#I don’t even understand the appeal but like

[bpmiranda]

hey could I request lumberjack Logan being known as all emo and solitaire at work but one day his gf shows up because he forgot lunch?

My Girl (Logan Howlett)

A/N: fluffy, lumberjack!logan, bubbly!gf, 20+ f!reader, grumpy!logan, suggestive content

When Logan spent most of the day chopping wood and hauling tree trunks, he wasn’t exactly a in a chatting mood so the men he worked with didn’t really know much about him. Logan put in the long hours and he’d go home, he wouldn’t ever go to the bar with them, wouldn’t join in on the work gossip. His coworkers only knew two things about him; his name and what car he drove. Sometimes he would be dropped off and they only ever saw the silhouette of whom they could assumed was a woman, but Logan never had her get out of the car.

“Who’re you hiding from us, Logan?” They would tease and he’d only smirk to himself, shaking his head as he continued his tasks.

You weren’t a secret, he wasn’t trying to hide you. Logan wanted to keep you safe, to protect you, and above all, keep you to himself. Some of the men didn’t know how to control themselves around pretty women and Logan believed you were the prettiest thing to grace the Earth. He knew he wouldn’t be able stand their ogling eyes on you, their cheap sweet talk making you uncomfortable, so he’d kiss you and tell you he loved you before getting out, he’d tell you to sit in the car as he grabbed his tools, and give you a sly wink as you backed out to head home.

It wasn’t your intention to drive up there without his knowledge, but he had forgotten his lunch and you couldn’t stand the thought of him working those long shifts without something to eat. As you scanned the yard for him among the others who were already taking their lunch break, one of them began to approach you with a small smirk, his eyes roaming over the backside of your jeans. When you spotted Logan, he was already sauntering towards you, the ax resting over his shoulder as you happily bounded over to him, unaware of the man now cowering below Logan’s sharp gaze behind you. “Don’t be mad. You forgot your lunch.” You say against his lips as he brings you into his aide with an arm around your waist. You press a hand into his chest and hold tightly onto his lunchbox behind his back as he kisses you with such fervor it makes you dizzy.

It’s his fault he forgot it, left it sitting there on the counter on which he also had you sitting with his head between your thighs. It had been a rushed morning, but if he was going to choose whether to spend what extra time he did have packing his lunch or pleasuring you, he would choose the latter again. “Couldn’t ever be mad at you, baby.” He whispers against your lips, holding you so possessively you feel slightly out of breath. “You should go home now,” He urges and he feels your lips turn into a frown against his mouth which makes him chuckle. “Or would you like to stay with me during lunch?” He asks and you nod. “Just this once.”

The other men in the lumberyard understand why he’s always racing to get home. They understand why there’s no space in his life for work buddies or late night drinks at the bar. Logan’s in love. They see it in the way you two seem to be in your own little world as you sit on the hood of the car, yapping his ear off about the errands you’re going to run and the dinner you’re going to cook while he leans against the hood beside you, eating and listening with a content look in his face. “You don’t have to go through all that trouble, princess.” He tells you as he’s packing up his lunchbox.

“Well then, what will we have for dinner?” You tease as he moves to stand in front of you, leaning into you so he can kiss you softly, his hands firmly planted on the hood as you caress his bearded jaw.

“I was hoping for a dessert first type of evening.” He whispers, making your face grow warm as he mumbles into your neck, “Let me take you out for dinner.”

The idea of a night out so you can have a relaxing night in is quite appealing and you hum as his lips move to your collarbone. “What should I do until you get home then?” You ask, sighing as he bites your earlobe gently.

“Wait for me in bed.” He whispers, one of his hands smoothed down your back and he pulls you into him, pressing your chest into his own. “You don’t have to do anything else for me today, sweetheart.”

Logan was secluded, he wasn’t big on having drinking buddies, and there wasn’t much that he wanted in terms of things. With you, however, Logan was kind and doting and all he wanted was to keep you happy and satisfied, you were all that mattered. You were his little piece of heaven on Earth and he wasn’t going to allow anything to soil what you two shared, not in this lifetime.

