#wim monster

[kayfacedraws]

When it gets sunny out, let's take Wim on a picnic together.

[upon-lavender-hills]

Consider this

[mtonino]

Una grande serata per il cinema asiatico a #Cannes76

Miglior regia: Tran Anh Hung (The-Pot-A-Feu)

Miglior sceneggiatura: Yuji Sakamoto (Monster - Hirokazu Kore-eda)

Miglior attore: Koji Yakusho (Perfect Days - Wim Wenders)

Camera d'or per la miglior opera: Thien An Pham (Inside the Yellow Cocoon Shell)

[overtaken-stream]

I need Wim and Dieter to be friends thank you 😊 🙏

They're my babies, I love them so much

[coeluvr]

Well personally my MC just wants to off Luceris, possibly very very painfully (even making him believe before dying that Helios is dead and Lancelot is on MC's side with the offing), so I don't think that is Luceris coded? It's tied a lot to their mental stability too, like killing the monster who can kill you at any moment just on a wim (in MC's mind ofc) and get revenge ofc

I think that's plenty normal, anon. Normal in my eyes anyway. 🫣

[justletmeramble1701]

Has anyone talked about how each of the three specials represents the three eras if NuWho (as in the three showrunners)?

The Star Beast felt like a classic Russel T Davis era introduction. The doctor disrupts the companion's boring domestic life, introducing them to a new, exciting, and very dangerous life. While, yes, this is the story of most NuWho companions, but Russell's version focused on how boring mundanity is (his companions are thrill seekers, especially Rose and Donna) and the companion's familiar life, which this episode does with the reintroduction of the Noble's.

It also has a "Davis-ex-machina", but all three episodes have that, so I'm not gonna mention it.

Wild Blue Yonder felt like a Moffat idea box (a dark fairy tale/cosmic horror). High concept scares or ideas that force the Doctor to drop his mask and confront truths about himself. I'm specifically thinking of series 6, where The Doctor relearns responsibility by the strange and usually terrifying situations he falls into, dragging his companions along for the ride. In this story, the Doctor is reminded how beaten down they are, setting us up for the conclusion in the finally. It's basically this Doctor's "The God Complex"! While this is how the franchise does character development, it feels uniquely Moffat because of its horror influence (its "Alien" and "The Thing") and the level at which it explains itself (it explains as much as it needs to have a monster with a gimmick, but not too much that they stop being scary - and also in a way that confuses most people).

It also has seemingly innocuous lines that are actually horrifying in context. "My arms are too long..." feels so much like "Are you my mummy," "Don't blink," and "Who turned out the lights," but it lacks the ability to be repeated more than once, so it can't become the quote for the creature. Instead of a singular quote, the episode goes for a series of chilling one-liners ("Oh, we get hungry, don't we..." being a great example).

The Giggle had that late Chibnall charm. Bringing back past elements in highly action-packed finales or specials to attempt to excite or "wow" the audience. While it pulls things out of nowhere to keep the plot going, you don't care because of how much fun you are having! I was specifically thinking about "The Power of the Doctor" while watching it. Half a "Flux" worth of ideas crammed into an episode, but with just enough fun, character, and heart that you allow it to do whatever. Let the episode drive you in whichever direction it needs to go to reach the destination, trusting that it won't get lost or crash. While this is, basically, the concept of the show (remember, we are watching a walking deus ex machina in their magic plot generating box, waiving their magic wand around until it is time for them to solve the problem), it feels like Chibnall because of how compact it is. Like I said, this has enough ideas that it could have been all three specials.

The thing that sets these three specials apart from the last three eras is the power dynamic between the Doctor and their companion. 14 and Donna are equals. While Donna is being reintroduced to the extraordinary, 14 is being reintroduced to the mundane. While Donna is trying to escape from the lovecraftian creature they've encountered, the Doctor is right beside her, scared of what they shouldn't comprehend (the episode even punishing them for their comprehension). While Donna is being toyed with by a dark god, the laws of reality failing her, the Doctor is facing the same, at the wim of an entity that operates by a different set of rules. The Doctor and their companion, their friend, is finally operating on the same playing field as them, which means that, by extension, so are we.

Donna, like all companions, represents the audience, but, in these stories, she specifically represents the fans of the last 20 of Doctor Who. The ones that grew up watching NuWho. We are older now, still as loud and snarky as ever, but we are adults now. Just like Donna, we have lives, responsibilities. We can't experience the world (or the program) the way we once did. Even though the adventures never truly end, it is our turn to join the previous generation (reprented by Mel) watch the next batch of whovians discover this exciting universe for the first time, our Doctor by our side.

This was the best conclusion to NuWho that we could've hoped for!

[shesnake]

Japan submitting the wim wenders weeaboo movie for best international film consideration at the oscars instead of Monster by Hirokazu Koreeda is SO stupid

[songmingisthighs]

Yay I finally caught up on Wanbelyn!

Anyways and I got a lot to say!!!

Like a new fic and I still dont like this fic's Kim Hongjoong either, he's a creep and a tiny rascal. Look at him croaking like a sore b*tch.

So I am not sorry, he's hurting that little child for his petty games and he blames Y/n cor blocking her.

Like bruh! You play stupid games, you wim stupid prizes!!!

