#proper window

[theo-throne]

[sunlit-mess]

mania

[bog-mob]

Starting off the month strong let's see how long that lasts 🗣️‼️/silly

Was inspired by the way light sometimes shines thru windows in the Parable (⁠◔⁠‿⁠◔⁠)

[robobrainrot]

PINKIMUS PRIME!!! 💖🌸🎀✨

The Blokees Convention Exclusive Pink Optimus is reselling for $400, and I don't have that kind of money so I bought the model kit version and said "fine, i'll do it myself."

Plus, MINE'S BIGGER!!!! 💦

[layzeal]

one of my favorite headcanons with little to no canon support is that xue yang and mo xuanyu were guidao jin disciples at the same time, and mxy mentioned a few times wanting to ressurect the yiling laozu to kill his mom's evil family, so when xy saw him (or rather his body) entering yi city AS the yllz, he was like "son of a bitch he actually did it"

[cowboycatss]

dykobra and i have an hc that the girl has a stuffed animal, dr rabbit, and he takes his job very seriously

[felassan]

r/dragonage (Reddit) post titled "Jeff Grubb: Dragon Age: Dreadwolf scheduled to release in late 2024." Post text: "Dreadwolf to be shown this summer and planned release later this year, Bioware is internally confident on the release date. Anything could change of course." Source: [link] Clip: [link] "Credit to: u/IcePopsicleDragon for posting this in r/GamingLeaksAndRumours."

[source]

In episode 339 of Game Mess Decides, Jeff Grubb had the following to say on Dragon Age: Dreadwolf's possible/rumored release window [transcript]:

Question from chat: “Hi Jeff and Mike, when will Dragon Age 4 be shown and released?” Jeff: “Yeah, I mean, I expect it will probably pop up this summer. I don’t know when it’ll be shown is the real answer, that’s the, let’s get that out, I don’t know when it will be shown. I assume it will be shown sometime this summer. Could happen at any time though. It will be released this year [2024], last I heard. That is, and they’re pretty confident about that, doesn’t mean it’s a guarantee, could slip, but right now, internally, they expect to release it later this year, which is why I took it in Fantasy Critic”.

[source (timestamp 35 mins 20 secs), clipped version]

(there were no more mentions of Dragon Age or BioWare during the episode)

[nitrateglow]

Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

[gavv-hannah]

i am So Well about your kuon/hoeru stuff thank u for the food . do u have any........ headcanons or additions to their relationship , im curious to hear . we are such a small group of freaks (positive)

ahaha sorry when you said a small group I just imagined a group gathering at tea time talking about favorite brocon fics/HCs/happenings with one another. Does such commune of freaks exist in the toku fandom T_T)? If so let me iiiiiiiin *rattling cage bars*

Anyway,

Thank you thank youuu anon for enjoying my food!! This is my first sentai rodeo so im always worried about not drawing/depicting/characterizing/whatever-ing them so you and anyone else enjoying my gozyu stuff means a lot to meeeee T_T

Now i say that but um.. So all of these are exaggerated well enough to cater to my gozyu brocon needs LMAO so if its OOC..... i bow deeply to say sowwy

(thoughts, words, stuff below read more)

+ they're codependent. Back then, and even now (but Hoeru's growing out of it. Kuon isn't) idk what their home life is like to make them be like that tho so uhm *insert bullshit reason*

+ they have a skewed sense of what's normal/appropriate between brothers. Probably weren't reprimanded/corrected as kids so they just kept doing it. What's sweet as kids is kinda weird now as adults~ idk something like having no sense of personal space or boundaries.

I like this one cz i can just imagine hoeru sharing smth he did with kuon to the gozyu team and everyone's just in shock with their kind of brotherly love mmcmfmd

Very delusional scenario but if they still got along after reuniting as adults, they'd probably take baths together ❤️ Though hoeru's starting to mature so he'd probably say smth like how this is smth they shouldn't be doing but kuon coerces him to stay in the bath longer with him anyway~

Sorry really vague and no concrete examples (can't think of one for brothers-to-brothers, only for sisters-to-sisters mfmfmd) but you get my point right 🥹?

