#Film Diary 2017 | Explore Tumblr Posts and Blogs

aronarchy · 8 months

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A copy of the first reading list, if you dislike clicking on Google docs links:

The liberal news media is working overtime to silence Palestinian voices. As we sit thousands of miles away, witnessing the massacre through social media, the least we can do is educate ourselves and work to educate others. Apartheid threatens all of us, and just to reiterate, anti-Zionism ≠ antisemitism.

Academic Works, Poetry and Memoirs

The Revolution of 1936-1939 in Palestine: Background, Details, and Analysis, Ghassan Kanafani (1972)

Palestinians: From Peasants to Revolutionaries, Rosemary Sayegh (1979)

Popular Resistance in Palestine: A History of Hope and Empowerment, Mazin Qumsiyeh (2011)

My Life in the PLO: The Inside Story of the Palestinian Struggle, Shafiq al-Hout and Jean Said Makdisi (2019)

My People Shall Live, Leila Khaled (1971)

Poetry of Resistance in Occupied Palestine, translated by Sulafa Hijjawi (Baghdad, Ministry of Culture and Guidance, 1968)

On Palestine by Ilan Pappé and Noam Chomsky (2015)

Gaza in Crisis: Reflections on the US-Israeli War Against the Palestinians, Noam Chomsky and Ilan Pappé (2013)

The Politics of Dispossession: The Struggle for Palestinian Self-Determination, 1969-1994, Edward W. Said (2012)

Queer Palestine and the Empire of Critique, Sa’ed Atshan (2020)

Stone Men: The Palestinians Who Built Israel, Andrew Ross (2019)

Ten Myths About Israel, Ilan Pappé (2017)

Blaming the Victims: Spurious Scholarship and the Palestinian Question, Christopher Eric Hitchens and Edward W. Said (2001)

Palestinian Walks: Notes on a Vanishing Landscape, Raja Shehadeh (2010)

The Gun and the Olive Branch: The Roots of Violence in the Middle East, David Hirst (1977)

Gaza: An Inquest into Its Martyrdom, Norman Finkelstein (2018)

Fateful Triangle: The United States, Israel and the Palestinians, Noam Chomsky (1983)

Israel and Palestine: Reappraisals, Revisions, Refutations, Avi Shlaim (2010)

Politicide: Ariel Sharon’s War Against the Palestinians, Baruch Kimmerling (2006)

The Holocaust Industry: Reflections on the Exploitation of Jewish Suffering, Norman G. Finkelstein (2015)

Light in Gaza: Writings Born of Fire, Jehad Abusalim (2022)

Nakba: Palestine, 1948, and the Claims of Memory, Ahmad H. Sa’di and Lila Abu-Lughod (2007)

Peace and its discontents: Essays on Palestine in the Middle East peace process, Edward W. Said (2012)

Three Poems by Yahya Hassan

Articles, Papers & Essays

“Palestinian history doesn’t start with the Nakba” by PYM (May, 2023)

“What the Uprising Means,” Salim Tamari (1988)

“The Palestinians’ inalienable right to resist,” Louis Allday (2021)

“Liberating a Palestinian Novel from Israeli Prison,” Danya Al-Saleh and Samar Al-Saleh (2023)

Women, War, and Peace: Reflections from the Intifada, Nahla Abdo (2002)

“A Place Without a Door” and “Uncle Give me a Cigarette”—Two Essays by Palestinian Political Prisoner, Walid Daqqah (2023)

“Live Like a Porcupine, Fight Like a Flea,” A Translation of an Article by Basel Al-Araj

Films & Video Essays

Fedayin: Georges Abdallah’s Fight (2021)

Naila and the Uprising (2017)

Off Frame AKA Revolution Until Victory (2015)

Tell Your Tale Little Bird (1993)

The Time That Remains (2009)

“The Present” (short film) (2020)

“How Palestinians were expelled from their homes”

Louis Theroux: The Ultra Zionists (2011)

Born in Gaza (2014)

5 Broken Cameras (2011)

Little Palestine: Diary of a Siege (2021)

Al-Nakba: The Palestinian catastrophe - Episode 1 | Featured Documentary

Organisations to donate to

Palestine Red Crescent Society - https://www.palestinercs.org/en

Anera - https://support.anera.org/a/palestine-emergency

Palestinian American Medical Association - https://palestinian-ama.networkforgood.com/projects/206145-gaza-medical-supplies-oct-2023

You First Gaza - https://donate.gazayoufirst.org/

MAP - Medical Aid for Palestinians - https://www.map.org.uk/donate/donate

United Nations Relief and Works Agency - https://donate.unrwa.org/-landing-page/en_EN

Palestine Children’s Relief Fund - https://www.pcrf.net/

Doctors Without Borders - https://www.doctorswithoutborders.org/what-we-do/where-we-work/palestine

AP Fact Check

https://apnews.com/article/israel-hamas-gaza-misinformation-fact-check-e58f9ab8696309305c3ea2bfb269258e

This list is not exhaustive in any way, and is a summary of various sources on the Internet. Please engage with more ethical, unbiased sources, including Decolonize Palestine and this list compiled by the Palestinian Youth Movement.

