he reached behind himself and parted his own asscheeks, showing off his tight hole where a small jeweled anal plug was nestled. “This give you a clue, big guy?”

Johnny licked his lips a litlte as he watched Ace undressing, that firm, perfect body slowly being exposed was an intoxicating sight. He couldn't help but let out a little whistle seeing that firm perfect ass, the sparkly plug was undeniably eye-catching. "Might be the best clue I've ever seen... though an ass like that deserves some bling" he grinned, stepping over towards the other man with his cock bouncing on every step. He reached over to run his hand over those perky cheeks, so warm and smooth "Hmm, delicious", he whispered while reaching down to the jewelled plug and slowly pulling it out, growling as he saw the man's tight opening. He couldn't help but slip a finger inside the man, just testing how tight he was "So hot... bet that's going to grip my cock so damn well" he panted out, moving a little to slap his thick length between the cheeks "You bring lube? Or am I gonna have to use that mouth of yours to get me slick enough to slip inside that pretty little hole?" he asked, sliding the head of his cock up and down between those cheeks as teasingly as he could.

[dalekinapaintedparadise]

Stumbled upon a Reddit thread (don't ask) where people still whine and bitch about having to pick the "Nah, fucked that up too," dialogue option at the Oil fields to have a good relationship with Johnny. Saying that it needs to get fixed, calling it 'antagonizing' him, further proving that they don't understand him or his friendship with V at all. Sorry, but what's still not clicking? Holding him accountable for what he did and being honest with him is the only way you can have a good relationship with him for a reason.

It's not scolding him, it's not being mean, it's just V telling him 'No, what you did hurt me and I can't trust you anymore.' And he needs that, he needs someone who won't let him get away with the shit he does, he needs someone who is honest with him and won't just agree with everything he says so that he can grow and change. He knows he royally messed up, but he needs to hear that from V too. How do you expect V to have a true friendship with him if they just let him walk all over them and act like he did nothing wrong and everything's fine?

And it makes sense that the devs chose this as the secret ending unlocker because you can't have them storm Arasaka Tower together in full synergy when some parts of them are still at odds with each other.

Listen, I love Johnny as much as we all do here, but he needs to be called out when he messes up, and that's that.

[891movies]

Top 25 films (of the second 250 I watched for this project)

Around two years ago I posted a top 25 list of the first 250 films I watched for this project. Since I have now watched another 250 films and discovered many new favorites, the time has come for a second top 25!

Without further ado, I present them in chronological order (because if I actually had to rank them this list would never get out of the editing stage):

The Adventures of Robin Hood (1938, dir. Michael Curtiz, William Keighley)

This movie is a storybook adventure come to life, charming, entertaining and beautiful to look at (I miss you, technicolor!). Errol Flynn has an unmatched energy as the titular character and Olivia de Havilland is the picture perfect leading lady, with the exact right mixture of grace and fire. This is may not be a particularly complex or groundbreaking film but it does what it does perfectly and taps into that childlike sense of wonder that few films manage so well.

A Matter of Life and Death (1946, dir. Emeric Pressburger, Michael Powell)

One of my most delightful discoveries since starting this project have been the films of Powell and Pressburger - I'm not sure what other directors could boast releasing three of the greatest films of all time in three consecutive years (those being A Matter of Life and Death, Black Narcissus and The Red Shoes). This film mixes a deeply moving love story with a metaphysical court room drama to great success and this strange mixture is mirrored in the film's form, with some experimental but mostly conventional cinematography.

Ace in the Hole (1951, dir. Billy Wilder)

As grim and cynical as it is sharp, this movie plays out like a feverish nightmare. I was honestly shocked at how dark this movie got, considering the time and place in which it was made, but that is absolutely what the story needed and I'm glad Wilder got to tell it this way.

A Star Is Born (1954, dir. George Cukor)

Has there ever been another star to reach the heights of emotional intensity that Judy Garland did in her time? I was lucky enough to see this movie on the big screen and I can't imagine watching it at home, because Garland is so larger than life, I can't see how a smaller screen could contain her. That's not to take anything away from James Mason, who gives a tragic and intense performance for the ages.

Johnny Guitar (1954, dir. Nicholas Ray)

Joan Crawford in your butch black shirt save me! Save me, Joan Crawford in your butch black shirt!