And I love Soobin and hope we see more of him and Y/n, or even San and Y/n as long as its not that "Rat prick"

✨Leave it to ESEMTEE to make a 🚩🚩🚩🚩 character, loving the fic!! Gurl! YOU ROCK!!! LOUV YA!!! ✨

AISHDJDJDJ I THINK ME MAKING A 🚩🚩🚩🚩CHARACTER IS MY 🚩🚩🚩 BRB CRYING

but yeah in a true smt fashion, the main character is SUCH AN ASS but it pains me to see the blind favoritism towards the girl like y'all just straight up refuse to give him an inch and just went straight to MONSTER BULLY meanwhile if (y/n) pull half the crap to a legitimate institution employer she'd be canned no questions asked

but totally, compared to san and soobin whose lives are absolutely less complicated, wbn!hj is a rubiks cube played in a middle of a maze with 12 lose chimeras

I LUV U TOO THANKS FOR KEEPING UP WITH THE IDIOTS 🫶🫶

[cristalconnors]

FEBRUARY screening log

12. Ferrari (Michael Mann, 2023)- 5.0

13. ear for eye (debbie tucker green, 2023)- 7.9

14. Tótem (Lila Avilés, 2023)- 9.0

15. Godzilla Minus One (Takashi Yamazaki, 2023)- 6.9

16. Perfect Days (Wim Wenders, 2023)- 8.6

17. The Cow Who Sang a Song Into the Future (Francisca Alegría, 2023)- 7.8

18. Bottoms (Emma Seligman, 2023)- 7.6

19. Kokomo City (D. Smith, 2023)- 8.3

20. The Royal Hotel (Kitty Green, 2023)- 7.8

21. Master Gardener (Paul Schrader, 2023)- 6.6

22. Chile '76 (Manuela Martelli, 2023)- 7.9

23. Suzume (Makoto Shinkai, 2023)- 7.5

24. Four Daughters (Kaouther Ben Hania, 2023)- 8.9

25. Nimona (Nick Bruno and Troy Quane, 2023)- 7.2

26. War Pony (Gina Gammell and Riley Keough, 2023)- 8.3

27. Robot Dreams (Pablo Berger, 2023)- 8.3

28. The Kiev Trial (Sergei Loznitsa, 2023)- 8.7

29. Rotting in the Sun (Sebastián Silva, 2023)- 8.6

30. Orlando, My Political Biography (Paul B. Preciado, 2023)- 8.8

31. The Iron Claw (Sean Durkin, 2023)- 7.4

32. About Dry Grasses (Nuri Bilge Ceylan, 2023)- 7.9

33. Monster (Hirokazu Kore-eda, 2023)- 7.4

[candymay]

Anon i’m not posting your Q cus i can tell a pot stirrer when i see one. Tsk tsk. 3 recs of 2023 are definitely definitely Monster (Koreeda), everyone should watch it especially if you’re here - without spoiling anything. La Chimera (Rohrwacher) i think ive mentioned this before, Italy, with Josh o’connor. Anddddd er, maybe The Beast (Bonello) just because i was like wot? Saw it when i was supposed to be at work so my mind was everywhere but very interesting i need to do a rewatch. And WIM WENDERS’ Perfect days. That’s four

[remedialreviews]

Remedial Rewards 2023

I didn't follow the Academy Awards at all this year, though of course I watched Ryan Gosling's performance of "I'm Just Ken" afterwards. I hardly know or care who was nominated, and was devastated to learn that my worst picture of the year came away with 7 trophies. Truly, these are the Remedial Rewards! In no particular order, then, the winners in my esteem (from 42 watched pictures) are:

Best Picture

Monster

Godzilla Minus One

Past Lives

Perfect Days

Evil Does Not Exist

Best Director

Hirokazu Kore-eda - Monster

Takashi Yamazaki - Godzilla Minus One

Wim Wenders - Perfect Days

Celine Song - Past Lives

Ryuske Hamaguchi - Evil Does Not Exist

Best Lead Actor

Kōji Yakusho - Perfect Days

Ryunosuke Kamiki - Godzilla Minus One

Hitoshi Omika - Evil Does Not Exist

Greta Lee - Past Lives

Cailee Spaeny - Priscilla

Sophie Wilde - Talk to Me

Paul Giamatti - The Holdovers

Emma Stone - Poor Things

Jun Jong-seo - Ballerina

Soya Kurokawa - Monster

Best Supporting Actor

Hinata Hiiragi - Monster

Kuranosuke Sasaki - Godzilla Minus One

Robert Pattinson - The Boy and the Heron

Teo Yoo - Past Lives

Minami Hamabe - Godzilla Minus One

Sakura Ando - Monster

Eita Nagayama - Monster

John Magaro - Past Lives

Arisa Nakano - Perfect Days

Hidetaka Yoshioka - Godzilla Minus One

Best Adapted Screenplay

Takashi Yamazaki - Godzilla Minus One

James Gunn - Guardians of the Galaxy vol. 3

Sofia Coppola - Priscilla

Robert L. Baird, Lloyd Taylor, Troy Quane, Pamela Ribon, Keith Bunin, Marc Haimes, Nick Bruno - Nimona

John Francis Daley, Chris McKay, Michael Gilio, Jonathan Goldstein - Dungeons & Dragons

