forever obsessed with dynamics between vampires, specifically that of a maker and fledgling, as a way to explore abuse. the creation of a vampire itself can so easily be a literalization of the lasting impacts of trauma and also much more simply the ways a perpetrator might shape their victim’s very identity. the extremes of isolation in the way that the new vampire, in most narratives, must cut all ties to their mortal life, or else go through an elaborate charade to maintain the facade of humanity, while forever still being removed from it. and the sheer dependence and vulnerability of being in an entirely new state of being, wholly uncertain of what it entails, and relying on another person to define… everything.
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it's fun how "villain gets tricked into confessing on video and now everyone hates them" is usually the resolution to a kids movie (monsters inc and coco do this for example) but i think the director from nimona is the only villain (that i've seen at least) who's wily enough to get out of being twitter cancelled
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In Knives Out Blanc wanted to do the murder mystery investigation with Marta so bad, but she was certain she was guilty so she spent a good amount of the movie avoiding/hiding stuff from him
Meanwhile in Glass Onion Helen was fucking carrying the investigation, even while accidentally getting drunk, and even went to investigation lengths Blanc was hesitant to do
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Thinking about how in the Star Trek whale movie, when they travel back in time, Scotty tries to speak into a computer mouse and a guy has to tell him "no see we got a mouse and a keyboard!" and back then this was "haha in the future all of our really modern stuff is gonna be old-fashioned and outdated!" and today it's. Scotty is an ipad baby.
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Of the many MANY things I am looking forward to in the Percy Jackson show, high up on that list is a concrete definite ultra canon pronunciation of Thalia’s name
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One concrete thought I have about The Boy and The Heron is that i believe the core of the story is Mahito overcoming the loss and grief of losing his mother and his home and life, and- after spending the latter half of the movie navigating a between space where souls exist before they’re born as well as other spirits- When Mahito re-emerges with his stepmother, they too are both reborn.
One other thing I’ll have to address later: so much of this film (and The Wind Rises as well!) resonates deeper after watching The Never Ending Man, the doc that came out in 2016 about Hayao Miyazaki. Knowing about losing his mother young, about looking up to strong women, about his father building airplanes and those filling him with wonder until WWII hit and they became tools of war. Knowing about how he views the world, used to view the world, and how he hopes to leave it; how he’s baffled death has not claimed him yet but taken everyone else- god, all of it informs so much of his movies especially his most recent ones. I’m so emo about this man.
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Star Trek II: The Wrath of Khan is about James T. Kirk being a husband and a father, actually.
And I'm not talking about Carol and David Marcus.
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fellas, is it gay to realize that everything you needed was right in front of you all along?
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running around in circles. nimona and ballister. do you get it. she wakes up from a nightmare and immediately calms down when he comforts her because she trusts him. he quite literally jumps off a balcony because he knows she’ll catch him. she tells him what shapeshifting feels like. lets him bandage her leg. he’s absolutely overjoyed when he sees her again at the end. he goes from rejecting her to accepting her to begging her to come back to rejoicing when she does. not only does she come back to life but she comes back to HIM. to her HOME. SHE FINDS HIM AGAIN IN ANOTHER LIFETIME. SHE GOES BACK TO HIM ON PURPOSE. DO YOU GET IT.
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