#repost of someone else’s content #Palestine #free Palestine

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specialagentartemis · 4 months

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The Murderbot Diaries and Terminator: Dark Fate: What Does a Killer Robot WANT, Anyway?

The Terminator (1984) is probably the most famous killer robot in media, setting the image for a what a killer robot is. It’s shaped like a bodybuilder, weapons built into its metal skeleton, eyes hidden behind cool and impersonal sunglasses, a threateningly “foreign” accent, and no feelings, no remorse, and no desires besides killing its target. Kyle Reese describes it to Sarah Connor bluntly: “That Terminator is out there! It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse, or fear. And it absolutely will not stop... ever, until you are dead!” And the film supports this wholeheartedly. We get a few scenes from the Terminator’s perspective, and they do not really indicate that it has much in the way of personality or free will. It’s scary because it is a ruthlessly efficient, tireless, and analytical machine built to kill. It will not stop until its target is dead, or it is.

Terminator 2: Judgement Day (1991) gives us a nice Terminator, a Terminator captured from its controlling Skynet and re-programmed to help Sarah and John Connor rather than hunt them. This Terminator gives slightly more suggestions that it has a personality of its own, but ultimately it is still now ruthlessly efficient, tireless, and analytical in protecting its charges, but it still dies at the end in the course of fulfilling its objective. It was, after all, programmed by the human rebels to protect John Connor, and it did.

Did the Terminator want any of that? The second film halfheartedly cares a little, and the first film certainly did not at all. It’s an irrelevant question. It’s a robot; it’s incapable of truly wanting anything, it just does as it’s programmed. It fulfills its objective.

In modern sci-fi, that’s not really a satisfying answer anymore. It looks like a human, has human organic parts built into it, and it clearly has the ability to process large amounts of information and make complex and reasoned decisions. Why do we write it off so thoroughly? Does a Terminator like what it does? Would it choose this? What does a Terminator want?

The Murderbot Diaries (2017-present) by Martha Wells isn’t a direct answer to this question, but it sure is considering it.

The titular Murderbot is very similar to the Terminator: a human-form cyborg, a robot with human organic parts built in, a machine with guns in its arms made to do a job and that job being to protect and/or oppress humans. But as a thinking, feeling, complex entity, it has opinions about that job.

You know what else is a clear response to early Terminator movies’ fundamental uninterest in the Terminator’s inner life and personal opinions on things? Later Terminator movies. Specifically Terminator: Dark Fate (2019).

The fact that The Murderbot Diaries and Dark Fate came out at roughly the same time, in the same sci-fi AI-story zeitgeist, looking back critically at the 80’s and early 90’s Terminator and asking, well, what would it do if it didn’t have to murder, who would it be if it had the choice, is telling.

The Murderbot Diaries stars Murderbot, a SecurityUnit owned by a callously greedy and corner-cutting company that uses such SecUnits ostensibly to protect but in reality to intimidate, control, and surveil human clients. It calls itself “Murderbot” and all SecUnits as a whole “murderbots” for a reason. The world of the books sees SecUnits as mindless killer robots kept in check by their programming, in a very similar way that the Terminator was presented in 1984. We see the story from Murderbot’s point of view: it’s snarky, depressed, anxious, bitter, funny, and very opinionated. It also really, really hates intimidating, controlling, and surveilling people, and it specifically broke its own programming meant to keep it compliant so it wouldn’t have to hurt people. Instead, it wants to half-ass its job and watch soap operas… but it’s sympathetic to humans in danger despite itself, and when it chooses humans it cares about, it will go to great lengths (ruthless, but very tired and full of fear and pity) to protect them. What does it want? To be given space; to not be given orders; to have the ability to take its time and watch its shows and determine what its job as Security means to it.

Terminator: Dark Fate takes a different tack. (It’s actually about three badass women and I’m very sorry for focusing on the man-like character here BUT) Dark Fate presents an alternate timeline off the main series, where the Terminator succeeded in killing young John Connor. Previously, we had seen Terminators that would not stop until they were dead; this one fulfills Reese’s other warning. It will not stop until John Connor is dead. Well…. it succeeded. John Connor is dead.

Now what?

In the opening scene, we see this from his mother Sarah Connor’s perspective. The Terminator appears out of time, ambushes and kills young John Connor, and then stands there looking impassively at the destruction it wrought while Sarah screams.

It looks cold and satisfied when that scene is first presented. But when we see it again from the Terminator’s perspective, it seems to just stand there, staring stupidly, suddenly with no direction in life. It fulfilled its objective. It followed its programming. Now it has no more objective, can receive no more orders, and its programming has nothing more to tell it to do. It eventually disappears into the woods, learns more about humanity, grows a conscience, lives in a little cabin with a woman and her son fleeing an abusive husband in an apparently mutually very supportive relationship, chops wood, drives a truck, and gives Sarah Connor insider information to allow her to track down other incoming Terminators as a way of atonement. It does have remorse, if given time to think for itself and realize it. It doesn’t really want to hurt people, and even, similar to Murderbot, has a drive to use its strength and intimidating-ness to protect the people it chooses. It mostly wants to be quietly and safely left alone.