+ Kuon's feelings, worries, and thoughts abt his brother were warped to be super intense after the No One World abduction

examples:

- that thing where older siblings feel a little sad when they notice how much their younger sib is growing and starting to want to be independent -> warping to -> Kuon not wanting Hoeru to leave him AT ALL

- that familial love for your sibling -> sick kind of love and obsession for hoeru. ("Hoeru's my love, my hope, my puppet" uhm! Ok!! Whatever you say Mr. Freaky!)

- Younger siblings being your responsibility. You're their teacher, their second parent, their most available guide (eldest child in an Asian household things ❤️) -> Hoeru grew up to have beliefs that dont align with Kuon's. Kuon thinks he is misguided and wrong. He's the only one that can set him right.

+ As kids, Kuon's praises and sweet touches would be like liquid gold to hoeru. Even if they have a weird relationship now, I'm pretty sure if Kuon praised him, Hoeru would feel like putty inside. It's hard to break off from old wants 🫶

+ not an HC but do you know the whole thing the mom and daughter in EEAAO had? The daughter in the "Alpha universe" was pushed to the limit to be excellent that she became a nihilist and wants to destroy the universe. She seeks out for her mom in this one universe who is awful at everything because she has the greatest potential (the whole "you suck so much that you have nowhere to go but up" thing) and is the only one capable of foiling her universe-ending plans.

The womanfailure mom = Hoeru

The powerful nihilist daughter = Kuon

Do you see the vision? Mfmfmfmfmdmd

~~~

This got long sorry!!! I hope you got what you asked from me Anon Q_Q it's probably unoriginal lbr pretty sure some other 5head fan already said these things about the tono brothers in like, a more comprehensible way ahahzhshzhs but still thank you for reading up to this point u_u lemme know what you think! If you got some HCs share em!

[sunlit-mess]

WHAT’S YOUR ELDRITCH LUCIFER’S PERSONALITY LIKE?? Sorry if this question makes no sense

Tbh I cooked up a whole narrative for it (because I'm dying to fill non-existent lore)... But it's so long and scattered so I'll yap about it someday.

Anyway, here are the ideas I revolve with:

All of these are just from random thoughts focusing on the ' BAD ' side + curiosity idk " my physical shell can be torn apart, smothered, stretched, bent by my own mind " (Angel Lucifer): Innocent face, underlying horror. (Canon/demon Lucifer): One body, that feels like two souls.

- somehow I can connect this with the ideas in Angel Luci's behavior LOL im too sleepy to fix a timeline for it atm.

Evil is a part of him that can't be erased so he learned to overcome it, but never fully accepted it. So upon his silly demeanor, beneath are the true reasons why he is banished from heaven. Sob story? Yeah, that's what they believe in...

Bro lives with this eternal punishment and I'm about to make that reason worse.

[hansoeii]

Hello! I just wanted to say that you've been one of my favorite artists for years and have been a huge inspiration!! Everytime I see your art appear on my screen I fall in love with your art style all over again.

I hope you have a good day! 😊

Awe god, thank you so much!!

Take this picture of my cat minkus as a thank you gift

Have a good day yourself! ❤️

[moran-with-a-g]

Ugly sobbing in bed at 3am because I took a shower earlier and when I finished there was a dead cockroach next to my foot that wasn't there when I got in and because I sat down to eat afterwards and then I saw this huge alive motherfucker on my chair and it started flying around the apartment and tried to fly at me.

I managed to get the alive one out and the dead one is still on the floor of my shower and I'm too scared to try and move it because I'm scared it's actually alive and also because it's literally massive and I cannot touch it.

Yeah anyways did not expect to get a full on panic attack because of a goddamn cockroach. I don't usually have such a big issue with them. But here we are.

[black-klok-youth-pastor]

…oh you thought my username was a joke

@hellacreeps

[lord-pigeon]

Yeah, yeah "you're authorized to hunt" is cool but did everyone collectively forget the Guild literally already authorizes every hunt in the first place because it's literally hunting problems to the natural ecosystem

Am I the only one who forgot that Monster Hunter has always had a very heavy environmentalist theme and not a weird "explore and conquer" thing

[wlwinry]

nysm leverage au. you understand

[cherryjuicegf]

hey do you guys ever think what if yen and jaskier are holding each other like that because they don't know if ciri and geralt are still alive except for a feeling. for all they know all they have left may be each other.