imagine being just some fricking idiot and getting thrown into a war because of your idiocy and then getting trapped in a time loop that scares the shit out of you and you don't know what's going on but it's changing you already and then you find out that there's one person who knows what you're going through and can help you, but not help you get out of the time loop, no, you're supposed to use this absolute insanity to win the war and so you try and you try and you try and you fail and you fail and you fail and the only person who gets it is this one other person who's been through the same thing and also failed and failed and failed until she couldn't fail anymore and so you keep trying to save the world and win the war, but eventually this other person becomes more important and you keep using your chances to give her a chance, because there is only one person in the world who understands, one person who knows, and that makes your day which is not a life anymore both better and worse, and for the first time in your memory, another person actually matters
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Listen, if and when we get a Luigi's Mansion Movie I don't want to hear a single pop song.
I can grit my teeth and bear it in The Mario Bros. Movie, but the soundtrack for Luigi's Mansion had better be filled with so much creepy piano and dissonant chords and tremolo played on so many strings in such a minor key that Danny Elfman would be like "tone it down a little."
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It's been hours since I discovered that this exists and yet it still feels so surreal. L felt such huge anguish that his heart was aching inside his chest at failing to save Maki from being kidnapped and the first thing that comes out of his mouth is "Light... It hurts. My heart—" and honestly, I felt like being punched repeatedly on the gut because this is honestly... *breathes* I am in awe and in disbelief because why would L speak Light's name like this, when Light was the reason why he's dying now?? Why would he confide in him, when Light had only shown him fakeness and lies since they met. It's so easy to think of all the evil things Light had done to him yet L doesn't think of any of those things.
He wasn't even thinking in this scene because all he can register is how his heart hurts and that it was telling him to speak Light Yagami's name, no matter how absurd, how silly, or how pathetic it seems. Because like Light, people NEVER sought him beyond the great detective L. No one bothered to know him beyond the gothic letter on their screens. Which honestly, isn't their fault because L kept them at arm's length.
But somehow, someone forced L's arm to minimize that distance and he's left with Light and his deceptive yet all-knowing eyes that managed to understand L. And it's so effin funny that a twisted individual like Light was the only person to actually see beneath the iceberg that is L. The one that caused his demise. It's so sick and ironic that Light is the one person who L thinks can understand his pain. He didn't think of Watari, his father-figure.
He thought of Light. Because at this place, at this point, he knew no one would understand his pain, his ideals, his everything, the way they didn't understand Light and his twisted sense of justice and his genuine distaste for the judicial system and how childish his black-and-white morality is EXCEPT L himself.
He called Light's name because deep down he knew, only Light would be able to understand the pressure and the lies the facade he'd been wearing all this time.
It's honestly insane how these two has something worse than romance, and that no matter what universe, no one really wins because all that is left of the other is the empty, shallow void caused by the other person's non-existence.
Lawlight, you both got some toxic codependent sht and honestly i'm here for it.
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ahahahahahaaaa do you know what i just realized???
okay so remembering that this is rrr we're talking about and there is literally no such thing as reading too deeply into it because ssr is insane (admiring)
so the meet-cute -heroic. real quick, let's recall how this goes: ram and bheem see each other from afar, go to each other, then they're both on the bridge and they ride towards each other as fast as they possibly can, then they veer at the same moment and jump off the bridge, and then they go towards each other again but before they can meet they swap a kid and a flag, and then they swing apart again, and then they move towards each yet again and this time they f i n a l l y touch, and as soon as they touch they hold on tight and don't let go.
right?
and i'm just saying. that you could think of that (much like the tiger scene at the beginning) as a summary of the entire movie on a couple of different levels.
the most basic of which is: ram and bheem are on a collision course multiple times but at the last moment either they swerve or circumstances pull them apart - right up until the very last time when they finally clasp hands and this time they don't let go.
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me: can I rewatch Mike Faist sports movie?
my wallet: we have Mike Faist sports movie at home
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what did you like about saltburn! and would you recommend it?
Ooh, I feel like my enjoyment of Saltburn was three-pronged: 1 and most importantly) Barry Keoghan being a weird little guy, 2) Pretty, 3) tight writing and left me thinking about it. It was just a genuinely good movie, it had been a while since I'd watched a movie that just felt like Art when I was done with it.
I absolutely do recommend it, with a little caveat. It's got some Weird Shit in it, so if you're a person who needs a heads up on the weird shit, I'd do a quick google for that and go from there. I went in completely blind and had a fantastic time with that. It's a horny black comedy and psychological thriller with tight writing, great cinematography, and attention to detail. 10/10 film in my books.
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Breaking News: Another horrible man is horrible to literally everybody and is then shocked when people are not nice to him. England once again totally fucked. But I hear the monarchy is good for tourism, so
"Doomed by the narrative? Too easy! No... it is the narrative that is doomed by US! (And also, we are so so horny for each other.)"
So it turns out The Lion in Winter (1968) slaps. Katherine Hepburn somehow manages to capture the feeling of watching someone tear out a person's jugular with smiling teeth. She and Peter O'Toole in this movie are basically performing the cinematic equivalent of the song "No Children" by The Mountain Goats and it is wild.
Tagging @thirdsisfics because I associate the term "doomed by the narrative" with the positive feelings I get from talking to you about the trope!
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Jekyll in movies: Woe is me🥺 I have accidentally created an evil version of myself 🥺 now I can't be a good gentleman anymore. Pity me for I have fallen into misery.
Jekyll in the book: Welp. The intrusive thoughts won. *Opens a bottle of poison*
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