#i just. i have to tell Everyone how much i love the movie

[judebellswife]

Shattered Trust, Mended Hearts

— REQUESTED by ANON / REQUEST status: OPEN

— pairing • jude bellingham x soft!reader

— summary • Jude Bellingham, consumed by jealousy and fueled by rumors, believes his girlfriend is cheating on him. In a moment of anger, he refuses to let her explain, kicking her out of their shared apartment. Tragedy strikes when she gets into a life-threatening accident, leaving Jude overwhelmed by guilt and regret. With her in the hospital, he reflects on his mistakes and learns that love and trust are fragile but worth fighting for. Realizing that she never betrayed him, Jude is forced to confront his own insecurities. Together, they find a way to rebuild their broken relationship, restoring what was lost in a sea of misunderstanding and pain.

— warnings • Heavy angst, miscommunication, car accident, hospital scenes, mention of injuries, emotional turmoil.

"Jude, please, just listen to me—"

"I’ve already heard enough!" Jude's voice roared through the apartment, his anger palpable, bouncing off the walls like daggers. He stood in the kitchen, fists clenched, chest heaving, trying to contain the flood of emotions that threatened to overwhelm him. His dark eyes, usually so warm when they looked at you, were cold and distant, as if he couldn’t even recognize you.

You stood frozen near the door, the keys you had just placed on the entry table trembling under your fingers. You had no idea what you were walking into. Coming home after a long day at work, all you wanted was to relax with Jude, maybe watch a movie, talk about your day—but instead, you were met with fury.

"Jude," you whispered, your voice shaking, tears already welling in your eyes. "Please. Just tell me what’s going on."

He scoffed bitterly, turning away from you as he ran a hand through his hair in frustration. "Don’t act like you don’t know," he muttered, his back to you now as he stared out the window into the rainy night.

You blinked, confused. "I—I don’t know what you’re talking about."

Jude whipped around, his expression dark. "Oh, don’t play innocent, Y/N. I know about you and Ryan."

The mention of Ryan's name hit you like a punch to the gut. Ryan was a colleague from work—someone you'd had to collaborate with closely for the last few weeks due to a project, but it had never been anything more than that. He was friendly, sure, but you never saw him in that way. You never even thought Jude would be suspicious. "Ryan? Jude, he's just a co-worker, we—"

"A co-worker? That’s funny, because that’s not what everyone else seems to think!" Jude's voice was dripping with bitterness, a tone you had never heard from him before. "Do you think I’m stupid? You think I don’t see the way you’ve been acting? Coming home late, spending more time with him than with me—"

You shook your head frantically, trying to approach him, but he stepped back, his face twisted in hurt and disbelief. "Jude, no, it's not like that! I swear, it’s just work! There’s nothing going on between me and Ryan, you have to believe me!"

But Jude wasn’t listening. He wasn’t hearing you. All he could see, all he could feel, was the poison that had been festering in his mind for days, the doubts and insecurities that had been fueled by whispers and rumors. He was blinded by his pain.

"You think I’m an idiot? You think I haven’t heard the rumors? Everyone’s been talking about it, Y/N. About how you and him have been seen together, laughing, having lunch, all those 'late nights' at the office. I bet they weren’t all about work, were they?"

You were shaking now, tears streaming down your face as you tried to reach out to him. "Jude, please. I would never—"

"I don’t want to hear it!" His voice cracked, loud and raw, and it silenced you. His anger was too much, too overwhelming. You had never seen him like this before—this angry, this distant. And it broke your heart to see the doubt in his eyes, the mistrust.

"I thought I knew you," he said, his voice dropping to a whisper, almost more painful than his shouts. "I thought we had something real. But maybe I was wrong."

Your chest constricted painfully, your breath hitching as you reached for him one last time, desperate to hold on to something that was slipping away. "Jude, please," you whispered, your voice breaking. "Don’t do this. I love you."

But Jude’s gaze hardened. "If you loved me, you wouldn’t have lied to me."

The silence that followed was deafening, your heart shattering into a million pieces as he turned his back to you again, his next words sealing your fate.

"Get out."

You stood there, frozen, your mind racing as you tried to comprehend what he had just said. "What?"