Both the Terminator and Murderbot are killer robots left adrift, aimless, reeling, suddenly having to decide for themselves what to do with their lives for the first time. Both are stories that circle back to the original Terminator premise and say, okay, but that killer robot isn’t killing for the sheer thrill of it, it was forced into doing that by a top-down authority in control of its programming. That would kind of fuck someone up, actually. It’s a hopeful narrative: these things are people, and they don’t want to be hurting other people. When given the option, they just want to rest, make amends, understand the truth, find a place they belong, and see the people they care about safe. And I think it’s fascinating that not only is smaller, literary sci-fi asking this question and telling this story, but so is the Terminator franchise itself.

We also just as blatantly see the evolution of Sarah Connor as a character. In The Terminator (1984) the Terminator is sent to kill Sarah Connor. When I was watching it recently with some friends who had never seen it before, they guessed—almost correctly—“oh, it’s because she’s the rebel leader in the future!” Sorry guys, this is a 1980s mainstream sci-fi blockbuster. Her as-yet unborn son is going to be the rebel leader. That’s why the robots in the future need to kill her, before she gives birth to the hero of the humans. Blech, I know.

Over the course of the movie, though, she becomes tough, fierce, and brave, the type who can and will survive the apocalypse; in future movies and tv series (like The Sarah Connor Chronicles, 2008, where she gets to be the eponymous title character this time!), she gets to be a strong leader in her own right. This is particularly true in Terminator: Dark Fate, where Sarah Connor is a tough, grizzled, middle-aged Terminator-fighter, who steals heavy weaponry from the government to track down and kill Terminators arriving from the future. She becomes a mentor to the new woman being hunted down by the new Terminator threat, Dani Ramos. This time, though, Dani isn’t fated to be the mother of the human rebel leader—she is destined to become the human rebel leader herself. Along with Dani’s own Kyle Reese figure, a cybernetically-augmented human fighter from the future named Grace, women get central action-hero and rebel-leader roles in Terminator: Dark Fate, feeling like an awkward apology for the sexism inherent in the premise of 1984’s The Terminator. (However, Dark Fate stops short of committing to the Dani-Sarah/Grace-Reese parallel and letting them be lesbians. It’s still a mainstream action movie, I guess.) We even see the development of a curt but resentfully respectful understanding between Sarah Connor and the Terminator that killed her son.

I lay this out because in the same way I see the literary DNA of the Terminator in Murderbot, I see elements of Sarah Connor in Dr. Mensah. She’s the human protagonist—the one who would be the protagonist if All Systems Red had been from the human perspective—and feels like the answer to a similar question to “what does a killer robot want?”, namely, “what if, instead of enemies locked into battle to the death, the badass human and the killer robot worked together and came to an understanding? What if they could be friends instead of enemies?” Mensah also feels like a feminist response to some of the issues I had with Sarah Connor—that she didn’t get to be the leader herself, that despite her own strength and tenacity being the mother to the leader was the most important thing she would do—and responds to them in a similar way that Dark Fate somewhat apologetically does. Mensah is the leader of her society (her planet). Mensah is a mother and she is a scientist and a leader and gets her badass action-hero moments (MINING DRILL). She is the first to reach out to Murderbot. To ask it how it feels, and calm down the others later when they’re afraid; her relationship with Murderbot is unique. She’s a foil to Murderbot in a parallel but opposite way that Sarah Connor is a foil to the Terminator. And while in Dark Fate they are not friends (the Terminator did still kill Sarah’s son, even if it didn’t specifically want to) we see the same kind of desire reflected: what if they were at least allies? What if they were working together? How would that relationship go? What kind of understanding could they come to, about what it means to be human and to be machine? It's a smaller part of the movie and they don't give a whole lot of answers, but it's there.

Both All Systems Red (and the subsequent Murderbot Diaries books) and Terminator: Dark Fate were released in a very different sci-fi zeitgeist than The Terminator was. They’re both looking back, and reacting to it: Dark Fate directly, The Murderbot Diaries indirectly. And they’re approaching the concept of the Terminator and its Sarah Connor figure with similar questions: What does the robot want, aside from its programming to kill, and if it could be freed of its programming to kill, what kind of relationships—with society, with the concept of self-determination, and with its human woman foil—could it potentially be able to develop, with that freedom?

#They’re also both aroace #is it regressive? Does it imply things about sex/romance and humanity?#I don’t care I appreciate that neither one had to prove itself a whole person by falling in love #that’s a topic for a different post #Dani and Grace didn’t get a romance either. Cowards #but I kind of appreciate there was no human romance and sex/inhuman lack of romance and sex that was sorta lowkey going on in the original #This piece is less polished than last week's but oh well #MurderMetaMay #The Terminator #Terminator Dark Fate #The Murderbot Diaries #meta #my meta

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stormblessed95 · 2 months

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Do you know, all I keep thinking about re these negative anon asks is how all of what Jimin supposedly said was filmed probably April 23, when he was in NYC. Did he seem unhappy to anyone in that video? Did he seem unhappy in 2023 as a whole. No.