Best Original Screenplay

Yuji Sakamoto - Monster

Wim Wenders, Takuma Takasaki - Perfect Days

Celine Song - Past Lives

Ryuske Hamaguchi - Evil Does Not Exist

David Hemingson - The Holdovers*

*Pending its plagiarism case

Best Production Design

Suzie Davies - Saltburn

Anri Jojo - Godzilla Minus One

Masato Nunobe - Evil Does Not Exist

Andrés Villagrán - El Conde

Tamara Deverell - Priscilla

Best Cinematography

Linus Sandgren - Saltburn

Yoshio Kitagawa - Evil Does Not Exist

Łukasz Żal - The Zone of Interest

Franz Lustig - Perfect Days

Atsushi Okui - The Boy and the Heron

Best Costume Design

Sophie Canale - Saltburn

Evil Does Not Exist

Wendy Chuck - The Holdovers

Thierry Delettre - The Three Musketeers: D'Artagnan

Stacey Battat - Priscilla

Best Film Editing

Hirokazu Kore-eda - Monster

Ryusuke Hamaguchi, Azusa Yamazaki - Evil Does Not Exist

Clémentine Decremps, Toni Froschhammer - Perfect Days

Paul Watts, Andreas D. Nold - The Zone of Interest

Ryuji Miyajima - Godzilla Minus One

Best Makeup & Hairstyling

Priscilla

Saltburn

Evil Does Not Exist

Barbie

Bottoms

Best Sound

The Zone of Interest

Godzilla Minus One

Evil Does Not Exist

The Boy and the Heron

A Haunting in Venice

Best Visual Effects

Godzilla Minus One

Dungeons & Dragons

Barbie

Salaar: Part 1 - Ceasefire

Best Original Score

Eiko Ishibashi - Evil Does Not Exist

Naoki Sato - Godzilla Minus One

Joe Hisaishi - The Boy and the Heron

Ravi Basrur - Salaar: Part 1 - Ceasefire

RADWIMPS, Kazima Jinnouchi - Suzume

Best Original Song

I'm Just Ken (Barbie)

Kanata Haruka (Suzume)

Prathi Gaadhalo (Salaar: Part 1 - Ceasefire)

Dance the Night (Barbie)

The Ballad of Lucy Gray Baird (The Hunger Games: The Ballad of Songbirds and Snakes)

Best Stunts

John Wick Chapter 4

Salaar: Part 1 - Ceasefire

Godzilla Minus One

Dungeons & Dragons

Guardians of the Galaxy vol. 3

[catsconflictscopicsandchamomile]

ok yknow what? The Winchesters panel is tomorrow, the PILOT is NEXT WEEK, I don’t want to wait til november/til i can format this to work with ao3. Here yall go. Sorry for the long post, I fixed the entire finale.

Sam and Dean Winchester are not human beings. It’s hard to say if they ever were, but they definitely aren’t anymore. This may sound strange, but hear me out: many sources agree that descendants of Cain are not human, by definition. Even aside from that, if a person repeatedly dies and more or less physically fights their way out of every variety of Christian afterlife, it would be a considerable stretch of logic to still consider them a fully human being. Unfortunately for anyone trying to figure out exactly what Sam and Dean are, the only instance of a confirmed Descendant Of Cain is Grendel, from Beowulf. (source: Beowulf, translation by Seamus Heaney, lines 100-110)

“Grendel was the name of this grim demon Haunting the marches, marauding round the heath And the desolate fens; he had dwelt for a time In misery among the banished monsters, Cain’s clan, whom the creator had outlawed And condemned as outcasts. For the killing of Abel The Eternal Lord had exacted a price: Cain got no good from committing that murder Because the Almighty made him anathema, And out of the curse of his exile there sprang Ogres and elves and evil phantoms And the giants too who strove with God Time and again until He gave them their final reward.”

In terms of appearance, Grendel is never described in the text. He has been referred to as an archetype, a monster, an evil or corrupted human, a demon, or a forest spirit. In Beowulf, Grendel was immune to iron weapons ( Beowulf lines 986-989) but the only other widely accepted canon source on the subject, the book “Grendel” by John Gardner, puts forward the idea that that specific power comes from the outside source of The Dragon (Gardner, 75).

When Grendel was killed, his mother (also a monster of some sort) came back the next night for revenge/further murdering. While this is not a 1:1 comparison, it seems a fair guess to say that these creatures (I will be referring to them as Grendels from here onward) usually come in pairs and have strong familial loyalty. In Supernatural, the dynamic is a bit reversed: while they are siblings, Dean did essentially raise Sam. Despite this, Dean takes the main-Grendel role of initiating melee combat, while Sam takes the role held by the original Grendel’s Mother, as the more cautious and magic-focused backup/range fighter (Or at least, Sam SHOULD be doing that. Instead he lives his life like a dnd wizard trying to play a tank, refusing to learn actual magic and getting KO’d in every fight.)

                                                                              ----------  

Moving on, let’s talk about Cas, or Cassiel in the actual Lore (but also spelled Castiel, Kafziel, Qafziel, etc). Yes, Cassiel is a real angel, thought he is not mentioned in the bible at all. In fact, he mainly exists in Kabbalistic studies, some extra-canonical Christian texts, various esoteric beliefs, and, randomly, as a tragic main character in a fairly obscure German Art House film about angels (Faraway, So Close, dir. Wim Wenders). Cassiel’s history of use as a tragic (and ultimately doomed) figure in modern media is likely due to certain aspects of his lore: *note: for this and following sections, I have opted to use screenshots directly from the source material

(Of course he likes crocodiles. It's the perfect level of random)  

(Still not sure how Supernatural managed to totally flip the color scheme)

                                                                                -------------

It is extremely ironic that Cassiel, an angel that Kripke has said he chose “at random” as a name for the character in Supernatural, followed the lore so perfectly that many things about Cassiel work to fill in some much-needed context/backstory for Our Cas. Setting this aside, however, let’s look at the part that is most relevant to the finale. 

Though he is also associated with Cybelle and Proserpina/Persephone, due to his rulership of the planet Saturn, Cassiel has much stronger ties to the god Saturn, the zodiac sign of Capricorn, and the new year, all of which only strengthen his connections to the archetypes of death, rebirth and time.  

Cas, in a way, is Saturn, or at least a different version/manifestation of that being. The Lord Of Time, an uncommonly isolated spirit of midwinter and the new year, associated with agriculture and the harvest, the dude who Saturnalia is for, the Lord of Misrule in his chaotic aspect, etc, etc....  