🏷️: @dontfeedthebigbadwolf @peterparkernotfound @httpsells @evasmlp @ayatotiddies @thatlittlered @seasonofthenerd @littlemisscantloveyouback @scorpiosaintt @simpingfor-wakasa @spencerswh0r3 @thatweirdtheaternerd12 @shybluebirdninja @iamburdened

[moodymisty]

I’ve been thinking about our resident fail wizard and have come up with two ideas for a request about him, pick which ever one appeals to you.

Maybe some cute pre heresy encounter with Ahriman, you are one of the rembrancer or chapter serf attached to the Thousand Sons legion. You find yourself amazed and interested in the warp sorcery that the legion performs and Ahriman strike up a conversation with you after seeing your admiring glance

Or post heresy your another psyker or acolyte of Tzneetch who been roped into helping Ahriman find a cure for the Rubric post heresy. You don’t really have a choice in the matter and so are forced to help him. Though as you spend more time together, pouring over ancient tomes and following leads, you can’t help but feel Azhek’s eyes on you more and more. Never escaping the feeling that you’ve begun to take up his attention more and more

Author's note: I love meetcutes, so i had to do the first one lol enjoy a little snippet

Relationships: Azhek Ahriman/Gn!Reader

Warnings: None really

It's always fascinated you- how the warp comes to them so easily.

They seem so natural with it, a power beyond your imagination is simply at their fingertips, cast in a million and one different shapes and forms. It's endless, boundless, yet they seem able to twist it to their desires at their beck and call. With an everexpanding grasp as well, each time you see them it's something new; A new spell at their fingertips or lips.

You don't mean to interrupt him; You were only taking a momentary breather in the night air before going to your bedchambers. This has always been your favorite spot, a small balcony overlooking vast portions of Prospero.

instead of being alone however you find Lord Ahriman on the balcony, flipping through the pages of a book that floats to his left as if hung by invisible strings.

You find yourself awestruck by the sight, and when he looks to you the warmth of his eyes is almost hypnotizing.

"You seem quite surprised,"

He says, and you quickly divert your eyes downward and partly bow in the proper show of respect. You hadn’t expected someone of his stature here, you barely had time to compose yourself.

"I, I am so sorry Lord Ahriman."

You raise your head up and take yet another glance towards his floating book, eyes catching on the odd way the very air around it seems distorted. Then they look towards him as you await his orders- you presume they will be to dismiss you- before glancing to his book again.

"You seem quite interested. Is something on your mind?"

You look back up at him; The moonlight casts his tanned skin in a pristine glow, only broken up by the way his scars cast the light differently. His armor is cleaned, the white fabric draping over harsh metal edges and smoothing out like flowing water.

You take a small step closer, words on your tongue.

"Is it..." You purse your lips, trying to find the right words. "What does it feel like?"

The gentle evening breeze blows through your clothes, sending them flying about before landing back against your skin. You still have trouble looking him in the eyes, holding your arms close to your body.

"I don't think there are any words to describe it, little one."

He watches the look on your face change curiously, before giving a breathy chuckle.

"I didn't mean to disappoint."

You can’t help the feeling of disappointment that crosses your face, the feeling of not fully understanding. You want to know more, you need to know more, but your lot in life has seemingly denied you.

Ahriman finds that amusing; And perhaps worth a bit of his pity. A bright young mind, forever closed off from learning more. But yet you yearn so eagerly, so wantonly for more.

In a fit of impulsiveness you reach your hand outward into the oddly warping air around his tome, feeling the way the air changes in a way indescribable. Ahriman lets you, watching amused as you pull your hand away.

“I don’t think I’ve seen a mortal quite as stupidly curious as you.” He smiles a bit, even as you shirk away and await admonishment.

How doesn’t however, and instead makes a bit of room at his side.

“Let me show you a few more wonders, if a floating book can mesmerize you so.”

[literaryvein-reblogs]

4 Great Motives for Writing by George Orwell

George Orwell:

From a very early age, perhaps the age of five or six, I knew that when I grew up I should be a writer. Between the ages of about seventeen and twenty-four I tried to abandon this idea, but I did so with the consciousness that I was outraging my true nature and that sooner or later I should have to settle down and write books. Putting aside the need to earn a living, I think there are four great motives for writing, at any rate for writing prose. They exist in different degrees in every writer, and in any one writer the proportions will vary from time to time, according to the atmosphere in which he is living. They are:

(i) Sheer egoism. Desire to seem clever, to be talked about, to be remembered after death, to get your own back on grown-ups who snubbed you in childhood, etc., etc. It is humbug to pretend this is not a motive, and a strong one. Writers share this characteristic with scientists, artists, politicians, lawyers, soldiers, successful business men – in short, with the whole top crust of humanity. The great mass of human beings are not acutely selfish. After the age of about thirty they abandon individual ambition – in many cases, indeed, they almost abandon the sense of being individuals at all – and live chiefly for others, or are simply smothered under drudgery. But there is also the minority of gifted, willful people who are determined to live their own lives to the end, and writers belong in this class. Serious writers, I should say, are on the whole more vain and self-centered than journalists, though less interested in money.