So after this interview (no we have it) we got Jimin travelling to NY to meet with JK, (all waxed.. sorry I digress), to go in a date on silver day to a very romantic looking restaurant, to then spend time travelling around CT, including a stay in a very romantic LGBTQ+ friendly cabin, camping under the trees, to them flirting in front of our salads a week or so later, JK naked in bed, as you do. Then we got the back selca of the century from Jimin on JKs birthday (everyone say thank you to Jimin), to Jimin posting a picture of a whale they both drew, and now we know they did that in the back of a boat watching a very romantic sunset. Then we got JK walking in on Jimins production diary live, and Jimins smile that could light up the sky it was that big and bright. Then if that wasn’t all, we got 2017 Jikook cosplayers going to Japan together all cosy in the airports, and then, then, the biggest most loudest thing they have done in my opinion, the buddy enlistment.

I mean seriously people. We may not know, or ever know, the true nature of the relationship between them but do you know what? We don’t need to know do we. Mainly because it’s non of our business, but also because no matter what, the love and devotion these two have is unparalleled. They have a truly beautiful bond that is unique to them. They know what they mean to one another, we get to peak when they let us, but that’s all. It’s not our right to debate and seek the truth, that’s their right. It’s not up to us to decide what they are, or what the truth is, that’s up to them. It’s called plausible deniability for a reason, they allow us in a bit, but then pull back equally as fast. As is their right.

I’ve been watching BV3 to pass some time and even in the short clips we see of them in that season, you can see their special bond. They say it themselves in their ending interviews. They click, they are similar. In AYS we are going to see hours of just them, no other members to pan to, or Segway to, just them, together. Do people realise what a privilege that is? I hope so.

I for one wish people would just stop with speculation and inane asks and either bogg off if you are an anti, or stay and appreciate what they do allow us to see if themselves, especially during AYS, because if that twitter op is anything to go by, we are in for something really special.

Hey, you know anon. I love you. I adore you. Come be my friend? 💜💜

Thanks for sharing!

#jikook #kookmin #messages to take in

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immemorymag · 7 months

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Georgia Ponirakou was born in October 1983. She studied Biology and Photography. She is a visual artist who works with film and is also a poet.

She uses both colour and black and white film, 35mm, medium format and Polaroid cameras. Her approach is diaristic as she documents her everyday life. She combines prints on different papers and printing methods to create zines and handmade artist books.

She has published five photo zines and two handmade zines in two copies each ("The quarantine diary" December 2020, F32.3, February 2021). Her first photobook about Makronissos (10 limited edition copies, 2019, Depression Era) was presented at the main exhibition of Medphoto Festival 2019, while her second book (Snowbed, 290 limited edition copies, Zoetrope Athens), which presents her personal story of depression, was published in Polycopies (November 2023). She has participated in group exhibitions at the Athens Photofestival (New found self 2017, Drowning land- Breathing water 2019) and several other exhibitions in Greece and abroad. Her first solo exhibition "Snowbed" took place in October 2021).

#photography #art collective #photomagazine #culture #art #female photographers #support female artists #film photograhers #35mm color film #film photography

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mediademon · 7 months

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GOOD TIME (2017) dir. Josh & Benny Safdie

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twig-tea · 4 months

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TWIG! Friend! I couldn't help but notice your tags in my excitement post about getting to La Pluie -- I see that you and I are YYY mutuals. :) Let's call YYY... say... zany or offbeat -- off the beaten path of the usual romance-dominated field of Thai BLs. What are some other "zanier" BLs (not just Thailand, but everywhere in Asia) that you love and would recommend for an off-the-wall experience? And, why?

@waitmyturtles I'm so sorry you sent this a million years ago and then I kept letting it languish. And it's extra rude because I love this question! It's so hard to add something like YYY to a rec list without a billion caveats, so this is a great chance to shout out some of the series & shorts that don't get as much attention. A few of these I know you've seen but I have to include them for completeness.

First, for the sake of other people reading this, as Turtles has written about, Cheewin brings his own kind of zaniness to almost everything he works on; my faves of his other than YYY are Make It Right and Secret Crush on You (the exception is Bed Friend, which is not in any way zany but I still liked it).

Also going to mention that since Turtles asked for off the beaten path zany, I won't be mentioning any of the popular comedies (in case you're wondering why I Became the Lead in A BL Drama or Man Who Defies the World of BL aren't on this list).

Alright now that's out of the way, let's get into the other recs!

Zany lesser-known BLs other than YYY

Ossan's Love Franchise (Japanese, 2016-2024, GagaOOLala)

It is... less true now that this series is lesser-known than it was when I started writing this draft (in uh... August 2023) but I shall persist! The franchise details alone for this series are complete crack:

A 2016 45-minute short [skippable imo];

The 2018 original series which builds the short into a zany 7-episode comedy series about a man in his late 20s who suddenly finds himself the love interest of his older boss (in his ~50s) and his coworker/roommate (in his mid-20s);

The sequel film Ossan's Love: Love or Dead (2019)which turns into an action film halfway through for no clear reason but also remains a romantic comedy in which the mains from the original season decide if they want to stay together

The AU season Ossan's Love: In the Sky (2019) which has the same characters of the lead and his boss from S1 and the short, but this time they work in an airport and all of the surrounding cast is different and leads to a very confusing love rhombus. Incredible 10/10 no notes [people hate this because they like the mains from S1 & the film but I loved the mess]

The sequel season to S1 and the film, Ossan's Love Returns (2024) which you can absolutely watch in isolation and is about the main couple re-establishing their relationship and their found family friend group after being long distance for a few years.