Also, Saturn is the Roman version of the titan Kronos. We meet Kronos one time in spn canon, in Season 7 episode 12. He was largely forgotten as a monster-of-the-week encounter, but after Cas’ final death in season 15, the fandom took renewed notice of Kronos, specifically his dying foretelling the futures of Sam, Dean and Cas:

Coincidentally, in this episode, Kronos was killed by the Winchesters for Doing Bad Guy Things in order to protect a human who he’d fallen in love with, in defiance of that human being fated to die-  A parallel to Cas & Dean’s relationship that only becomes more apparent as the series progresses

In Greco-Roman mythology, Saturn/Kronos is overthrown by the gods, Zeus (his son) becomes king in his place, and Kronos is chopped to pieces and, as he is immortal and unable to be fully killed, thrown into the pit of Tartarus:  

Tartarus is by far the best match I’ve seen to what, and why, The Empty is. Note that Tartarus, like The Empty, is both a place and a primordial deity at the same time.

*fun fact- even though Saturn was FAR more respected in Rome, his statues’ feet were still bound with wool to symbolically “bind” the god’s chaos, and were only unbound during Saturnalia, when social roles were meant to be overturned

                                                                          --------------

Before detaling the actual events of the finale, here’s a rundown of the other major characters:  

-Jack is Jack. Literally. A “Jack” is a folkloric archetype from northern Europe, think of Jack The Giant Killer, Jack Frost, Jack And The Beanstalk, Jack O’ The Lantern. Stories often portray all of these Jacks as some variation of the same person. “Jack” as a character is usually young, either naive or “foolish”, bold, impulsive, and unshakeable. In fact, Jack in folklore is often found interacting with God and Satan, tricking and/or humiliating them both, usually within the same story. In many endings of the tale, Jack finds himself banned from Heaven AND Hell for his actions, and, depending on the story, either tricks his way back into heaven in a way that makes it impossible for him to be kicked back out, or, more commonly, convinces Satan to give him one of Hell’s embers to see and keep warm by, and wandering forever with that light, becomes Jack O’ The Lantern. This does mean that our Jack will likely not last long as God. Jacks, no matter how much power they get, rarely manage to keep it. However, could there be any better choice than Jack Kline to be in charge of Halloween?

(The answer is no. This is perfect.)

-Baby/The Impala, is, as much of the fandom has theorized for years, a sentient creature that can take human form. Weirdly, I have found no Human!Impala theories or fics that references Baby’s ability to travel impossible distances (such as Kansas to LA in less than a night), which make it very obvious that Baby is not a car. Specifically, Baby is a Pooka, a type of Fae shapeshifter known for taking equine form:

While John Winchester did buy a Chevrolet Impala, it is doubtful that this car lasted long into Sam and Dean’s childhood. It’s more than likely that John wrecked the original car driving drunk, since the most common way in which someone can encounter (and possibly control) a Pooka goes as such: 

John probably used the above-mentioned horsehair bridle method used to gain control of her, specifically by wrapping the hairs around the car‘s keyring, as the keys to a car are the closest equivalent to a horse’s bridle. Additionally, while the car itself has been heavily damaged in-canon, the keys have remained intact. John never told Sam and Dean about the change to their car, but then again, he never told them a lot of important things.  

Whatever Baby may have thought of John Winchester, I imagine that having two baby Grendels constantly left in her “care” was more than enough for her to feel some bond or responsibility towards Sam and Dean from fairly early on.  

Also, Dean took REALLY good care of her, talked to her, and almost definitely left a few Playboy magazines in the car-  an unwittingly amazing gift for a shapeshifter who often appears as a human with rabbit ears.

Lastly, Fae really, REALLY, don’t like pet dogs. Remember this. It is going to be extremely relevant.  

*last minute edit: Bobby is a Tanuki. This is relevant to absolutely nothing, but is very funny. Balls

                                                                         --------

Now, as for the actual events of the finale:

-Cold Iron has been a long-running concept throughout spn canon, primarily for its ability to cancel magic and either weaken or insta-kill all sorts of things, including demons and Fae. In America, cold-wrought iron was phased out of use as a construction material towards the end of the 1800s. Coincidentally, the barn from the finale episode matches the construction of barns from the mid-late 1800s. In case I’m not being clear here: Dean is not human. Dean is a Grendel (*last minute edit: even if he still was still somewhat human before s15, Sam and Dean worked with Michael and Lucifer in 15x19. Dean had just lost the love of his life, the entire human population of the world had vanished, and he was about to literally fight god. He would have easily been desperate enough to agree to let Lucifer kill/turn him on the spot in exchange for Cas/returning everyone who got thanos snapped/the ability to win a fistfight against Literal God). With no angels, Pookas or other beings alive to magically protect him, and no idea that he had to/was able to protect himself, Dean was not immune to iron. Staking a demon or Fae through the back with cold iron will kill it.

That’s Dean’s death explained. What about Sam? ...Buckle up, because this is where it gets wild.  

-Féar Gortach/Hungry Grass is definitely an obscure cryptid. It is an Irish spirit/phenomena that takes the form of a patch of grass or field that (depending on the telling) has been cursed by Fairies, covers a grave, is related to the famine, or any combination of these things. There are not many accounts of it, but this one is one of the most well known, and also extremely relevant here. It’s a short read, but I have included screenshots of the relevant section below:

(*Last Minute Edit: it could have been a different Fae- lots of more malevolent Fae or Fae-aligned creatures use this method to harm or kill humans., but I personally would bet on this one)

Earlier in spn canon, Sam and Dean defeated, but did not kill, the four horsemen of the apocalypse. Their encounter with Famine was unique, both because of Famine’s method of preying on the individual weaknesses of each person, and because of the encounter’s clear open-endedness.  