"Get. Out," he repeated, his voice quiet but firm, as if he couldn’t even bear to look at you anymore. "I don’t want to see you right now."

Your world came crashing down in that moment, the weight of his words too much to bear. You opened your mouth to say something, to beg him to listen to you, but no words came out. You felt numb, completely broken.

With trembling hands, you grabbed your bag and stumbled toward the door, your vision blurry from the tears that wouldn’t stop falling. As you reached for the doorknob, you turned back one last time, hoping—praying—that Jude would stop you, that he would realize how wrong he was and call you back.

But he didn’t.

He stood there, rigid and unmoving, his eyes focused on the floor, his expression unreadable.

And so, you left.

The rain was relentless, soaking through your clothes as you stepped out onto the dark street. You wrapped your arms around yourself, shivering both from the cold and the overwhelming despair that consumed you. You couldn’t think straight. You couldn’t breathe. All you could do was walk, your feet moving without direction, aimlessly wandering the city streets, your mind still reeling from everything that had just happened.

How had things gone so wrong? How had the love you shared with Jude turned into this nightmare?

You pulled out your phone, trying to dial your friend’s number, but your hands were trembling too much to type properly. You managed to hit send, but as you crossed the street, you didn’t hear the roar of the car coming toward you until it was too late.

The blinding lights flashed before your eyes, and then— Nothing.

Jude sat on the couch, his hands covering his face as he let out a shaky breath. He had kicked you out. The realization sank in slowly, the weight of what he’d done pressing down on him like a heavy, suffocating blanket.

I kicked her out.

The anger that had burned so fiercely in him just moments ago was gone, replaced by a sickening sense of guilt and dread. The apartment felt too quiet, too empty without you there. And now, sitting there alone in the dark, he couldn’t shake the gnawing feeling that something was terribly wrong.

His phone buzzed in his lap, dragging him out of his thoughts. It wasn’t a number he recognized.

"Hello?" His voice was hoarse, tired.

"Is this Jude Bellingham?" a woman’s voice asked, calm but urgent.

"Yes," he answered slowly, his heart beginning to race. "Who is this?"

"This is St. Mary’s Hospital. I’m calling about your partner. She’s been in an accident."

Jude felt the floor drop out from beneath him. "An accident? What—how bad is it?"

"She’s in critical condition. We need you to come to the hospital as soon as possible."

Jude’s legs felt like lead as he sprinted through the hospital’s sterile halls, his breath coming in ragged gasps as he reached the emergency ward. His heart pounded violently in his chest, panic rising with each step.

A nurse led him to your room, where the sight of you lying in the hospital bed, hooked up to machines, left him frozen in place.

His world shattered in that moment.

You were so pale, so still, and the beeping of the heart monitor was the only sound in the room. Jude sank into the chair by your bedside, his hands shaking as he reached out to take yours.

"I’m so sorry," he whispered, his voice breaking as tears filled his eyes. "God, I’m so sorry, *Y/N*. I didn’t mean any of it. I should’ve believed you."

He squeezed your hand gently, bringing it to his lips as his tears fell freely now. "Please wake up," he begged. "Please. I need you. I—I love you. I was so stupid. I should have trusted you."

The guilt gnawed at him, tearing him apart as he watched your chest rise and fall weakly with each breath. How had he let things spiral this far? Why hadn’t he listened? Why hadn’t he let you explain?

For three days, Jude didn’t leave your side. He barely slept, barely ate. He couldn’t think of anything else but you and how wrong he had been.

When your fingers twitched on the fourth day, Jude’s heart leapt in his chest.

Your eyes fluttered open, groggy and disoriented, the bright lights of the hospital room making you wince. Everything felt heavy, your body aching, and it took you a moment to remember what had happened.

"Y/N?" Jude’s voice was soft, but urgent, pulling you back to reality. You turned your head slowly, finding him sitting beside you, his face pale, eyes red-rimmed and swollen from crying.

"Jude…" you whispered, your voice hoarse.

Jude reached for your hand, his fingers trembling as he held yours tightly. "I’m so sorry," he said, his voice thick with emotion. "I was so wrong, *Y/N*. I was so stupid. I—I didn’t trust you, and I should have. I should have believed you. None of this—none of this would’ve happened if I hadn’t been such an idiot."