It's truly excellent comedy, and gets better every outing; there are some barriers that might prevent some enjoying the earlier seasons but the most recent one is really delightful. You can hear me talk more about this series with @bengiyo and @shortpplfedup on The Conversation podcast!

Diary of Tootsies (Thai, 2017, grey/Netflix (for the movie))

I love Diary of Tootsies and the follow-ups so much. SO much. One of the best laughs of my life was the opening to the movie, and I cannot be in a long car ride without thinking about the purse incident in s1. This show doesn't get a lot of BL fandom attention because the romance arcs are not typical for BL (but that's one of the things I love about them). And the friendship in this series is truly what sells it. Season 1 is self-contained, a lot of people dislike the romance plot of S2; I really like the arc across s2 to the movie (as established above, I tend to be less invested in a particular ship across a franchise or multiple franchises). The movie plot is all about reconciling who you thought you wanted and who you are with (amongst all kinds of shenanigans).

HeHe and He (Hong Kong, 2018-ongoing, YouTube)

This mockumentary sitcom-style series does tackle some serious topics and is also absolutely hilarious nonsense across its 3 seasons. The very simple premise is that a gay guy ("hehe" is slang for gay) and a straight guy who are old friends become roommates when the gay friend breaks up with his longterm boyfriend and needs a place to stay, and hijinks ensue. They do direct-to-camera confessionals spliced in with scenes from their lives. I love this show so much, and it would actually be high up in my indie BL rankings if it were completed. I lose it at least once an episode. It's very queer (if you want a show that tackles everything from hookups to turning everything into a joke to being so, so mean to each other while also loving each other dearly to even chemsex, look no further), and I am in love with all of the wacky characters that have formed a love-hate found family that is deeply relatable. The creators posted a video a few months ago saying they're struggling to end it in a way that they're happy with so I'm not sure we'll ever get an ending for the show. But if you like comedy and queer content it's worth a watch even incomplete! I've been very patiently following this project since 2018 and it's legitimately one of my favourite shows.

Rainbow Prince the Series (Filippino, 2022, YouTube)

This is a musical; it is a lot of campy nonsense. There is royalty, political intrigue, a dog, kidnappings, and so. much. singing. The songs are surprisingly catchy and it's all extremely good fun. Also a lot of the dialogue is very clearly improvised.

Hey! First Love (Vietnamese, 2019, YouTube)

This series of shorts are mostly just silly fluff. The very tenuous plot is that these shorts are slice-of-life moments from a young established couple, but it's all really just excuses for Vietnamese comedy and BL romance tropes. If you haven't watched anything from Vietnam, this is a very low-stakes commitment (I think it's under 30 minutes of content all told; there are 4 "episodes" which are spliced together shorts, each of which has a tiny plot but there is not much of an overarching narrative, and then a Q&A with the actors at the end) and gives you a sense of the Vietnamese sense of humour. Both of these actors have gone on to continue to be in other Vietnamese BLs, so if you have watched Vietnamese BL you may recognize them! The production quality on this is charmingly low.

Shubh Mangal Zyada Saavdhan (India, 2019, Amazon Prime)

This film was such a joy to experience in a live theatre. Billed "the first Gay Bollywood RomCom", this movie was a riot of chaos, dance numbers, shenanigans, hilarity, and cuteness. I loved the way this film incorporated the very real legal change to decriminalize homosexuality in its story. Arguably not "BL" as it very much fits in the bollywood tradition not the BL tradition, but OP did ask for all of Asia!

Like Love (China, 2014-15, grey)

And no I don't mean censored--this is from before China started censoring its BLs. This show has kisses as shown in the gif, and even (poorly cropped) sex scenes. It also is super bizarre. I was so confused by this show, the characterization, the fourth wall breaks, and how disjointed it was so I went to read the source material and...it turns out it's one of the most perfect adaptations I've ever seen, the book is in fact exactly like this. The characters are caricatures, there is no bridging between scenes, and the plot is the most absurd take on 'loserfail no-thoughts-head-empty character who doesn't admit he's gay but still ends up in a dedicated and loving relationship with a rich handsome domineering man ' I've ever seen. It's a bewildering experience. Note the sound quality on this one is suuuper miserable. I like s2 way more than s1 (s1 is getting together and includes a lot of the bullying-teasing and I'm-not-gay-I-just-need-him-to-pay-attention-to-me stuff, s2 is the honeymoon phase + getting the homophobic parents on board) but S1 is definitely the zanier of the two. That being said, if you wanted, I think you can dive right in to s2 (there's a direct-to-camera explanation of what happened in s1 at the start of it). Note that they set up a cliffhanger at the end of 2 in anticipation of s3 which was going to be made in 2016 but was cancelled because of the political changes in China in 2016 (this is one of the reasons I went to read the source material; they do get a happy ending in the books).