Many, many stories exist of people who are abducted by Fae or similar creatures and, while under that creature’s power, experience a whole lifetime within the space of a day (or a day over the course of a whole lifetime, but the first version is the one relevant here). If this person can escape the illusion, they are often drastically physically aged due to the experience.

This is the last image we see of Sam in the flash-forward, before he dies.

This is the horseman of Famine 

This is Sam before the finale 

And THIS is how Sam’s “Son” appears at Sam’s death in the flash-forward.  

So, as a play-by-play:

-Cas, seemingly like every other entity with rulership over Saturn, got sucked into Tartarus.  

-Chuck (whether or not he regained power in Heaven later) gives Sam and Dean a final “fuck you” by sending them a pet dog, which, while definitely a Good Boy, interferes with Baby’s ability to protect them from most Fae magic, including their own weakness to Cold Iron.

- In the final fight with the mimes, Dean is shoved over an iron stake, and, since neither Sam is not aware of his and Dean’s true nature, Dean dies before Sam can figure out what is happening. (*last minute edit: Dean probably asked Sam not to bring him back bc 1) where do Grendels even GO when they die, 2) they might go to Tartarus, and Dean is obviously extremely okay with that, and most importantly 3) he does not want his little brother’s last memory of him to be finding out that he’s a demon/bringing him back and possibly having to kill him)  

-Sam walks out of the barn to get whatever you need to get in that situation, and, since he’s grieving and desperate, he’s an easy target for the hungry grass, which is waiting in the cornfields surrounding the barn. My best guess is that the grass used its illusions to appear as either Eileen, or someone else that Sam trusted, and led him deeper into the field by promising a way to have Dean back. By the next morning, Sam is dead in the cornfield less than 50 feet from the barn, and Famine, having drained every last bit of magic/energy/life force from Sam, now appears as the young man we see in Sam’s final moments.

-Sam and Dean are haunting the bridge from the final scene (ironic). (*last minute edit: at least Dean is. he’s obviously still there. where tf is Sam. is he on the bridge also, just stuck in a DIFFERENT time loop? if so that’s fucked up, but if not. WHERE IS HE)

-Jack is probably back on earth and/or already having a great time as The New King Of Halloween (*last minute edit. before anyone says he should be working on saving Sam/Dean/Cas. he’s FIVE YEARS OLD. LET HIM BE A KID IN WHATEVER WAY HE CAN)

-Baby is either bothering Adam/Michael (as she still serves the Winchester family line), or has been captured by Famine, if he took the keyring when he killed Sam.  

*Also, despite this scene being the butt of many fandom jokes, Dean got to heaven and immediately started driving because the LAST time he ended up in heaven, he got out by following the highway, and found out he was dead by hearing Cas talk to him over the car radio (s5 ep16).  

Now, how can this be fixed?

For Sam and Dean, there are two options. The first assumes that there is at least some echo of them haunting that bridge. I am admittedly unsure as to whether this would mean that part of Heaven is linked to the bridge, or that, like many ghosts, Sam and Dean are stuck to one physical location while believing that they are able to move freely. While there is very little written on how to reverse the effects of Cold Iron OR the Hungry Grass, it is widely accepted that running water can be a source of healing for some Fae, and harm for others. As the original Grendel lived in a lake, I’m assuming that Grendels are the type to be healed by water.  Also, it has an easy point of access in current canon, and is hilarious.

The other option works no matter where their spirits/souls are, and involves finding and healing their bodies. Healing (or more lore-accurately, “freeing”) Dean would likely consist of finding a way to release the cold iron’s hold on his physical body, and then using some method to wake him up. I do imagine that, since Cold Iron reveals a creature’s true form as well as trapping it, Dean can only come back as a Demon at this point. He might not like it, but it’s that or be dead.  

Sam is way more straightforward- in the episode where they fought Famine, he used Sam’s craving for demon blood at the time to taunt him. Now, Famine literally drained Sam dry. ...Therefor, demon blood. Not a pretty process, involves killing several demons beforehand, Sam didn’t handle it too well last time, but, again, it’s the best way to have him not be dead.  (*last minute edit: found an alternative re: this weird old poem called “The Goblin Market”. appears to describe a young woman who was attacked and rapidly aged in a very similar way, but is healed by eating fairy/goblin fruits. idk how to get that but we already know a Pooka so that’s a start)

TLDR, any way to have the Winchesters not be dead will have to involve them being demons, permanently.  

Now, for Cas, there are three main options, leading to a slightly different mythological primordial void (*last minute edit: assuming that Heaven has given up trying too brainwash or control Cas, and are keeping him locked up in The Empty/Tartarus when they don’t need him. They obviously did let him out for a bit recently, though, as the Queen of England did die and Cassiel is the angel in charge of that shit) 

The Greco-Roman route is Cool and finally forces some of the Actual Cassiel Lore into spn canon.

(*last minute edit: discovered some Lore abt heaven’s methods of memory erasure. has heavy connections to myths abt Tartarus. tldf if The Empty= Tartarus, it is likely that Cas has lost some or all of his memories, Because Magic Greek Hell Rivers. Apparently)

The Norse route is a fairly uncommon choice of underworld in modern fantasy, relatively unguarded, and definitely interesting.  

And of course the Christian route is familiar to the point of predictability, allows plenty of opportunities for old characters to return for an episode or two, works as a road trip story arc that I’m shocked hasn’t been done in canon already, and ends with Sam, Dean and Cas hiding out in Purgatory, providing a scenario with high potential for emotional reunions/soft Destiel moments/hurt-comfort with an emphasis on comfort, and a chance for Sam and Dean to explore purgatory now that they themselves are demons. 