(ii) Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations.

(iii) Historical impulse. Desire to see things as they are, to find out true facts and store them up for the use of posterity.

(iv) Political purpose – using the word ‘political’ in the widest possible sense. Desire to push the world in a certain direction, to alter other people’s idea of the kind of society that they should strive after. Once again, no book is genuinely free from political bias. The opinion that art should have nothing to do with politics is itself a political attitude.

It can be seen how these various impulses must war against one another, and how they must fluctuate from person to person and from time to time. By nature – taking your ‘nature’ to be the state you have attained when you are first adult – I am a person in whom the first three motives would outweigh the fourth. In a peaceful age I might have written ornate or merely descriptive books, and might have remained almost unaware of my political loyalties.

Looking back through the last page or two, I see that I have made it appear as though my motives in writing were wholly public-spirited. I don’t want to leave that as the final impression. All writers are vain, selfish, and lazy, and at the very bottom of their motives there lies a mystery. Writing a book is a horrible, exhausting struggle, like a long bout of some painful illness. One would never undertake such a thing if one were not driven on by some demon whom one can neither resist or understand. For all one knows that demon is simply the same instinct that makes a baby squall for attention. And yet it is also true that one can write nothing readable unless one constantly struggles to efface one’s own personality. Good prose is like a windowpane. I cannot say with certainty which of my motives are the strongest, but I know which of them deserve to be followed. And looking back through my work, I see that it is invariably where I lacked a political purpose that I wrote lifeless books and was betrayed into purple passages, sentences without meaning, decorative adjectives and humbug generally.

Published in Gangrel, No. 4, Summer 1946

More: George Orwell

[macrolit]

NYT: Why Do So Many People Wear All Black?

Article

A reader struggles to see the allure of wearing black clothing. Our fashion critic offers an explanation for its popularity.

By Vanessa Friedman

Sept. 16, 2024

Leer en español

I don’t understand the perennial appeal of black clothing, which seems ubiquitous. Is it a trend? Is it a statement? Will it ever go away? — Ilse, Washington, D.C.

In August, a middle school in El Paso, Texas, sent out a missive to families announcing that students were no longer allowed to wear black from top to bottom. The thinking was that black was more associated with “depression and mental health issues and/or criminality than with happy and healthy kids ready to learn.”

The decision, not surprisingly, produced such an outcry that it was quickly put on hold to allow for community discussion. And while it does seem somewhat extreme and not entirely realistic, reflecting a very limited understanding of black clothing’s role in the public psyche, it also demonstrates the very real power of wearing all black. More than any other color, it is replete with associations and symbolism, which may mean one thing to a wearer and another to an observer — and which changes depending on the context.

After all, black is the color of witches. Of ninjas. Of rock stars. Of the beats and the Hong Kong protesters. Of Darth Vader, Johnny Cash, Batman, Morticia Addams and Lydia Deetz. It is associated with mystery, mourning, eccentricity and elegance. (Oh, the allure of the little black dress!) Also teenage rebellion and angst.

Fashion people are known to love black, even though Anna Wintour reportedly hates it. Many designers, including Yohji Yamamoto, are partial to it.

Mr. Yamamoto once told The New York Times: “Black is modest and arrogant at the same time. Black is lazy and easy, but mysterious. But above all, black says this: I don’t bother you, don’t bother me.”

I asked Kate Lanphear, the women’s style editor of T magazine and a favorite of street-style photographers thanks to her personal look, which mostly involves black, why she likes it.

“All black quickly became my go-to uniform early in my career for two simple reasons,” she said. “First, it often looks more expensive than it is. This was essential when I was a struggling assistant and couldn’t afford the very best. And second, it’s easy. You could essentially get dressed in the dark.”