This is an extremely silly but also touching franchise with a lot of tropes I don't love, but also a lot of things I do (and just neat to see some stuff so early in BL: Underwater kiss? Helicopter ride? Femme fatale becomes friend of the faen? Supportive grandparent? It's all here). There are some fantastic speeches in s2 about supporting your gay children; I liked how in this the kids didn't give up on their parents but try to reconcile their filial piety with their dedication to each other. If you do watch S1, highly recommended you watch the series version rather than the film. For "S2"/the follow-up film, make sure you look for the uncensored film version.

The Lover Room 709 Cut (Korean/Japanese, 2016, grey)

This starts extremely silly, plays with BL tropes, and gets a little bit serious at the end but is mostly just full of puns and innuendos. Includes one of the most hilarious takes on kabedon, and egregious use of the soundtrack from Brokeback Mountain. Also: fart jokes. Folks worried it was going to stay teasing the audience but it does commit and we do get an actual resolution that is satisfying. I admit I've never seen the whole series (which includes stories of 3 other couples in the apartment building) but the BL cut is readily available if you search. Make sure you look for the deleted scene with the lotion application--this scene walked so IFYLITA could run (I'm kidding, but it's very funny seeing this scene now and thinking about that one).

The Boy Next Door (Korean, 2018, YouTube)

This is another older series playing with censorship (similar to The Lover) in which the two characters end up in BL romance tropes but are not actually in love...or are they? The shenanigans are very fun. This one is left more ambiguous than The Lover, which is one of the reasons it's further down the list.

Go! Go! G-Boys (Taiwan, 2006, grey)

I debated between this and another quirky comedy from Taiwan in the early 2000s, Formula 17, but while that's unequivocally a better movie, this one is lesser known and more zany, so it technically better fits the bill for this ask (but if you haven't, go watch Formula 17!). The plot is a bit cringe--straight boy signs up to gay beauty contest to pay off his girlfriend's debts (accompanied by his gay childhood friend who is in love with him) and finds his truth. Meanwhile a homophobic police officer has also infiltrated the contest for investigative purposes. Amongst all that admittedly not great setup, however, are several bizarre sequences including the incredible Lord of the Rings recreation scene (complete with Gatchaman of course), a killer soundtrack, a random delivery of poultry, someone slapping a cake, and, most absurdly unbelievable at all: police taking harassing death threats to the gay contest seriously. It does a great job of setting up what should be a dramatic scene and then immediately undercutting the tension with something absurd. It's not narratively good, but it is a fun ride! And yes, there is a happy ending. Stick around for a fourth wall break (literally) after the credits.

Something Crunchy Crunchy (Korean, 2018, GagaOOLala)

Extremely bizarre little musical short in which snacks are anthropomorphized as hot guys and they sing songs about being eaten and wanting to be eaten. Played entirely sincerely, but the concept is screamingly funny. Fascinating. Also, kind of poly?

Dom (Korean, 2016, GagaOOLala)

Another hilarious and weird Korean short, this time in which we see the protagonist's sex life from the perspective of the condom boxes that are anthropomorphized and given personalities based on their brands.

And since we can't leave out the ladies,

A few zany GLs:

Lily Fever (Korean, 2015, YouTube)

I wrote about this one a little in my GL rec list; it is absolutely bonkers nonsense. There is not really a plot, it's a fever dream of a show. Chaos! Not so much a romance as an excuse to see cute girls flirt and make out.

Legend of Yunqian (China, 2020, grey)

I debated including this one because only the middle is really the zany part, it's sandwiched with more serious xianxia drama. But in the middle of this miniseries is an extremely cute interlude in which xianxia characters time travel to present day for ~reasons. It's censored but there is very little uncertainty about feelings, and manages to be absolutely charming. Worth the short runtime for this kitten quickcut (subbed "Whomst?!" in the show for ultimate comedy). Warning for character death (but it's ok because time travel to reincarnated character!) Subtitled by the indispensable @douqi7s [see their pinned post for links].

BetCin (Filippino, 2022, WeTV)

A lesbian couple with a YouTube following decide to break up but then find out there's a contest for couples, and they decide to pretend to still be together to try and win the contest rather than tell their fans they've broken up. This series does some really interesting things by starting with a breakup and then looking at how two people who are no longer dating manage BGP while also managing their feelings. There's a lot going on in this show, and the hijinks definitely ensue!

Perfect One Night Stand (Korean, 2020, GagaOOLala)

This is a cute Strongberry GL short in which a friend agrees to help her other friend find a girl to have sex with before the day is over; they go through several quirky candidates looking for the titular perfect one night stand.

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aerionbrightflamed · 1 year

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columbus (2017) dir. kogonada

#this scene……..#i need a moment #columbus 2017 #haley lu richardson #kogonada #lee’s film diary

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haveyouseenthishorrormovie · 6 months

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Stats from Movies 501-600

Top 10 Movies - Highest Number of Votes

Drag Me To Hell (2009) had the most votes with 1,156 votes. The Sudbury Devil (2023) had the least votes with 363 votes.

