#film twt

[toboldlymuppet]

spider punk!!!!!!!!!!

[faunandfloraas]

🐶 vs. 🐺

[idyllicbby]

if i had a nickel for every time i watched a multiverse movie where a bagel lead to the collapse of the multiverse, i’d have two nickels. which isn't a lot but it's weird that it happened twice.

[shesnake]

me

[p1xiemeat]

༺ 𝐼 𝓀𝓃𝑜𝓌 𝓎𝑜𝓊, 𝐼 𝓌𝒶𝓁𝓀𝑒𝒹 𝓌𝒾𝓉𝒽 𝓎𝑜𝓊 𝑜𝓃𝒸𝑒 𝓊𝓅𝑜𝓃 𝒶 𝒹𝓇𝑒𝒶𝓂 ༻

[abacistat]

just thought i would share kon will be in maws s3. AND THEY DIDNT TAKE THE REDNECK Y*UNG J*STICE 2010 ROUTE THEY KEPT HIM IN THAT FUCKASS LEATHER JACKET LET’S GOOO (sources in tags ^_^!!!)

[saintsdarlings]

songbirds of panem.

[outcastpack]

[riinasawayama]

[mistyheartrbs]

another thing about i saw the tv glow that fascinates me is the like...movement (transgression?) across mediums in that to begin with it's a theatrical feature film about a tv show. and when you think about it, while there are lots of tv shows about tv (30 rock, showtime's episodes) and lots of movies about the movies (singin' in the rain, la la land) there isn't as much crossover between the two as you would expect - few if any tv shows about movies, even less in the realm of movies about tv.

when isttvg came out in theaters, brigette lundy-paine made an instagram post with this caption:

which is a direct reference to a line their character says in the film - that the pink opaque airs on the young adult network right before they switch over to black and white movies for old people. (i'll have to double check if maddy says "movies" or "reruns" in the actual scene; i remember it as "movies" EDIT: it's reruns but my point still stands) and, for much of isttvg's runtime, it both operates in tandem with and against this notion - it's a cinematic spectacle, visually gorgeous to be sure, but the scale is very small, almost claustrophobic at times, in a way that says that the experience of watching this movie wouldn't be incredibly diminished if you played it on a boxy television in the middle of the night on basic cable (so long as you had somebody to watch it with)

but maddy's line is said with a surprising and youthful sort of disdain - the pink opaque is so different from the dumb nostalgia of their forebearers (with the same winking-at-the-camera irony with which a comic period piece notes the record-breakingly fast ten-mile-an-hour horse carriage or what have you - what they see as progress already obsolete in the eye of the modern viewer), and moreover it's in the exact medium it's meant to be viewed in. it's a tv show they're watching on tv (and in fact the impetus for owen and maddy to grow closer is owen specifically saying "i want to watch it live") - versus black and white movies, the original filmic spectacle, being thusly reduced to something smaller and lesser than they were meant to be. but of course that would never happen to our favorite Brand New television show, the pink opaque, which is super cool and is going to be relevant forever! nothing like that stuff for "old people." it's indicative of how prickly maddy is but it's one of the least sentimental sentiments of what is otherwise very much a love letter to the screen. it stands out!

(and we get even more of that with the streaming version of tpo later, but i'm getting ahead of myself here)

and it's further complicated by the fact that owen views the majority of the show via home-recorded vhs tapes, handmade gifts from maddy, forbidden things. the way you watch it matters too. the way you construct your relationship with this story. which in a way queers the viewing model too; he's literally watching the show out of order!

and now getting back into the horrendously depressing streaming scene, in which schoenbrun does the impossible and makes the phrase "soup party" upsetting, the convenience is what makes it wrong. transgression in the wrong direction. anybody can watch it. you don't even need a disc, owen/isabel says in voiceover, numbly. but instead of maddy's tapes, born out of connection/love (to a degree that neither of them even fully recognize yet), this version of non-normative/alternative access is something dictated by capitalism (it's also worth noting that the streaming scene is the only moment of overt product placement in the whole film, with the new flatscreen with the LG logo all but shoved in front of the viewer). owen/isabel flicks through the episodes lazily and languidly, landing in the middle on the mr. sprinkly episode. there is no effort involved anymore, none of the personal element present in maddy's handwritten notes ("season 2 finale: guaranteed to make you cry!"), just picking and choosing.

all this culminating in a movie about television, with a pseudo-wide release and enough buzz that it did moderately well as far as indie flicks go.

yet - inserting myself into the supposedly distant third-person analytical essay, as queer theorists are wont to do - i don't really think i would have been nearly as affected by this movie if i'd just watched it on like. netflix. if it'd had commercial breaks on late-night cable ("past curfew," as owen's parents repeatedly note) that's one thing, but the modern streaming paradigm doesn't really allow for that. seeing this movie in theaters forces you to go to the theaters. it forces you to sit with other people and view it together/separately. to walk out mid-credits and talk it through with your friend and look at each other and joke "(gasp)............we're secretly in another world where that dunkin donuts is two blocks away!" when the google maps app glitches out. you have to sit with it. you can't not sit with it. it took effort to get here, and you cannot so easily get it out of your head. it's a movie about tv. the medium doesn't fit like a glove. it barely fits at all. and you are left feeling like it's been much longer than a hundred minutes.

(i'd love to see if a24 has fun with merchandising once it gets a home release - if they sell a novelty vhs tape or what)

i think a lot of that is really something to look at. much like the film itself i do not have a conclusion to this essay.

[noeljpenaflor]

[velvetlime]

cillian murphy, the sunday times, 2004

[faunandfloraas]

It is kinda funny seeing people talk about Seungmin lately because he definitely has gotten more bold and confident for sure. He's also just getting opportunities to be perceived as an individual on his own as well for the first time in a while but it's still jarring to see people be like Aw he was always such a quiet goodie two shoes little nerd and it's like...... he was the one to leave and seek out his own vocal coach and blatantly talk about it, which of course lead to I.N and Lee Know also doing the same, he was the one to go on bubble and tell off sasaengs who used to camp outside their old dorm for invading members privacy but also because it effected other residents and staff at the complex, something that i'm certain upper management wouldnt have been happy about, and he wasn't curt or nice about it either. like he's never actually been a wallflower, he's always had a pretty strong backbone and seems to stick to his principals, its not really new.

[mengyan]

me: yeah i’m sure that because of censorship, jlfx had to cut out fu rong kissing mo fang entirely, which is fine, i understand—

jlfx in the scriptwriting room: HOLD MY LAPTOP

[seowoobins]

240201 : twt update