Bigger Than Life (1956, dir. Nicholas Ray)

Surprise, it's another Nicholas Ray melodrama! Ray had this habit of creating highly emotional stories that hid some sharp social commentary, but the commentary is barely hidden this time and it is shockingly subversive. Mason gives another intense performance but here it tilts fully into unhinged territory and he is terrifying to watch. The ending feels a little slapped on but it also feels like the only way Ray could get away with everything that came before.

Mon Oncle (1958, dir. Jacques Tati)

This movie feels like a precursor to Playtime, one of my all-time favorite films (incredibly novel opinion, I know). The sets are meticulously designed and a delight to behold, and Tati's performance as Monsieur Hulot (the titular uncle) is charming as always. I especially adore the contrast between the traditional and modern Paris, as well as the unconventional sound mixing that refuses to privilege dialogue, leaning into cinema's strengths as a visual medium.

Jules and Jim (1962, dir. François Truffaut)

This is by far my most recent watch on this list and it's still kind of percolating in my head but I loved it when I watched it and my fondness for it has been growing daily. It has that charming, youthful irreverence that the French New Wave is so known for, as well as one of the most complex depictions of a female character I've seen in french cinema.

What Ever Happened to Baby Jane? (1962, dir. Robert Aldrich)

Bette Davis is one of my all time favorite actresses and this is one of my all time favorite performances. She puts everything into this role and the rest of the film compliments her perfectly; it's funny and dark, tragic and absolutely unhinged. And Joan Crawford is good too, I guess.

Tokyo Olympiad (1965, dir. Kon Ichikawa)

This blew my mind when I first watched it, seeing what incredible feats documentary filmmakers were capable of so early on in the genre's history. It is also the perfect counterpoint to Riefenstahl's earlier documentaries about the Olympic games; where she emphasized nationalism and feats of strength, Tokyo Olympiad focuses on the humanity of it and the power this event has to bring us together. Probably my favorite section of the film focuses on an athlete who was the sole representative of his newly independent country and who did not qualify for the finals in his field (unfortunately I don't remember the country or the sport). But just the fact that he made it to the Olympics, that he got to represent his country on the world stage, is an incredible feat in and of itself, and the film recognizes this.

The Wild Bunch (1969, dir. Sam Peckinpah)

This movie is everything a western should be - exciting, violent, and deeply critical of the ugly history it is depicting. The characters are not good people but they are compelling and incredibly fun to watch.

Woodstock (1970, dir. Michael Wadleigh)

Another mindblowing documentary that pushes the ability of the medium to its limits. It captures a unique moment in time, a spirit of rebellion and hope for the future that unfortunately feels worlds away from our current cultural landscape. It is also an incredible display of the emotional power of music. I cried during Janis Joplin's performance and it felt impossible to match, but then it is immediately followed by Jimi Hendrix and I could feel my soul descend to a higher plane of existence. It is my life's goal to see this film in the theater.

In the Realm of the Senses (1976, dir. Nagisa Ōshima)

Everything is sex, except sex, which is love and beauty and death all intertwined and impossible to separate.

Atlantic City (1980, dir. Louis Malle)

Rarely has a setting felt so integral to a film. Everything from the story, to themes, to the characters revolves around and is subservient to the setting of a declining Atlantic City whose glory days are far behind it. It is also a microcosm of American society at large, at least as people were experiencing it in 1980 (although it's pretty relevant today, I would say).

Gallipoli (1981, dir. Peter Weir)

This is the movie that definitively convinced me that anti-war films are indeed possible to make, just not in Hollywood (Come and See had me thinking this, but Gallipoli proved to me that it wasn't a unique feat of just one film). We barely see the war in this movie but it is all about the incredible tragedy of it.

Koyaanisqatsi (1982, dir. Godfrey Reggio)

I was completely expecting this movie to put me to sleep and instead, it was one of the most viscerally intense and haunting viewing experiences of my life. It is hypnotic in the very best way and somehow captures the ennui of modern life without a single word being spoken.

Paris, Texas (1984, dir. Wim Wenders)

This film is an intoxicating mixture of tenderness and brutality, and a deeply moving depiction of our longing to reach out and connect to one another. This is the other film on the list I got to see in the theater and the cinematography was absolutely breathtaking on the big screen.

Trust (1990, dir. Hal Hartley)

This is such a delightfully strange film, almost but not quite set in our reality. The strangeness makes the gentleness of the love story all the more touching; this is one of those movies that makes me happy to be alive.