The 10 Most Watched Films by Percentage

Aliens (1989) was the most watched film with 59.5% of voters out of 785 saying they had seen it. Roadkill (2011) had the least "Yes" votes with 1.0% of voters out of 597.

The 10 Least Watched Films by Percentage

The Purge: Anarchy (2014) was the least watched film with 71.8% of voters out of 570 saying they hadn’t seen it. Awoken (2020) had the least "No" votes with13.4% of voters out of 677.

The 10 Most Known Films by Percentage

Aliens (1989) was the best known film, only 1.1% of voters out of 785 saying they’d never heard of it.

The 10 Least Known Films by Percentage

The Sudbury Devil (2023) was the least known film, 86,2% of voters out of 368 saying they’d never heard of it.

The movies part of the statistic count and their polls below the cut.

Wrong Turn 2: Dead End (2007) Wrong Turn 3: Left for Dead (2009) Wrong Turn 4: Bloody Beginnings (2011) Wrong Turn 5: Bloodlines (2012) Wrong Turn 6: Last Resort (2014) Leatherface: The Texas Chainsaw Massacre III (1990) Texas Chainsaw 3D (2013) The Texas Chainsaw Massacre: The Beginning (2006) Ghostwatch (1992) Nekromantik (1988)

Hostel: Part II (2007) Hostel: Part III (2011) Antiviral (2012) Dead Ringers (1988) Drag Me to Hell (2009) Becky (2020) Stepfather 3 (1992) Roadkill (2011) Black Sheep (2006) Awoken (2019)

Exeter (2015) Excision (2012) Psycho Goreman (2020) V/H/S/94 (2021) The Lair of the White Worm (1988) Mad God (2021) Dash (2022) Don't Open Till Christmas (1984) C.H.U.D. (1984) Satan's Slave (1976)

Bad Taste (1987) The Deadly Spawn (1983) Let's Scare Jessica to Death (1971) Dark Night of the Scarecrow (1981) Laid to Rest (2009) Chromeskull: Laid to Rest 2 (2011) Rosemary's Baby (1968) The Midnight Meat Train (2008) Underworld (2003) The Last House on the Left (1972)

Little Shop of Horrors (1960) The Hills Have Eyes (1977) Aliens (1986) Wrong Turn (2021) A Haunting in Venice (2023) Old (2021) Cloverfield (2008) 10 Cloverfield Lane (2016) Cloverfield Paradox (2018) The Invitation (2022)

Saw II (2005) Saw III (2006) Saw IV (2007) Saw V (2008) Saw VI (2009) The Curse of La Llorona (2019) Saltburn (2023) Saw 3D (2010) Jigsaw (2017) Spiral (2021)

Child's Play 2 (1990) Child's Play 3 (1991) Bride of Chucky (1998) Seed of Chucky (2004) Curse of Chucky (2013) Cult of Chucky (2017) Paranormal Activity 2 (2010) Paranormal Activity 3 (2011) Paranormal Activity 4 (2012) Paranormal Activity: The Marked Ones (2014)

Paranormal Activity: The Ghost Dimension (2015) Paranormal Activity: Next of Kin (2021) The Purge: Anarchy (2014) The Purge: Election Year (2016) The First Purge (2018) The Forever Purge (2021) Don't Breathe (2016) Don't Breathe 2 (2021) American Psycho 2 (2002) Dawn of the Dead (1978)

Day of the Dead (1985) Night of the Living Dead (1990) Diary of the Dead (2007) Survival of the Dead (2009) Happy Birthday to Me (1981) Bloody New Year (1987) Saw X (2023) Pieces (1982) The Sudbury Devil (2023) Demon (2015)

Butterfly Kisses (2018) 12 Hour Shift (2020) Bloody Birthday (1981) Def by Temptation (1990) The Hunt (2020) Godzilla (1954) The Babysitter (2017) The Babysitter: Killer Queen (2020) The Silenced (2015)

#recap #not a poll

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rainagainstthewindowatnight · 7 months

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hugs in television & film

veronica mars ( 2004 - 2007 ; 2019 ) / buffy, the vampire slayer ( 1997 - 2003 ) / grey’s anatomy ( 2005 - present ) / the vampire diaries ( 2009 - 2017 ) / independence day : resurgence ( 2016 ) / outlaw king ( 2018 ) / after we collided ( 2020 ) / all american (2018 - present ) / reign ( 2013 - 2017 )

#greys anatomy #japril #buffy x angel #bangel #buffy the vampire slayer #btvs #veronica mars #Veronica x Logan #all American #reign #pam and tommy #after we collided #bamon #the vampire diaries #tvd #Damon x Bonnie #h**

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heavenboy09 · 18 days

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Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊 To You

The Most Interesting & Intriguing Black 👩🏿 American ⚫ Actress 🤎 Of Television & Tv Movies Of Many Genres

Born On September 5th, 1989

Graham was born in Geneva, Switzerland, and raised in Los Angeles, California, United States. Her father, Joseph, is of Americo-Liberian descent, and her mother, Natasha, is Jewish (from a family from Poland and Russia). Graham's father was a music executive and the godfather of two of producer Quincy Jones' children. Her paternal grandfather was a UN Ambassador, serving for 40 years in the Netherlands, Sweden, Romania, and Kenya. Graham disclosed in an interview that her father left the music industry to work as a journalist under his father for the UN. Her maternal and paternal grandparents were refugees from the Holocaust and Liberia, and she credits them as an inspiration for her work as a Goodwill Ambassador for UNHCR.