You blinked, trying to process everything, your heart aching at the sight of him so broken. "Jude…" you whispered again, trying to find the right words. "It’s okay."

"No, it’s not." He shook his head, tears spilling down his cheeks as he pressed your hand to his lips. "It’s not okay. I almost lost you because I was too caught up in my own insecurities to trust you. I should’ve known you would never… I should’ve known better."

You looked into his eyes, the raw pain and regret there clear as day, and despite everything—despite the accident, the pain, the heartache—you still loved him. You had always loved him. "Jude, I love you," you whispered, managing a small smile despite the tears in your own eyes. "I never wanted to hurt you. I would never cheat on you."

He let out a shuddering breath, leaning down to rest his forehead against your hand. "I know," he whispered. "I know now. And I’ll spend the rest of my life making it up to you, I swear. If you’ll have me."

You squeezed his hand weakly, your voice soft but filled with emotion. "Of course I will. I’m not going anywhere."

Jude let out a soft, broken laugh through his tears, leaning in to gently press his lips to your forehead. "I love you so much," he whispered against your skin. "And I’m never letting you go again."

[bluejutdae]

Perv!Roommate Jeongin | Jeongin x you

notes: sequel of this. I hate it, but eh. Might delete it in the future..

PervRoomate!Jeongin whose jealousy is slowly making him spiral out of control. Now that he has tasted you, the thought of anyone else getting too close drives him mad. When you go back home and talk about your day, he listens carefully for any male names that come up. Your coworkers, your friends, the guy at the coffee shop who paid for your drink… they’re all threats trying to take you away from him. So he starts to “accidentally” show up in places he knows you’ll be at. “Oh, you come here too?” and “was it tonight that you planned to come see a movie here?”

PervRoomate!Jeongin who, anytime he sees you talking a little too cozy with another guy, jokes saying you’re cheating on him, that you shouldn’t flirt with others. It’s an inconvenience for you, but you can’t deny the shiver that went through you from the possessiveness of his words. He starts manipulating you when you consider making plans. He looks at you like a puppy and convinces you to tell your friends you’re busy, guilt tripping you into staying home with him, because “I just miss spending time with you, jagi. Don’t you care about me?”

PervRoomate!Jeongin who has no remorse when he gaslights you, telling you agreed to watch that movie with him. And no remorse when he lies, pretending to be sick the moment  you’re about to go out with someone. How can you abandon your roommate-slash-fuck buddy when he feels like that? The same night, after he convinces you to sleep in his bed because he feels too cold, he smiles to himself. Once words about you being unavailable spread at work and among your friends, the competition will be destroyed. 

PervRoomate!Jeongin starts to leave marks on your body, where they’re most visible. Hickeys on your neck, a bite mark on your shoulder. It’s his way of marking you, another proof that you’re his and no one else’s. He gets a twisted satisfaction from seeing the marks he left on your skin. And the display of ownership doesn’t bother you too much. It’s just something silly, right? It’s not real ownership.

PervRoomate!Jeongin who plays the victim any time you two argue, and he makes you feel guilty. “I was only looking after you. That skirt was really short. You know how many perverts are on the train, right?” He’s pushy, yes, but he only wants you to be safe, right? Sometimes, after a fight, he seems so hurt by it. “I just care about you so much, can’t you see that?” Of course you can see it. And when he kisses you, you reassure him, you kiss him, and inevitably you spend the evening together in bed. 

PervRoomate!Jeongin always fucks you harder after a fight, more possessive, and more marks litter your body the day after that. A collar of bruises on your neck, a clear sign of STAY AWAY FROM HER, clear to everyone but you. When he has you on your knees, fucking you from behind, with you back pushed against his chest, he whispers “you’re mine. All mine. No one else can have you like I do.” But you never worry, people say all sorts of things while having sex, and you’ve always loved some dirty talk.