Safe (1995, dir. Todd Haynes)

I have been kind of obsessed with this movie since I saw it, so much so that it will actually be a focal point in my master's thesis. Everything in the film, from the cinematography to the soundtrack to, especially, Julianne Moore's performance, builds to this overwhelming sense of anxiety and dread, and Haynes' refusal to give an easy answer (or any answers at all) makes it all the more unsettling.

Scream (1996, dir. Wes Craven)

I do like scary movies, yes. I especially like movies that are scary, funny, and feature a bloody final girl and (more than) a touch of homoeroticism.

The Blair Witch Project (1999, dir. Daniel Myrick, Eduardo Sánchez)

Look at that, another scary movie! I am probably more susceptible to this movie's attempts at scares than most viewers, because I've only very recently started to build any kind of tolerance for horror, but it got me so good. The simplicity just makes it better; it may only do one thing but it does it very, very well.

Dancer in the Dark (2000, dir. Lars von Trier)

I'm always kind of hoping when I watch a new Lars von Trier movie that maybe I won't like this one, because I don't know what it says about me that I enjoy his films so much but I know that it can't be good. But this movie belongs just as much to Björk, who gives an incredible acting performance and an all-time great vocal performance. I was left a sobbing wreck; to this day, just humming 'The next to last song' to myself brings a tear to my eye.

Volver (2006, dir. Pedro Almodóvar)

Penélope Cruz is a revolution in this movie, my god. She brings the emotional sincerity that the film needs to keep its elaborate plot grounded. As always, I appreciate Almodóvar's clear love for strong and complicated women, as well as the often messy relationships between them.

Phantom Thread (2017, dir. Paul Thomas Anderson)

I love a good twisted love story and it is beautifully told here. Form also compliments function to a tee; a story about an obsessive compulsion to create perfect art is mirrored in the absolutely meticulous cinematography and costuming. Daniel Day-Lewis gives the performance of a lifetime here and while I do miss seeing him in the theater, what a film to end on!

Roma (2018, dir. Alfonso Cuarón)

This is one of those movies where nothing happens, in that there isn't a traditional plot (events still take place, obviously), because it's about life, man. It's a type of film that needs a deft hand and a filmmaker with something to say, and Cuarón has both in spades. Funnily enough, this movie reminds me a lot of Paris, Texas; it has that same mix of tenderness and harshness that compliment each other.

[gomzdrawfr]

ok so I was doing fruit tier list after watching RTgames' video and decided to do cod ship tier list (something that was trending on the bird app before)

LINK HERE

Im tagging a few peeps to do it if you wanna!! if not its fine hehe

@justasmolbard @warenai @tapioca-milktea1978 @kaar-ne @tiggerriot @jgvfhl

reminder to all this is all for fun and people can have different opinions, don't be a prick :p

[snowball-doie]

OH MY FUCKING GOD THAT THREAD WAS UUU????

YEAH!!!!

lol the amount of ppl at the concert last night who went “wait you’re the girl from Twitter??” 😭😭😭

(Pic from this morning)

[johnnyxwagner]

starter for @steviexwagner

location: their home

For the first time in months the Wagner home was silent. The dogs were snoozing peacefully on the couch and there was not a sign of a kid around. They'd spent the morning cleaning, picking up the remnants of the tornado that went through their home with the tornado being their children. As he finished drying a stack of dishes, Johnny turned to the love of his life, "Well," he chuckled softly, "now that is all done. What do you want to do next?" He hummed, walking over to her and pressing a kiss to her forehead, "I think we deserve some sort of reward and it looks like," he looked down to check his watch, "we are still several hours away from receiving children back."

[incorrectpnatquotes]

Johnny: What stops someone from just strolling into a hotel at breakfast hours and acting like they're supposed to be there, getting a free breakfast, and leaving? Donny Jhonny: The same thing that stops me from breaking into my neighbor's house while he's at work. Donny Jhonny: Moral compass, internal dialog, honor... those sorts of things! Johnny: ... [Later] Johnny: *walks into school with his entire backpack stuffed with breakfast foods*

[panelswithoutpeople]

Vault of Horror No. 27 - Silver Threads Amongst the Mold!

by Johnny Craig

[queenslandsoutherngothic]

Its gotta be about our John. First song on the record. A love letter to Johnny Marr with very deeply reassuring vibes. People see no worth in you but I do

Whatever people were saying about Johnny....... A piece of what Johnny got (and has always got) from his side of the relationship, what he needed from Morrissey.

[tarmac-rat]

(Insp.)