(Technically there IS a fourth route, consisting of going back to the earthside entrance to Lucifer’s Cage and trying to break through to whatever’s on the other side of The Cage... but that feels both too simple to be good storytelling, and WAY too risky if something goes wrong. Still, it’s worth considering)

---------

....anyway.  I’m seriously impressed with anyone who reads this far- this is A Whole Entire Fucking Lot All At Once. Am I just posting it now bc I’m worried that  I might be right (specifically about the Grendel Thing), and I won’t look as cool if The Winchesters beats me to the punch? ....yes. I am that petty. 

Signed,  

-Jamie (He/She/They)  

Sources:  

Beowulf, translation by Seamus Heaney

Grendel by John Gardner

http://www.archangels-and-angels.com/aa_pages/correspondences/angel_planet/archangel_cassiel.html

https://mythology.net/angels/cassiel/  

https://www.theblackfeatherintuitive.com/who-is-archangel-cassiel-the-archangel-of-duality/  

https://supernatural.fandom.com/wiki/Chronos

https://www.history.com/news/history-of-the-jack-o-lantern-irish-origins)

https://www.yourirish.com/folklore/irish-pookas#:~:text=A%20Pooka%20is%20a%20shapeshifter,mane%20and%20luminescent%20golden%20eyes

https://en.wikipedia.org/wiki/P%C3%BAca  

https://britishfairies.wordpress.com/2019/12/01/the-hair-of-the-dog-fairies-dogs/

https://wizzley.com/fear-gortha-the-irish-hungry-grass/ , https://obscurban-legend.fandom.com/wiki/Hungry_Grass

https://supernatural.fandom.com/wiki/Dark_Side_of_the_Moon

[benkeibear]

Toji is a mean man yes - he's rough, he's unrestrained, he's unapologetic. He drives you insane because he's always in couch mode - how the hell does he keep those muscles?? - and you can't even be mad at him because...

Toji can be gentle, he doesn't always care only for himself, he cares for you and you may even call him a devout worshipper the way he has your legs on his shoulders with his face buried in your cunt. He shows you the heavens with his tongue, an angel with a smug smirk, or a devil with with saintly patience to deliver you to the highest peaks of ecstasy.

Toji can restrain himself, he knows he's big, he knows he can break you very easily if he's just a smidge too much with you. That's why he makes sure his hands cradling your hips don't squeeze you with the monster strength he's known for, he makes sure to keep from harming you... though slip ups are inevitable and bruises form under your pretty skin.

Toji can apologize, not with words, with actions, gifts. He treats you out to the restaurant you love, even if it costs too much, he buys you supplies for your hobbies and crafts, he gets you a perfume you wanted to try. He spends hours preparing the best date night for you. The movie you wanted to watch is ready, as are snacks and drinks, though you both know the night will likely end with wim rutting into you - his cum overflowing and your thighs quivering. He'll even clean up the mess from the couch afterwards!

Gods Desi. I'm blushing like a bitch over here 😭😭 this!!! You captured my nightly thought of this man so well. He's so mean but he has a massive soft spot for you. Obviously he's in denial about that whenever anyone points it out. He rolls his eyes at you, grunts in annoyance even but can't help himself and a smile forms on his lips. He is so sgsjwvwjsv

I think I died.

[double-croche1]

