#may have to gif it was so wonderful

[mollyhale]

the girl, so confusing version with lorde

[aethersflood]

-- "It's plain she cares for you very deeply." -- "And I her. Which is why I had to let her go."

[ghostlyarchaeologist]

Cassie's nightmare.

The Librarians S04E08 And the Hidden Sanctuary.

Bonus yoink:

[gildedmuse]

[I do not think there's a comment I can add to this to make it better than it is.]

Here there Strawhats are at a mind altering, greatest ever concert so of course when the singer is attack they jump in to save her.

And then there is Zoro like: Thank Fucking Luffy, Some ACTUAL ENTERTAINMENT.

[thoughtfulchaos773]

Women checking in on each other.

Now diving deep, Nat requests this from Carmy(you never ask me how I'm doing) and Nat wants to do it with Donna but she rejects it with such bitterness I wonder why that is..

[radio-4-is-static]

さよーならまたいつか！ | Kenshi Yonezu

誰かと恋に落ちて また砕けて やがて離れ離れ 口の中はたと血が滲んで 空に唾を吐く 瞬け羽を広げ 気儘に飛べ どこまでもゆけ 100年先も憶えてるかな 知らねえけれど さよーならまたいつか！

///

Fall in love, only to be crushеd once again And eventually, go our sеparate ways Blood seeps in my mouth without warning And I spit into the sky Spread your wings and soar Fly away to wherever your heart desires Would we remember in 100 years? Who cares? So long and see you again!

[withthewindinherfootsteps]

pov you’ve just reread the yi city arc… except that clearly wasn’t ENOUGH because of course your analysis brain had to take over and search for parallels, so you have to go and reread and save the most depressing WWX scenes right after…

i’m fine :))

[overtake]

Josh Allen’s Life On And Off The Field

[girlandherfandom]

"I think someone is just like (doing the intro to YMCA) hands up like waiting for me—" (LS Dunes Nashville)

[lilcathsmith]

Greg in every episode of CSI (105 + 106/328) • Committed / Weeping Willows •

[likesummerrainn]

SurrealEstate 2x10 Letting Go "Partners?" "Partners."

[chloecherrysip]

Every time Mario is visibly concerned/worried about Luigi in the trailers/TV spots/sneak peeks/etc shown so far.

[ltcdrmcgarrett]

“You’re a good man, Steve McGarrett.”

[death-by-mercury]

@hammill-goes-fogwalking thank you my beautiful friend 💖💕🌷🌸✨this game was so fun! I’ve been submerged in movies more than music lately so this is perfect.

My Seven Comfort Movies are:

1. The Clock (1945)

100/10 - Joe and Alice are so cute. Simple but beautiful and sweet romance story. No misery or negatives to it. You feel on the edge of your seat because of the time crunch they’re in.

2. Seventh Heaven (1937)

100/10 - same vibe as The Clock: simple and absolutely the sweetest. Chico and Diane are so tender and cute. Beautiful and innocent love story set in Paris 1914, unfortunately there is a sad turn, but I will not spoil it (although I will say, everyone survives - don’t worry) still very sweet.

3. It Happened One Night (1939)

90/10 - very cute. Another sweet romance. It’s not lovey dovey but you can still tell that they like each other for the majority of the movie. Nice ending. Funny too. I love it very much 😊😌.

4. The Good The Bad and The Ugly (1966)

100/10 - my goodness. This classic western is the king of westerns for me. I also really love Once Upon a Time in the West. Clint is breathtaking and badass. Tuco is fun and crazy and Angel Eyes is cool, they all fit perfectly in the film. The aura is absolutely spot on, the stunning score by Ennio Morricone just make the movie perfect, along with the scenery and the classic style of the movie. It’s beautiful. Always my fav.

5. Dirty Dancing (1987)

9.8/10 - cute. Me and my sister’s summer movie. Patrick Swayze is the beautiful centerpiece in this. The dancing is captivating. The songs are nostalgic and catchy. Only things I’m not fond of is the guy that owns a hotel that calls baby “kid” and Penny because I find them both so annoying and they are unfortunately in the movie for considerable time. Baby herself and her sister are kinda annoying too. Oh well…

6. The Mission (1986)

110/10 - heart breaking. Beautiful. The piece where Gabriel plays his oboe for the native people is so profound and beautiful. I love this movie. The historical portrayal is beautiful and the religious focus meaningful. Sad ending but I won’t spoil it. For me, Gabriel makes it the most sad 😭.