PervRoomate!Jeongin that, now that has access to your body, your attention and your underwear drawers, wants more. “If we’re both single by the time we’re thirty, we should get married”. But if things go his way, neither of you will be single…

[lulu2992]

Greg Bryk was in episode 25 of Podcast141, co-hosted by Marwen Heni, Mars Lipowski, and Jim Boeven, to talk about his acting career in general, but also and mostly his role as Joseph Seed in Far Cry 5.

Since he’s already shared a lot of anecdotes in interviews and live videos on Instagram, I thought I wouldn’t learn anything new... but I did, so here’s a summary of what he said about his experience playing the Father.

We knew that the dev team (he specifically mentioned Dan Hay and Drew Holmes) had struggled to find the “right” actor for the role, but what I don’t remember ever hearing before is that, after two years of unsuccessful search, the project was almost cancelled for this reason!

Thankfully, that was when Greg Bryk auditioned. He had already said the script they gave him (and that he thought was “amazing”) was what became Joseph’s monologue in the mission “We Must Be Strong”, but he gave more details about what was originally in it. In this early version of his backstory, Joseph was 23 years old and working two jobs to support his family. One night, exhausted, he fell asleep on the couch as his pregnant wife went out to get ice cream. He was then awoken by a knock on the door, told she had been in an accident, and taken to the hospital. The rest of the story is what he says in Far Cry 5: when he arrives, his wife is dead, their premature daughter is “stuffed with tubes”, he hears God’s calling, and understands he has to make this sacrifice.

So he got the role, and when they called him again to record a sermon (my guess is it was this one, but I’m just speculating), he saw what the game looked like and thought everything and everyone was “incredible”. Over time, as they got to know him, they even changed the character and partly rewrote the Father specifically for him.

The team was also very accommodating. For example, the scenes are usually shot in the huge performance capture studio, but for the Heralds’ eulogies, which are much more intimate, they built a small room so he felt like he actually had something around him instead of a big, empty space.

A day before the game came out, the cutscenes were already available online and he watched some of them. He was very impressed by the last eulogy (or, as he calls it, “snot monologue”) in particular because of how “vivid” and “human” it felt. It brought tears to his eyes and he recalls his wife was “blown away”; it was “special”.

As for the fans, he thinks they’ve been very supportive and welcoming. Some have told him they felt heard and seen by Joseph, and he believes it’s because he’s a character who loves people for who they are. At this point, he and the co-hosts agreed that being an actor was a gift because it gives an opportunity to make people’s lives better, especially in video games because there’s a unique connection that doesn’t really exist in movies or TV series.

Marwen Heni mentioned that, while most villains want you to hate them, Joseph, on the contrary, wanted you to reflect and think that he might be right. Greg Bryk admitted that he believed everything he said, especially about family and technology. Sometimes, people are isolated or only have online connections, so having someone tell them, “I see you and I love you for what you are” is powerful. In his opinion, this message resonated with a lot of players because it’s a simple truth and we all want to be part of a family.

Joseph doesn’t control his followers with fear, Marwen Heni commented, but with devotion, and that too makes him compelling. As he was playing Far Cry 5, he started questioning whether or not he (as the Deputy) was right for opposing the Father, which is something Greg Bryk says he saw a lot in comments. He believes there’s “an intimacy to the relationship” between Joseph and the player, a “seduction” in the sense that we all want to belong. He’s humbled by the impact his work had on people.

When asked if he would be open to reprising the role, this time, he answered, “Absolutely”. In fact, and this is news to me, he revealed there were discussions about turning Far Cry into a TV show, and the different games would have been standalone seasons. That said, he added that, at a certain point, it’s necessary to let characters go and that he was grateful for what he had already experienced playing the Father.

Marwen Heni then asked if Joseph, who is very complex, was entirely fictional or if it was Greg talking through him. He answered his characters are always him, to a degree, because he wants to connect with the material so he never lies and can work from things that matter to him. He never judges them and tries to think about what he wants to express through them. He’s interested in their humanity and what motivates them. “We’re all broken,” he said. “Some are much more broken than others, and sometimes those broken pieces are very sharp and jagged, and they lash out.”

He also revealed he had “very specific rituals” to help him become a character and then let them go. He mentioned a few prayers that one of his friends, who is a Wiccan, taught him. In fact, and all the co-hosts agreed, it can be very hard to “disconnect” from a character sometimes because actors aren’t just pretending; they’re using real emotions.