She is an American actress, singer, dancer, and activist. She played Bonnie Bennett on The CW supernatural drama series The Vampire Diaries (2009–2017). Her film credits include The Parent Trap (1998), 17 Again (2009), The Roommate (2011), Honey 2 (2011), Addicted (2014), and All Eyez on Me (2017). In music, Graham has released two extended plays and four studio albums.

In 2017, she played actress Jada Pinkett Smith in the Tupac biopic All Eyez on Me.

Graham starred in the Netflix romantic comedy films The Holiday Calendar (2018), Operation Christmas Drop (2020), and Love in the Villa (2022). She has also appeared in the 2018 apocalyptic thriller How It Ends. Graham is set to play singer and actress Diana Ross in the 2025 Michael Jackson biopic Michael.

Please Wish This Young & Dazzling Influential Multi Talented Black Mixed American Actress, Singer, Dancer, and Activist. A Very Happy Birthday 🎂 🥳 🎉 🎈 🎁 🎊

You Seen Her Act & Dance in Movies like Honey 2 & All Eyez On Me

You watched her Be Phenomenal in The CW'S 1# Supernatural Drama Series, The Vampire Diaries 🧛‍♂️ 🧛‍♀️

& She Has The Voice Of A Radiant Angel 😇 ✨

The 1 & The Only

MS. KATERINA ALEXANDRE HARTFORD GRAHAM AKA KAT GRAHAM 👩🏿🤎🖤 Kat Graham

HAPPY 35TH BIRTHDAY 🎂 🥳 🎉 🎈 🎁 🎊

TO YOU MS. GRAHAM 👩🏿🤎🖤 & HERE'S TO MANY MORE YEARS TO COME

#KatGraham #TheVampireDiaries #Honey2 #AllEyezOnMe #HowItAllEnds #TheHolidayCalendar #OperationChristmasDrop #LoveInTheVilla #BonnieBennett

#Kat Graham #the vampire diaries #Honey 2 #All Eyez On Me #how it all ends #The Holiday Calendar #Operation Christmas Drop #Love In The Villa #Bonnie Bennett #Spotify

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brw · 1 month

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What kind of acting do you think Simon does I always imagine him in like a supernatural TV show like Buffy or in classic action flicks but in the most recent Avengers Academy it looked like he was in a fantasy show.

Historically Simon has seemed to be primarily employed in B and C tier Hollywood action films, although the first film he was ever in (sans the Mr Muscles kids TV show bit) was a spaghetti Western from Avengers #207. His big acting break was playing the villain in Arkon IV, acting across an early 80s Arnold Schwarzenegger, a role he lands in WCA v2 #6. The vibe of it is very sword-and-sorcery, Conan the Barbarian style, which was probably what the Avengers Academy film was referencing.

Simon also starred in the film Damage Control, with THE Marlon Brando and Shelly Long of all people??? from the hit marvel comic that everyone knows and loves, Damage Control v3 #3. Simon shows his entire bare booty ass in this comic, which is the most notable thing about the issue.

Beach Volleyball Bros 2 was mentioned in X-Force v6 #50, which when I heard it, I envisioned a terrible Baywatch (2017) rip-off, but it could really be anoying.

Simon was ALSO hired to star in an adaption of Macbeth, during Wonder Man v2. There's a few different films that he's brought on to work on during the course of this series, and Simon seems to struggle with being typecast in action-slop roles, which, given everything we listed so far, is not far off the mark.

Towards the 2000s with the gradual shift in media culture and what was popular, Simon gets numerous offers in different comics to be in reality TV shows. I don't think he accepts any of them, except for Wonder Man v3 where he's shooting a reality show to rehabiliate a villain lady?? I don't know, it's a truly awful comic so I rarely count it in Simon discussions.

Simon's also offered another action-role in War of the Realms: Journey into Mystery, which he also rejects because he's a pacifist at this stage in his life.

(also in this series, Simon mentions a love for Westerns which is a cute tie-in to his first ever proper role!)

And finally, it's not comics but Simon is yet again in films that appear to be terrible c-tier action flicks in the M.O.D.O.K. show, from his appearance in episode 7. Sorry for the quality, but it is called "BRUTE FORCE 2: KANGARUDE AWAKENING" and has him with some animatronic canine? I don't know what this is, but it's something.

Anyway, so yeah, he's mosly been in bad action films, but I could see him segwaying into one of those kind of supernatural TV shows, or something CW inspired, like The Vampire Diaries or Riverdale. He does have it in him to do something a little more classy I think, but only if he/writers lent a little harder into him having a 1940s-50s Hollywood sensibility. They should give him a screwball comedy, not these action films, they aren't enriching enough for him.

#I have so much fucking useless knowledge amassed about this man #wonder man #simon williams #puts these in the tags as if anyone checks them regularly but me #ch: the man of wonders!#a-pansexual-unicorn #asks

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