7. Mr Smith Goes to Washington (1939)

100/10 - captivating and beautiful. So inspiring and wholesome. Jimmy is so beautiful in here (as always). Mr smith is just a beautiful person entangled in the corrupt and rotten government politics. He shows what a good politician/senator should be like: he has strong morals and will fight until he drops for what’s right. It may be 2 hours but doesn’t feel at all that long. Great acting in this film, especially from the wonderful James Stewart.

I would like to honourably mention The Shop Around the Corner (1940)

because I love it so much as well ♥️

Also 100/10 - ah yes, another sweet romance movie with Jimmy. What’s there not to love but the bitterness that Ms Novak shows the lovely and Classy Mr Kralik until the end. Very cute and sweet with a lovely ending.

Tagging

@lonesomedreamer @shamanbluesss @thatmothertucker @boozilla-valentina @beanifred @m-00-ndingochan @jonesyjonesyjonesy @incurablyromanticsblog @greensleeves2107 @greyhound-locker

Give me your top 7 comfort movies

[pb-dot]

Film Friday: A formal apology to Last Night In Soho

People who have followed me for a while, or done some serious backreading may remember an early essay I wrote about the Edgar Wright film Last Night In Soho and how I couldn't make myself to watch the thing again. I've been trying to dig the thing up again so I could do a good follow-up, but Tumblr's search function continues to be Like That, so I'll just have to go by my memory of the thing for now. Last Night In Soho spoilers and some dreaded nuance below the cut!

In short, I struggled with how mean-spirited the film felt to me. Protagonist Eloise Turner gets chewed up and spitten out by a London that is sleazy, cruel and unforgiven even in the genre of "country mouse goes to the Big City and has a Terrible Time of Things" stories. It's a morally messy and gray kind of tale, where our hero narrowly evades a victim turned villain by the cruelty of the world around her by confronting her with the cruelties she herself indulged in. It's a real Bad Vs. Evil kind of situation, and just thinking of how much of an exhausting, terrifying experience the story would turn to for young Eloise made her early scrappy, if naive, enthusiasm turn to ash in my mouth.

The thing is, upon actually watching the thing again, and through explaining what's going on to my parents that, bless 'em, weren't quite following along on the plot, I came to realize something. All of the things mentioned above are true, that is what happens in the movie, and that's ok.

Eloise gets the utter shit kicked out of her by the plot. She falls down the tree of Moving to the Big City and hits just about every branch on the way down. Her natural empathy gets hijacked by a tale more sordid and violent than she's ready for, and there's no pot of golden rectification at the end of that rainbow, just a sad, twisted murderous grandmother dying in a house fire surrounded by the ghosts of her murdered abusers. It didn't have to end this way, Sandie didn't have to try killing Eloise to cover everything up. If she wasn't so warped from the abuse she suffered she might've even understood that Eloise has a lot in common with her, even when you ignore that she has, through her paranormal powers, Eloise has literally BEEN her. Eloise has literally felt her pain, her fear, her desperation. There is nobody in the world, maybe not even Sandie herself that has as good of a reason to be charitable and kind fo Sadie. It's no good, though, Sandie is too far gone to even consider empathy a possibility.

This is, of course, bleak as shit, and how bleak it is kind of blinded me to the point the movie was making. Upon a rewatch it seems almost absurd to me that I missed it in the first place, but the movie actually has a pretty clever thesis on Nostalgia built into it. Eloise goes to london, expecting it to be as magical of a place as she imagine it being in the late 60's. It is not, of course, even if the 60's was a stylish wonderland like she imagines it, the wear and tear of time and several generation-defining economic crisises (and entirely too many Tory governments if you permit me to talk politics for a hot second) have changed the place up. That is, however, just the starting conditions, the base camp from which Eloise's nostalgic dreams get confronted with the nastiness of reality.

Sadie is in many ways the perfect person for Eloise to project onto. She strides into the world of late 60's Soho with the effortless confidence of youth. She's not from around here, but she is going to make her dreams come true withher gumption and her beautfy and her unflinching confidence. Sounds a lot like Eloise, except Sadie is more of a girlboss than Ellie ever gets to. Of course, Sadie also falls out of the tree of moving to the Big City and hits a whole ton of branches on the way down, but that's not all there is to it. See, if the takeaway of the whole thing was "the protagonist thinks Before was better, but she learns that Before Was Pretty Terrible Actually," Last Night would truly be too cynical, full of pain and suffering, signifying nothing.