This is also what the designer Narciso Rodriguez told me when I asked him. (At the time he was wearing a black T-shirt with black jeans and a black jacket.) “It’s a no-brainer,” he said. “And you always look pulled together.”

You don’t have to worry about clashing patterns, what color goes with what or sticking out like a sore thumb in chartreuse. And precisely because there are so many cultural associations attached to the color black, it comes ready-made with a certain amount of mystery and provocation. Which one is yours?

That can be an advantage, or it can be annoying. It is also why black has been a wardrobe color of choice for so long, and why it is unlikely it will go away as a fashion choice any time soon — or, in fact, ever. (Another reason to wear black is that it’s a pretty good investment.)

Still, if you wear it, you have to be prepared for the reactions it may provoke. Thanks to all of the above, and as that El Paso hoo-ha showed, black may be a basic, but it is rarely neutral.

[feralcringeman]

I swear if I see one more “TADC fandom is gonn end up like the welcome home fandom-“ I’M GOING TO BITE SOMEONE

[alyona11]

Ok time for my big Hadestown hot take and that’s that West End Hadestown doesn’t give you a 100% Hadestown experience. It’s still ridiculously good and 100% worth seeing, don’t get me wrong (I used my opportunity and saw it twice and will likely see it again if I’m in London), but it kinda made me realise a couple of things about OBC production that will always be my Roman Empire and make me deeply upset Broadway is too greedy to give us an OBC proshot.

So, here are some of my thoughts and reflections based on seeing Hadestown live on West End + seeing different versions (including London National theatre proshot) in boots. I think you can pretty solidly say that in Hadestown there are 2 main stories: Orpheus/Eurydice and Hades/Persephone. And even though arguably Orphedice is the main most important story, it my opinion it also wins from Hadesphone story being strong. Which works perfectly in OBC due to Amber Gray and Patrick Page delivering a very deep nuanced performances as their characters.

I think part of the success of Hadestown when it works on its fullest is how it creates a very deep emotional journey. And I feel that regardless which pair of Orpheus and Eurydice you have (if we take Broadway/tour/West End take on the characters) it’ll still work! Like you need to try really hard to mess up orphedice the way people wouldn’t root for Orpheus or wouldn’t empathise with Eurydice because they are so relatable and cute. You instantly love them, they are so so lovable. So orphedice part is one thing in Hadestown that imo works if not always then in 99% of the cases.

Hades and Persephone’s part of the story in the contrary is VERY hard to nail on 100%, in my opinion, and this is literally driving me crazy. Maybe seeing Amber Gray and Patrick page in professional recording awoken some feelings in me, I don’t know. I will state straight away that I also do enjoy other actors’ takes on characters and I do see some very interesting character moments there and there. However, I keep returning to the thought that Amber/Patrick’s characterisation works SO WELL for the main narrative. I’ll try to explain why I think so. Consider it my love letter to the OBC.

First and foremost, I feel like Hadesphone story has a very fine dynamic that the actors have to nail, so you would feel that: 1) these two still love each other; 2) these two are buried under their problems and see no way out, only a miracle (aka Orpheus and his song) can save their marriage.

And if the first one usually works at least due to Epic 3, the second one, imo, often (at least partially) falls victim to acting/directing choices which can cause troubles with point 1 as well. I think one big thing I’ve noticed is that often Persephone’s alcoholism gets forgotten in the acting performance. Like yeah sure her choreography includes drinking from a flask but in comparison to Amber you never get a feeling that she is absolutely wasted. Which, is in my opinion something that you should feel when you’re watching the show and something I was constantly forgetting about when I was watching the show on West End. I feel in Amber’s performance you can constantly see that her Persephone’s feel good attitude is a façade of a broken person who knows that her marriage is going to hell in front of her eyes yet she is too passive and hopeless to try to make an active change (well, she does try in Chant and nothing happens), so her only way is to chase the sense of normality that the “medicine” gives her. But when she is alone, if you get to catch a moment when people are not looking at her, you can see a deep sadness under her positive front and her memory of the old days when everything was more simple. Nevertheless, the main point that the lyrics literally say is that Persephone is blinded by the river of wine. And this is crucial to her character and her relationship with Hades because the story states that even though Hades is a problem and he is an active actor in creating more problems, he is not the only failure in this relationship. Persephone needs to be woken up from her apathy almost as much as Hades does and this is something that we see during If It’s True.