He had already said his son Dempsey had done the mocap for John and Jacob in the Collapse DLC and that he felt carrying Ethan’s body in New Dawn was a way for him to honor his “boy”, his dead dog Lucky, since he deeply regretted that he couldn’t be there to take him to the veterinarian the day he passed. What I didn’t know, however, is that it was Greg himself who had asked if Joseph could carry Ethan, and the team made it happen. He also explained that, when it was time to play this scene, he tried to imagine what it would be like to actually lose his son.

But who is Greg Bryk’s favorite Far Cry villain? Well, when he auditioned and started researching the franchise, he was interested in Vaas because of Michael Mando’s performance. He still doesn’t know him personally but has a friend who worked with him and who spoke about “how electrifying his talent was”. There’s something “unhinged” and “primal” to him as a performer; he’s a “wild” and “special” actor.

Finally, when told he was born to play Joseph, he confessed he felt he was indeed “called” to play this part but wants to give credit to Dan Hay, Drew Holmes, and Jean-Sébastien Décant for creating such a “terrifyingly human” antagonist in the first place.

[sarahreesbrennan]

I remain mad that Long Live Evil doesn’t have a movie because I want to edit the characters so bad. What do you mean I can’t make an edit of Eric with the intro of ‘The reason I walked in like I own the place is because I do.’ and the song is Brat by Charlie XCX??? This is ridiculous.

I thank you and I could see it!

Long Live Evil is the book I ‘see’ most of all my books in a cinematic way because I was thinking so much of adaptations as I wrote it. Not of getting an adaptation (though it would be nice, wouldn’t it!) but of how stories change in the telling, as they did with oral tradition and bards back in the day. But as they do now mainly from being transformed from one medium to another.

And that transformation necessitates change. Even a good and considered faithful adaptation should bring with it the change of needing to work in a different medium for a different audience, and the change of another person’s vision altering the telling.

I’m not just talking movies or TV shows in Long Live Evil but plays - we have a major playwright character, we start off with a Richard III epigraph and have innumerable Shakespeare references thereafter - plus references to Greek plays, the chorus, and catharsis - plus musicals and pantomimes (I tried to foreshadow in such a way that some would be surprised and some would spend much of the book yelling ‘behind you! The narrative doom is BEHIND YOU!’).

One major thing shouted out in the acknowledgements was Wicked, a musical that is very different from its book (I really enjoy both), which is getting a movie adaptation I’m interested to see, and which is full of villainous sympathy and joie de vivre. I believe Wicked foreshadowed the runaway success of Frozen.

Musicals are also a refuge for joy and camp in an increasingly self-conscious world of story. I was talking on… sigh… X about the change of Oswald Cobblepot’s name to Oz Cobb in ‘the Batman’ universe and I said ‘everyone is afraid of being cringe, and tbh I think being afraid of being cringe IS cringe. Let’s get a little silly sometimes. Let’s be wild and overblown and sincere.’

Musicals DO that. They have to, by their inherently artificial nature - we can’t pretend people burst into song and dance numbers - and that gives them a certain freedom. I love a musical. I went to see the Vampire Lestat the musical and The Lord of the Rings the musical. I can’t be kept away. The second-most-common note from my critique partners was to get rid of the musical in Long Live Evil and I just couldn’t, as the musical was one of the first seeds of the story, and it said what kind of story I wanted it to be: a joyful celebration of art that wasn’t afraid of anything. Including being cringe.

… I’ve wandered off the point I fear. I would also like to see an adaptation! Love an adaptation.

[cumaeansibyl]

The Substance

short version: five out of five stars, I had so much fun, for God's sake read the CWs. there are so many needles in this.

further thoughts: I think the viciousness of this movie rests on Elisabeth (Demi Moore) having built her career on promoting the very same unattainable beauty standards that she finds herself in conflict with. It's no coincidence that she's not just an actress, she's a celebrity fitness instructor. Going on TV every morning to tell us all that our bodies aren't good enough. She threw her lot in whole-heartedly with the beauty merchants, she preened and profited, and then she was shocked -- shocked! -- when they inevitably, predictably turned on her.