That's not what's happening though, if it did, Eloise would take half a look at what Sadie's life turned into and gotten the fuck out of dodge. It'd be a tale of the depravity of the city that a good soul narrowly escaped. That's not the movie Last Night In Soho is, and it's not even close. If anything, Eloise's obsession with South London and the sad life and assumed death of Sadie only deepens as she learns of just how bad things get for the doomed starlet.

It's one of those plot things that effectively illustrates that the difference between a character strength and a character weakness is highly dependent on context. Eloise is an emphatetic person, mirroring her openness to ghostly visions by her openness to other living people. It does her no favors in most interractions with her new classmates, but Eloise can no more stop feeling sympathy and openness to experience and feelings any more than a tiger can change its stripes.

So, Eloise is an admirable character because she can not stop being kind, even when it's a disadvantage. She could no more fire back at her queen bee bitchy roomate than she could walk on water, and so she choses to resolve the solution by moving out entirely. It's that kind of "too nice by half" personality that's mostly present in fictional characters to give them a place to grow out of, to learn to stand up to themselves and so on. That's not the angle Last Night goes for though, I'd argue what it does is a much more nuanced take on such a character.

I would argue, though, that throughout Last Night In Soho, Eloise's empathy is in fact her most grievous character flaw. She almost ruins her life and her future by actively seeking out Sadie's tragedy, soaking in it like she can redeem the time period she is so enamored by absorbing Sadie's misery and quote-unquote saving her from her ignoble end. The world does not require this of Eloise, she puts this unreasonably huge demand on herself because it's the only way her unquestioning love for the time and place of Sadie's life can remain unexamined. Sadie's tragedy can only be an emergent flaw in the system of that time and place. If late 60's Soho chewed up and spat out young ambitious women like her and Sadie as a matter of course, how could it be the magical place of the movies and music that Eloise loves so much?

It's with this in mind that the ending scene where Eloise displays her new clothes designs goes from being a "oh, nice for her I guess" kind of denoument into a pretty powerful thesis statement. Eloise still loves the things she loved about the 60's, she still loves the music, the aesthetics of it, the style of the clothing, but it is tempered by a distinctive and conscious sense of anachronism. This isn't the 60's coming back, this is Eloise, a modern young woman, showing the world what she loved about those bygone times filtered through her own experiences. This is, the movie says, what Nostalgia should be, an ongoing conversation with and about the aesthetics of the past without attempting to restore some sort of prelapsarian way of things that never existed in the first place.

In a world where an increasing amount of people start looking at the 50's with a worrying level of fondness, I think a movie like Last Night In Soho is important. It's ok to like rockabilly, it's ok to like stepford housewife chic, it's ok to like three-piece work suits, the movie all but says, but don't try to make today like the times when these styles arose. They weren't the Good Old Days the way it's tempting to think of them. They were Days, and depending on who you were they could be the farthest thing from good. Love the things and looks you love, but let the thoughts patterns and politics that informed them remain in the past where they belong.

So in short, I fear that in my initial piece on this movie, I did the Classical Tumblr Mistake of reading ill, conservative, will into a nuanced work that deals with complex topics in a surprisingly elegant way. So, that's my bad, and I'm glad that actually getting off my ass and giving it a second look has opened up my eyes to a lot of beautifully shot, artfully presented nuance. Last Night In Soho is a great move y'all. Go see it. Hell, if you've only seen it once, maybe see it again?

[hakusins]

Belated Happy Birthday!! (ﾉ◕ヮ◕)ﾉ✲ﾟ｡⋆ May the entire month of September bless you and your gacha pulls!! Also good luck with your classes! We believe in youuuu~

still sorry for the late greeting tho (╥﹏╥)

HUHUHUHUHUH THANK YOU WOOL!!!I MISSED YOU, THANK YOU FOR YOUR WISHES !!!!!!!

I'm doing alright with my classes, thankfully - but I'm so tired physically because I ride a bike every day to school 😭😭 and my potato ass isn't used to all the work