From Hades’ side I feel like it’s not a good decision to make him a total villain because when he is irredeemable you don’t feel like the whole “song that will fix the world” has any chance of working long term. I think Patrick nailed a deep antagonist very well. His Hades is weird and lowkey creepy and alien. He does objectively bad things but when you look at him you can’t stop thinking that he doesn’t operate in regular human logic or morality. When I look at him in Chant, it feels to me that his words about building stuff to impress Persephone are absolutely sincere, and I can absolutely see that his Hades doesn’t understand why she is so upset about it when his intentions are so so clear. Maybe it’s my vision but even before Epic 3 when he is so far gone and buried in his projects and messed up ideas I don’t have a single doubt that Persephone is a single motivator and goal of Patrick Hades’ life and that he literally doesn’t need any other being to care about. And tragically this fixation is what makes him blind to all other things he does even if those things ruin Persephone’s life (and other people’s but tbh I don’t think he cares).

I feel like by removing Persephone’s Chant 2 verse Hadestown created more problems for Hades and Persephone part of the story making it a much harder job for the actors to prove to the audience that Hades and Persephone have a chance to make their relationship work. Like I get that maybe it was a necessary things to do (even though I think the show is much better with it) but it made it so much harder to empathise with this particular part of the story unless the actors use the choices that work in the narrative. Because for example when I was watching the show on West End part of me was wondering “what is Persephone’s deal in all of that, what does she win by staying with Hades?” With the verse, and with Broadway Previews or London 2018 in particular this part was clear: Persephone still loves Hades and believes that he has the opportunity to change and become a better man he used to be. Without the verse, however, the actors should give you the same idea during the show which is a hard task considering Hades and Persephone have only 2 big conversations together (Chant and How Long). So apart from those songs there are only subtle mostly silent moments they get together through which the actors have to convey the same thought which is hella difficult and probably hardly will be appreciated by anyone apart from the people who sit closely.

So, maybe because in the actor combo I saw (Zachary and Lauren), I got a feeling that even though they were great separately, I didn’t feel much chemistry between them as a pair. I think, Persephone seemed pissed and tired of Hades all the time until How Long and I didn’t feel that she still believes in his willingness to change. And Zach Hades despite being entertaining, kinda gives the impression of Hades who has other options, he is not into Persephone enough. The only sparkle appears between the two in Epic III which is still cute but I’m not sure if it works just as well if that’s the first time you see the show? Also considering Zach Hades gives more malicious intent in His Kiss, The Riot it seems that he is not even slightly interested in Orpheus having any opportunity to succeed with his quest. Which is not bad, don’t get me wrong! But in comparison to Patrick who is deeply self projecting into Orpheus to the point where you could see that even though he doesn’t want to let him go, part of him does because it would prove he too could succeed in his challenge of waiting for Persephone, this take seems a bit lacking. And overall because of His Kiss, their promise in Wait For Me doesn’t seem as giving much hope that the story won’t repeat itself next Sunday. Which in its turn makes Orpheus’ sacrifice feel a bit… worthless. If on Broadway, when Orpheus turns, but spring comes again you feel like it is the start of something new: hopefully a kinder and softer time. On West End the show also wants you to feel it but when you think about Hades and Persephone you feel…less certainty that this sacrifice will have a long term effect?

I guess the creators wanted to concentrate on Orpheus and Eurydice more and forget about Hades and Persephone by making them more secondary story or maybe there was a lack of director’s involvement to give the cast some hints on how to make this particular part of the story work better, but it feels to me that in its current state the show works in its 85% power which is still great but once you know there is something missing you can’t stop thinking about it and wishing the show would give you those 15% you crave.

[impish-ivy]

HEY YO the people have to know, what is your favourite thing about solomon

its me im the people

Omg Hiii Starr!! Thank you so much for the ask! I’ll take any and every chance to gush about Solomon. I don’t if you intended to but your ask rhymes and I love that! <3

Onto your answer, Starr

*cracks knuckles*

There’s a lot to love about Solomon. He has tons of good qualities and his place in the overall plot of ObeyMe is solid. He’s well written and he’s the perfect example of how to write a powerful character. Which could be its own post tbh.

But the reason I like Solomon so much?

He’s absolutely devoted to MC.