[CANNES 2023] NOTRE TOP

Le Festival de Cannes est désormais terminé. On a vu pas moins de 85 films (dont 19 sur les 21 de la Compétition), toutes catégories confondues ! Le classement de nos films préférés parmi ceux-ci, avec les dates annoncées de sortie en salles, ci-dessous :  1. ‘Eureka’ de Lisandro Alonso (CPR) 2. ‘Le Procès Goldman’ de Cédric Kahn (QC, 27/09) 3. ‘Anatomie d’une chute’ de Justine Triet (SOC, 23/08) 4. ‘Jeunesse (Le Printemps)’ de Wang Bing (SOC, 03/01/24) 5. ‘L'Enlèvement’ de Marco Bellocchio (SOC, 01/11) 6. ‘Les Feuilles mortes’ d’Aki Kaurismaki (SOC, 20/09) 7. ‘Fermer les yeux’ de Victor Erice (CPR, 16/08)  8. ‘May December’ de Todd Haynes (SOC) 9. ‘La Zone d’intérêt’ de Jonathan Glazer (SOC, 31/01/24) 10. ‘L'Eté dernier’ de Catherine Breillat (SOC, 13/09) 11. ‘The Sweet East’ de Sean Price Williams (QC) 12. ‘Los Delincuentes’ de Rodrigo Moreno (UCR, 27/03/24) 13. ‘La Grâce’ d’Ilya Povolotsky (QC) 14. ‘Only the River Flows’ de Shujun Wei (UCR) 15. ‘Les Herbes sèches’ de Nuri Bilge Ceylan (SOC, 12/07) 16. ‘Conann’ de Bertrand Mandico (QC, 28/11) 17. ‘La Chimère’ d’Alice Rohrwacher (SOC, 06/12) 18. ’La Fille de son père’ d’Erwan Le Duc (SM, 20/12) 19. ’Lost Country’ de Vladimir Perisič (SC, 11/10) 20. ‘Conte de feu’ de Weston Razooli (QC) 21. ‘Mars Express’ de Jérémie Périn (CPL, 22/11) 22. ‘Vers un avenir radieux’ de Nanni Moretti (SOC, 28/06) 23. ‘L’Autre Laurens’ de Claude Schmitz (QC, 04/10) 24. ‘Elémentaire’ de Peter Sohn (HC, 21/06) 25. ‘Banel & Adama’ de Ramata-Toulaye Sy (SOC, 30/08) 26. ‘Anselm, le bruit du temps’ de Wim Wenders (SS, 18/10) 27. ‘Le Règne animal’ de Thomas Cailley (UCR, 04/10) 28. ‘Simple comme Sylvain’ de Monia Chokri (UCR, 08/11) 29. ‘Ama Gloria’ de Marie Amachoukeli (SC, 30/08) 30. ‘Club Zéro’ de Jessica Hausner (SOC, 27/09) 31. ‘Linda veut du poulet !’ de Chiara Malta et Sébastien Laudenbach (ACID, 18/10) 32. ‘Si seulement je pouvais hiberner’ de Zoljargal Purevdash (UCR, 27/12) 33. ‘L’Amour et les forêts’ de Valérie Donzelli (CPR, en salles) 34. ‘La Mère de tous les mensonges’ d’Asmae El Moudir (UCR) 35. ‘Légua’ de Filipa Reis et João Miller Guerra 36. ‘The Feeling That the Time for Doing Something Has Passed’ de Joanna Arnow (QC) 37. ‘Augure’ de Baloji (UCR, 22/11) 38. ‘Les Colons’ de Felipe Galvez (UCR, 20/12) 39. ‘Vincent doit mourir’ de Stéphan Castang (SC, 15/11) 40. ‘De nos jours...’ de Hong Sang-soo (QC, 19/07) 41. ‘Merle merle mûre’ d’Elene Naveriani (QC) 42. ‘Dans la toile’ de Kim Jee-woon (HC, 08/11) 43. ‘The Old Oak’ de Ken Loach (SOC, 25/10) 44. ‘Monster’ de Hirokazu Kore-eda (SOC, 27/12) 45. ’Sleep’ de Jason Yu (SC) 46. ‘Occupied City’ de Steve McQueen (SS) 47. ‘Bonnard, Pierre et Marthe’ de Martin Provost (CPR) 48 ‘Goodbye Julia’ de Mohamed Kordofani (UCR, 08/11) 49. ‘L’Arbre aux papillons d’or’ de Thien An Pham (QC, 13/09) 50. ‘Chambre 999’ de Lubna Playoust (CC) 51. ‘Le Livre des solutions’ de Michel Gondry (QC, 13/09) 52. ‘Les Meutes’ de Kamal Lazraq (UCR, 19/07) 53. ‘Le Ravissement’ d’Iris Kaltenbäck (SC, 11/10) 54. ‘Little Girl Blue’ de Mona Achache (SS, 01/11) 55. ‘Creatura’ d’Elena Martín Gimeno (QC) 56. ‘Perfect Days’ de Wim Wenders (SOC, 29/11) 57. ‘Lost in the Night’ d’Amat Escalante (CPR, 04/10) 58. ‘La Fleur de Buriti’ de João Salaviza et Renée Nader (UCR) 59. ‘Le Syndrome des amours passées’ d’Ann Sirot et Raphaël Balboni (SC, 25/10) 60. ‘Un hiver à Yanji’ d’Anthony Chen (UCR, 22/11) 61. ’Power Alley’ de Lillah Halla (SC, 22/11) 62. ‘Asteroid City’ de Wes Anderson (SOC, 21/06) 63. ‘Une nuit’ d’Alex Lutz (UCR, 05/07) 64. ‘Les Filles d'Olfa’ de Kaouther Ben Hania (SOC, 05/07) 65. ‘Indiana Jones et le cadran de la destinée’ de James Mangold (HC, 28/06) 66. ‘Chroniques de Téhéran’ d’Ali Asgari & Alireza Khatami (UCR, 27/12) 67. ‘Acide’ de Just Philippot (SM, 20/09) 68. ‘Un prince’ de Pierre Creton (QC, 18/10) 69. ‘Déserts’ de Faouzi Bensaïdi (QC, 20/09) 70. ’Il pleut dans la maison’ de Paloma Sermon-Daï (SC) 71. ‘Rien à perdre’ de Delphine Deloget (UCR, 22/11) 72. ‘La Passion de Dodin Bouffant’ de Tran Anh Hung (SOC, 08/11) 73. ‘How to Have Sex’ de Molly Manning Walker (UCR, 15/11) 74. ‘Le Jeu de la reine’ de Karim Aïnouz (SOC, 28/02/24) 75. ‘A Song Sung Blue’ de Zihan Geng (QC, 06/12) 76. ‘Jeanne du Barry’ de Maïwenn (HC, en salles) 77. ‘Rosalie’ de Stéphanie di Giusto (UCR, 24/01/24) 78. ‘In Flames’ de Zarrar Kahn (QC) 79. ‘Hopeless’ de Kim Chang-hoon (UCR) 80. ’Tiger Stripes’ d’Amanda Nell Eu (SC, 13/03/24) 81. ‘The Idol’ (série, épisodes 1 et 2) de Sam Levinson (HC, 05/06) 82. ‘The New Boy’ de Warwick Thornton (UCR) 83. ‘Omar la Fraise’ d’Elias Belkeddar (SM, en salles) 84. ‘Hypnotic’ de Robert Rodriguez (SM, 23/08) 85. ‘Agra’ de Kanu Behl (QC) SOC : Sélection Officielle - Compétition UCR : Un Certain Regard CPR : Cannes Première CPL : Cinéma de la Plage HC : Hors Compétition QC : Quinzaine des Cinéastes SC : Semaine de la Critique SM : Séances de Minuit CC : Cannes Classics ACID : L’ACID Nos chroniques de ces films sont à retrouver dans les articles Daily #1 à #11 sur notre page dédiée.