Featuring @luvwich's text generator

[oldbutchdanielcraig]

Since we're talking Devil's Minion feeding stuff; that one 'You look thirsty' scene from Phantom Thread but it's Armand acknowledging Vamp!Daniel's fledgling-thirst. (But also, it being already canon via the 'I ordered everything they had' scene from the book where Armand laughs at Daniel so gets super into it and starts getting drunk as fast as he can, anyway)

daniel finding this attached to the neck of 1/3 unconscious bodies left in the entrance of his apartment building

[alliannahvaughn]

𝘤𝘭𝘰𝘴𝘦𝘥 𝘴𝘵𝘢𝘳𝘵𝘦𝘳 𝘧𝘰𝘳 @johnnyxwagner

"Come on you know I can't catch a ball for shit!" Alli spoke, eyes focused on the friend she was throwing a football with. She'd made it to the ball just as it was hitting the ground and she picked it up, eyes focused on the other as she tossed it, immediately taking off running in the other direction. She was so focused on the person that she thought was chasing her, or at the very least watching her enough to toss the ball towards her that she hadn't realized she'd made it to the children's section of the park, nor had she realized there was a tiny child that had made it's way into her path. As she ran, she bumped into them, inhaling as the child - Johnny's youngest mobile child Zoe - hit the ground, and cries began to erupt. She began to panic as the ball came flying at her head which she managed to dodge, watching as it hit the ground mere inches away from the toddler. "Shit. I mean-." she paused, looking around frantically for whoever this child belonged to. She helped them up, hand aggressively rubbing the back of her head in an attempt to soothe the toddler. "Who do you belong to, hmm?" she questioned, suddenly overwhelmed with the thought of explaining she'd knocked the kid over to whoever she belonged to.

[merge-conflict]

thread-safe: shapeshifter blues

Valentine relies on Johnny for a little comfort

>>read on ao3<<

“So, how was it?” he asks, nuzzling his cheek into her shoulder before pressing a kiss into the bloody teeth marks he'd left behind. The answering grind of her hips is tempting, but neither of them are in a hurry. “Everything you dreamed it would be?”

She lets out a little choked laugh. “Better, even. Until it was over.”

He runs his hands over her thighs and she grumbles, adjusting slightly to extend her left leg. V still won't tell him much of anything about her second stint at Arasaka, but that glint in her eye means she wants to tell him about this. And he knows it makes him as bad as any pathetic superfan but he wants to hear it.

“What’d you let him do to you?” Johnny asks, fingers skating over the tender and inflamed scar on her left thigh. She squirms at the touch but he can feel her getting excited– whether from thinking about Takemura or from being interrogated he’s not sure. Both, probably. She’s an incorrigible horndog. “Besides nearly choke you to death.”

“Pin me against a wall,” V answers, the little indicator for her typing slowly pulsing in the corner of his eye. “I think he wanted an excuse. He was very eager. And jealous of you, of all things.”

Johnny tries to picture eager. With V it usually means handsy. Jealous, though, now that's worth considering. One of those nights he'd been out with V on Jig-Jig, the old man had come out of nowhere. Thrown his weight around judging her for having a little fun, like he hadn't been out on the prowl himself. Like he hadn't turned her down twice and still expected her to come when he called. He'd been awfully motivated to get his hands on Johnny, even when he thought he was just some doll V was playing with.

“He was pretty steamed that one night, wasn’t he? Kind of territorial considering all the times he turned you down.”

V sighs, although he knows she’s secretly pleased. “He brought that up.”

“Course he did. Then what? He choked you a little? Fucked you up against that wall?” Johnny grinds his hips and V responds in kind, before moving one of his hands down to her cunt. She’s truly slick now, and he slips in two fingers, nice and slow. They're finally starting to get somewhere.

[johnnyxwagner]

starter for @donnymorgan

location: cedar grill and lounge

Having served with Donovan, their paths often crossed since his return to Kismet Harbor a few years ago. Life had changed drastically for Johnny as he exited the army life and jumped right into being the family man he should have been from the start. Right now, with newborn twins in the household, Johnny and Stevie took their opportunities to step out when they could, whether together or separate. Knowing that his younger sister was over and keeping Stevie company, he stopped by Cedar Grill and Lounge for a drink and to get the family take out. "Hey, Donny," he smiled as he approached the bar, "not often I see you down here, how're things?"

[chaoticbabie]

just finished watching we were liars after having read and reread it 4 times over the last few years and the show mightve devastated me more than the book ever did