It's also telling that once she's injected the titular Substance and generated a new, young, beautiful version of herself, what does she do? She goes right back to the same business as before. Being sexier, fitter, more desirable than anyone else. Telling everyone their bodies still aren't good enough. Well, why not? Even her own body wasn't good enough for her anymore.

Coralie Fargeat has zero fucking sympathy for her and I feel the same. Oh, is it hard now? Is it alienating and dehumanizing and humiliating? Did you never bother developing yourself as a person because you were too busy peddling feminine oppression for Dennis Quaid, of all people? Fuck you! Suffer harder! You are complicit!

I would love to know how this lands for conventionally attractive women -- I never put in a sustained effort of this kind because it was made quite clear to me from a young age that the "right" kind of beauty would not be available to me. That comes with its own pain and its own fantasies about a "perfect" version of myself, but I suspect it's a different set.

I also wonder what trans women think of it, because while it's a very cis woman story (in that Elisabeth has always been a conventionally attractive girl and woman) it's also like... about transforming into a more desirable version of yourself, which, come on.

Finally, I feel like there's some disability commentary to be had in here, though that's not a subject I'm well versed in. I did find myself thinking, from time to time, that to many people it would be very tempting to have a body with no pain, a body that always moved easily and performed all its functions with no trouble. Even if only sometimes.

[aka-indulgence]

AAUOUHGHGHG I SAW THE SUPER MARIO BROS MOVIE!!!! AND I LOVE IT WITH MY LIL HEART ;W;;;; I love the relationship everyone has with each other in the movie, Mario and Luigi are good bros, Peach is a nice gal, Donkey Kong and Mario are funny together, Bowser is intimidating and hilarious at the same time… hhhgghg (cries) I actually clapped in the movie because all the game stuff they put in the movie made me happy ;v;; my favorite part has got to be Mario and Luigi together orz they’re so good they love each other so much it makes me Emotion

P.S. i really want the movie ost asap because I adore all the game themes they put in it ;v;

[watchingwisteria]

listen there really was just something about how in the book, snow’s 3-page descent from hesitant lover boy to deluded mfer happens entirely in his mind. lucy gray gives him no indication whatsoever that she suspects him, that she’s going to leave or betray him. he’s just sitting quietly in the cabin waiting for her to return when that seed of calculated suspicion, which he has needed to survive the capitol, takes a hold of him and chokes the life out of any goodness left inside him. it really drives home your terror as a reader that “oh my god did he kill her? did she escape? what happened to her? why would he even think that?” in a way that when the movie had to adjust for visualization it lost some of that holy shit this guy has lost it emphasis.

[turtleblogatlast]

I think a lot about Leo standing up for his brothers in the things that really matter to them.

Like- Leo is the one who immediately pushes Mikey and Donnie into finding Raph the second it’s clear that their oldest brother is missing because he knows Raph can’t handle being separated like that.

Leo is the one who stands up for Mikey when Mikey wants to go on a solo mission, actively vouching for him and being the one to convince Raph into letting Mikey go, because being independent and proving himself just as capable of standing on his own two feet as everyone else means so much to Mikey.

And Leo defends Donnie’s honor in particular when his brothers’ intelligence is insulted because Leo is well aware of how important Donnie’s smarts are to him - and how important having those smarts valued and acknowledged is as well.

All this goes right into just how well Leo knows his brothers. For as much as he’ll tease or fight with them, he knows them, and he loves them.

[shannonsketches]

Every time I talk to a DB fan who doesn't know or doesn't agree that the whole franchise is an adventure comedy first and an action series second I feel insane but then I find an old Toriyama interview,

You made some comedic scenes where you have minor villains Pilaf & co. appear; how did you come up with a balance between laughs and fierce battles? Do you pay attention to the difference between comedy and battle in making a work “entertaining”?

I believe that, when you combine comedy and serious battles, both of them might come alive even more. As for me personally, though, I much prefer drawing dumb jokes to battle scenes.

as a bonus, every time I'm like 'idk I didn't really like most of the DBZ movies prior to Yo Son Goku and Friends Return and BotG,' and get the 'whAAaaT they're so gOOD' (from my brother, tbh askdjs) but they all seemed really Action-Drama and About the Fight Scenes and I'm like 'meh kinda boring tbh' I get to gaze upon,

In the latest movie, Toriyama-san, you participated in the production from the scriptwriting stage for the first time. What is the reason for that? Was there anything you noticed in coming face-to-face with the work after so long?