A&B

[analysisn3rd]

Wolfgang Grimmer

Morality

Although it did not initially seem as such, Grimmer’s morality is very simple. If I were to put him on that scale of mine, he would be in the light area that’s near the middle. This is due to many reasons, which I will be discussing, but mainly because he is a “good” person no matter how you look at it. He might not be your traditional hero, yes, and he is also deeply flawed, but he’s a good person nonetheless.

One of the main reasons, in my opinion, as to why he’s considered a “good” person is because it’s his form of rebellion. Now, this is a bit of an odd thing, considering that kindness and being a “good” person is what’s generally expected of people and that “rebelling” is done by being a “bad” person. However, due to his experience at 511 Kinderheim, he feels that, by turning out the way he did, he’s rejecting what was expected of him, which was becoming something similar to Roberto or even Johan. He didn’t want to be like that. He wanted to prove that he’s better than that; that he has regained his, supposedly, lost humanity.

Another reason is because he’s a lot more empathetic than he thinks of himself. He thinks that, because of his emotionlessness, he cannot connect to other people. Despite that being the case with his ex-wife and, although it’s not as clear, his son, he was able to connect very well with Tenma, Wim and most, if not all, of the orphan boys in Prague. This empathy he has is due to him being appalled and horrified at people’s harsh, cruel and inhumane actions. He’s been the victim to a lot of those types of actions, especially in 511 Kinderheim, and he knows how awful it hurts. He knows the effect of things like that; he’s experienced it first-hand. He doesn’t want people to have to go through what he went through, and he would do all it takes to prevent harm. He would go out of his way to stop problems and harm being caused to others. 

In addition to that, he is willing to better himself. A lot of people realize that they’re not that good. They realize that they could do so much better. However, they do absolutely nothing about that. After what happened with his son and his ex-wife, he went to look into 511 Kinderheim, so that he’d be able to fix the mistakes that were created. He tried to ignore that he wasn’t like normal people. He wasn’t like everyone else around him. He was different. He was supposed to be a monster. Because of this, he went to look for his past at 511 Kinderheim so that he would be able to know what exactly happened to him there in an attempt to fix it all.

Due to all of this, I believe that Grimmer’s a “good” person, even though his history and past do not show him in the best light.

Personality and insecurities

In my opinion, Grimmer’s personality is an easy one to describe. It’s not that there’s not that much to him, but it’s that he’s just a very simple type of person, and his way of thinking and behaving is very much the same. In the following paragraphs, I will discuss his personality and the fears that he has due to his past and explain both of those.

He’s intelligent, which has been shown in many different situations, especially in Ruhenheim, and observant, though not as much as Lunge. His intelligence seems to be natural, not a cause of one of the situations he’s been put in during his past. His observatory skills, however, are most likely due to his training as a spy. They’ve come to be quite helpful, though, outside of that line of work. 

Aside from that, he’s a very kind and friendly person. Despite it being fake, his smile has brought comfort to many of the characters in the show. Without quite knowing it; he comforted people. His kindness has already been touched upon, as it was discussed along with his morality, but I would like to add that he is especially kind with children, which is almost definitely due to his experience in 511 Kinderheim. Another reason could be because of the fact that he would never really know what this kid, or even adult, is going through. He could see signs for harm, that is very much possible, but he’ll never know the extent of it.  Due to that, he tries to be as kind as possible to people. Something I would like to add before I move onto the next point is that I would, personally, describe him as “human sunshine”, which I believe just gets the point across pretty decently.

Grimmer’s a person who knows how to hide his fears well, but it doesn’t make them any less realistic. He’s a troubled man, and he has been, and seen, a lot that he shouldn’t have. This, as it would with anyone, affected him deeply and caused him to have fears which I will touch upon.

The most dominant and obvious fear of his, I think, is his emotionlessness and hurting people. Due to his experience with his ex-wife and his son, he’s afraid of being too cold to people again because he’s unable to feel emotions as he’s supposed to. His being cold to them could, potentially, hurt  them, or make them think that he doesn’t genuinely care about them, when it’s very much the opposite. He tries to feign being expressive, but it’s not something that would work for long, and, eventually, people will be able to see beyond this mask of his. It would be the same situation with his ex-wife again. Because of this, he doesn’t want to get close to people, which ties into another fear of his that I will discuss shortly, because even though he might seem kind and gentle to them at first, he will never be certain that this is the way that he’ll always react. He doesn’t know how he’s supposed to feel, which scares him because of a million “what-ifs” that surround hurting those he loves.

Furthermore, he fears trusting others. Usually, this is because the person would fear that whoever they trust would end up leaving them, but this wouldn’t be too much of an issue to Grimmer. He has been alone for a good portion of his life and he’s used to it, despite it hurting him. What he genuinely fears is that they will end up using him. He does not want to become a tool in others’ schemes, especially those created to cause harm. As you can tell, this ties into his morality. This fear came to life due to his upbringing at 511 Kinderheim, and how he was supposed to turn out “worse” than he actually did. He doesn’t want it to happen again, and he’s aware that it very much could, so he’s grown to become less trusting of others.

Conclusion

I think it’s very much evident how much I love this man. He’s one of the most well written characters I’ve analysed and seen in the media. All of the Monster characters are, as a matter of fact. I admire Urasawa-san’s character writing deeply; all of the characters are so human and realistic, but Grimmer is almost definitely my favourite. It’s simply because I am able to relate to him quite a lot and because he’s a comfort character of mine. I found him to be comforting due to his friendliness and kindness. He’s a remarkable character whom I very much admire.

[strawberryclementine]

Summary: Klaus Poppe teaches Wim how to ride a bike.

A short and sweet ficlet for @flufftober Day 1 - "I've got you"