Ya know those husbands in fiction that love their wives so much it’s cheesy Yeah that’s literally Solomon.

Loyalty is a very attractive trait in general but especially in romantic partners. This man was ok with the 3 realms being completely destroyed because he cares about MC that much.

Severing MC’s pacts by killing Lucifer would upset them and the mere thought of them hating him has stopped him from considering it all together. Killing MC isn’t an option anyone considers including Solomon.

Ya know, Mister “protector of humanity”? Dude was willing to let the human realm be destroyed for his crush.

This is around the time that I fell for this man and I fell hard. The first time I saw his blush sprite it was over for me. Hard to imagine now but I wasn’t always a Solobestie. Another white haired man had my heart, which honestly makes their lil rivalry hilarious.

Obviously the other characters are loyal to MC as well but Solomon’s loyalty feels different.

I love Solomon so much that he’s changed my worldview. I love humans infinitely more than I ever have because of him. He’ll always be important to me.

[no1ryomafan]

My brain has gone back and forth on between which anime if arma or new is my favorite. Cause even with all its issues Arma means a lot to me, it’s the reason I got into getter and helped me through one of the worst times of my life- But then new is objectively better written and it drives me nuts compared to arma it’s not talked about ENOUGH despite all the stuff you can poke at from it’s plot and I’m trying to pinpoint that reason since the general consensus is “no one hates new and it gets a lot of fanart in the Japanese community yet it’s never deeply acknowledged so it feels unpopular”

So my standpoint is “do I keep investing into the popular iteration despite its issues or do I invested into the less flawed unpopular iteration when it comes to introducing getter to new people?” cause man as much as I’m a critical person of media I still can forgive some messy writing if I have a good time with it and can clearly tell the staff had fun making it, which is definitely armas case. (Though they absolutely had fun with new too)

[purrfectlycontent]

they’re localizing the novel

[francisforever2014]

we really need to completely scrap the discourse on psychiatry and psychology and start from scratch

[philzokman]

just got my exam results back! chuuya nakahara if ur looking for another person to shoot i’m right here 🥰🥰

[lyriumsings]

i love that james gunn keeps saying he wants to cast younger actors for batman etc and start the dc earlier in their careers (which yeah i know it’s contradictory to say that and then start with damien as robin) but yall have GOT to stop suggesting the most popular 40 yr old white men of the moment like jfc like yall literally just go with whoever is at the forefront of the news and therefore your mind like pls branch out of the most immediate and popular media

[boneless-mika]

Yeah I’m chronically online. Also known as having disabilities that prevent me from doing much outside my home thus making the internet the only place where I can do things like gossip and generally get social interaction

[bisexualmikisayaka]

someone called dinluke an example of a migratory slash ship and oh my god. Oh my god it all makes sense now

[strifesolution]

okay i know im going to sound insane here but like. hear me out.

my thing with RPF shipping is just. i do not understand RPF when it is “what if these two streamers...kissed?” because my response is just... yeah, and?

when it comes to RPF, the acronym stands for Real Person Fiction and like. to me it represents “hey, look at this persona, made by a content creator who is performing for the camera. let’s see what we can do with that character.” as opposed to just. making them as accurate to real life as possible??? i guess???? Which is what people do sometimes?

like you Have this base character (who, yes, is taken from the performance someone puts on— I’m not here to debate if doing that in the first place is “okay” or not) and you’re just gonna... leave them like that, and have them hypothetically kiss this other persona?? you have the World at your fingertips to take the real life they are based on and put them in whatever universe you want. you could make them magical creatures or put them in the future or make them cowboys and you’re just... nah let’s just work with what we have and not add anything to it. .....why????? isn’t it more fun to give yourself creative control?

to be clear, this is a.) not about anyone specific and b.) just my personal thoughts. i don’t care if someone ships RPF stuff like this, you do you, i just had to say somewhere that i just... don’t get it????

[inkykeiji]

watching willy’s wonderland (finally!!!) and i am absolutely loving the 1930s—1950s B-movie horror vibes!!! like the wooden acting and horrid script + the cheap practical effects and prosthetics are all great, but oh my god,, the cinematography n editing are by far my favourite. like the nonsensical camera angles and the shot compositions and the jump cuts and the shot/reverse shots with nic cage vs the animatronics???????? brilliant i loved it so much