I was told about a project for Dragon Ball in its first animated film in a long while, and I read the story outline; while the beings “Beerus, God of Destruction” and “Super Saiyan God” (which goes above Super Saiyan) were interesting, the themes were heavy, and I felt that the world was a bit different from Dragon Ball. Rather than telling them about this or that problematic spot, I thought it would be faster if I just wrote it out concretely, and while I had intended just to give them a model―”for example”―my hand wouldn’t stop, and ultimately, I ended up writing almost everything, including the dialogue. I am reflecting on the fact that I did something terribly rude to the scriptwriter.

Akira "It was bad so I fixed it, oops" Toriyama, Absolute Legend

[icewindandboringhorror]

examining a seemingly normal image only to slowly realize the clear signs of AI generated art.... i know what you are... you cannot hide your true nature from me... go back where you came from... out of my sight with haste, wretched and vile husk

[friendly-neighborhood-hermit]

Yes, Velvet and Veneer ate with their final chase scene song mashup, but everyone saying that they should've won? You guys would probably fall into a cult so easily, with how you're simply thinking they should've won because you were swooned by their (faked/stolen) voices

[nicoscheer]

Just got on the tour bus x On our way to Europe buzzing to play for you, let's smash it x love MK

lol this is hilarious Matt and Amanda crying about meeting her the Grammys and her just casually commenting on Miles’ post🤣🤣 (aside from following the other)

--------

She´s back !!!

looking for the hottest vintage shops

[townslore]

discovery of the day

[uniiiquehecrt]

Plz explain then the travesty that is love and thunder

A trainwreck directed by an egotistical six-year-old in a leech of a man's body who thinks he's a screenwriter and still plays pretend with his uwu self-insert OC.

.... real talk, though, in short:

The real travesty of Love and Thunder is that Thor is already made of love and thunder, and simultaneously Jane is the love to his thunder, and the MCU, through taika wai-feck-off, decided he can be neither of those things, and have no nice things. Thor is the most tragic character in the ENTIRETY of the Marvel Cinematic Universe, and yes, I do think more tragic than Wanda.

He has lost :

his entire home planet

his people

his entire family of four (no hela does not count he was not connected to her and should have been odin's sister)

before which he lost his brother (his platonic soulmate, to boot) a total of 3 times emotionally, two of those physically

he lost his ENTIRE friend group because his half-sister murdered Volstagg, Hogun and Faendral; he never reconnected with Sif

his only good mentor/parental figure (heimdal) was stabbed through the heart in front of him

he lost his dignity, his crown, his birthright (voluntarily and otherwise)

he lost his self-worth, his sense of direction (bc the writers legitimately thought his arc was about stepping down from the crown instead of making it his own and growing into it in his own way, by his own merits, at his own pace and gave it to some literally no-name side character that showed up for one movie and never respected thor in the first place to even earn his title from him smh)

and taika's idea of rectifying any of this .... is to give him some random child he doesn't know, that he doesn't care for, and manipulate him into taking her under his wing not because of the kindness and limitless love of his own heart even after shutting himself down post!endgame, but because jane asked him to as her dying wish — and then say that THAT is his happy ending.

Tell me why Thor, the longest standing of the Big Three, the king of the stars, the hero who is by all respects the embodiment of love, gets no companionship, no friends, no home, no place to belong, when Tony got a hero's send off and Steve got to be with an alt!dimension Peggy.

[deviousdiesel]

.

[un-pearable]

oh yeah saw blue beetle last night and one million thumbs up. going into having heard it’s very tokusatsu and comic booky made it one million times better. goofy and stupid in fun ways. i’m so glad we’ve looped back around to comic book movies being like comic books: confusing chronologically and catered to fans willing to put up with wildly specific nonsense. also heck of a great job making a movie about gentrification and colonization out of the chaos of blue beetle lore and corporate blandification i genuinely had fun