toomuchsky

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happy pride month

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The Weekend in Paris Job (S03E01) LEVERAGE: REDEMPTION (2021—)

requested by @myidealhousehaschickenfeet

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mwah!

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Yuri, Flynn, and Estelle’s dynamics are something that always enamour me, honestly. It’s clear that Flynn is meant to be the light to Yuri’s darkness — or that Yuri is the shadow to Flynn’s light — either way fits and is applicable, honestly. But even further than that, you have Estelle. Estelle, who could be considered the link between both of them in particular (… See what I did there?) by being in-between, and being able to see both of them and accept them as they are, regardless of what either of them have done.

And I think that’s the beauty of Estelle’s bonds with both of them, particularly with Yuri, because you can see just how important her acceptance of him is, and how she doesn’t view him any differently for the things that he’s done, and respects him for his dedication to doing what he sees as right. Even though he sees himself differently, and doesn’t particularly trust himself, Estelle trusts him, and continues to trust him.

I think, in a lot of ways, Estelle’s bond with Yuri is ultimately what prevented him from going down a bad path itself, and that she’s just as responsible for keeping Yuri on a good path as Flynn is.

And both Flynn and Yuri are both good for her, as well. Yuri encourages her to be herself and follow her own heart, to do what she sees as right. Flynn, to an extent, wants to protect her in a different way for most of the story (by her staying in the castle, where he believes she’s safe), but still displays that same care and wellbeing for her — and you can tell that he’s also glad (as much as he may not want to necessarily admit it at times) that she did get to see the world outside like she wanted, and that she’s getting to travel.

Even throughout their arguments, too, and throughout their disagreements, Flynn knows that as long as Estelle has Yuri watching out for her, that she’ll be safe, too, and he has faith in Yuri.

And I don’t know, that feels beautiful every time I think about it.

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Imagine you invite your roommate to hang out with you and your lefty anarchist friends and everyone’s having a great time until roommate starts talking how cool Bill Clinton was and how awesome the American military industrial complex is and how great it is that the American military is present in every country and now you’re the guy who brought the neoliberal to the anarchist meeting and also this guy has never once paid you rent.

Similar thing happened to my good pal Courfeyrac Les Misérables

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Always a good time to burn down yet another village!

Patreon

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We was never gonna be free. We've been running around everywhere looking for freedom. You know damn well you was never gonna find it. Until this.

Sinners (2025) dir. Ryan Coogler

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Big fan of sun motifs in characters not necessarily being about positivity and happiness and how they're so " bright and warm" but instead being about fucking brutal they are.

Radiant. A FORCE of nature that will turn you to ash. That warmth that burns so hot it feels like ice. Piercing yellow and red and white. A character being a Sun because you cannot challenge a Sun without burning alive or taking everything down with them if victorious.

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Why are there like 5 daily chores where if you skip them for 2 days your life becomes a time based psychological thriller after

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Happy (?) Barricade Day from the stick!amis!

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COLIN MORGAN INTERVIEWED ABOUT HIS DEBUT NOVEL

"i couldn't be more honoured to have my debut novel in the caring hands of clare gordon and all at hq/harpercollins. the crafting of this novel had already been a heartfelt and impassioned one for me, and now to be joined by a team whose passion and care for this story is immense has been one of the most overwhelming and exciting moments of my career." - colin morgan

"colin is an incredibly natural writer and I couldn't be prouder to be working with him to bring his phenomenal novel to the world." - editor claire gordon

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remmick and the vampires present a false dichotomy

Hogwood (the man who sold the twins the mill) and the KKK are very obviously bad, they are outright malicious bigotry, they use the n-word and plan to lynch the moore's and their community, they are so blatantly racist and hateful it's unavoidably obvious

remmick and the vampires however say that they believe in equality, say that they want to create a community, and yet remmick's goal throught the movie is to both metaphorically and literally steal sammie's ability for his own goal of reconnecting with his irish ancestors, a white man wants to harm a young and upcoming black man and use talents for his own goals without giving any regard to said black man's autonomy or agency

when sammie sings 'I lied to you' in the juke joint and calls forth the spirits from the past and future, it's a blend of cultures; west african, east asian, native american, and african american song and dance blend together across time and space to tell the stories of blues; where it takes its inspiration from, the music genres it then inspired, the complex history of black american culture and its intersections with other peoples of colour in the USA

when remmick and the vampires kill and turn the people in the juke joint, and then perform rocky road to dublin, only remmick's irish culture is on display, there is no influence from the black and asian people he has forcibly assimilated into his song, it's juxtaposition with the earlier scene is blatant, remmick is more than happy to assimilate people of colour into his 'community' of 'equals', and yet its only whiteness that is celebrated, that is normative

remmick claims that he's doing people a favour by turning them immortal, conviently ignoring that he literally has to suck the life out of them to do so, trapping their spirits on earth, he claims that he's the good guy, that the KKK were gonna come and lynch everyone at the joint in the morning anyways, conviently ignoring that he's doing the exact same thing; a white man leading a mob to kill a bunch of black people

in the final confrontation with sammie remmick repeatedly dunks him into the river, a forceful baptism. both the celtic irish and enslaved west africans had their religions suppressed and destroyed by colonialsm, had christianity forced upon them by the british empire, and in that scene we see remmick repeating that cycle, using christianity to inflict harm, and sammie reclaiming christianity, despite all the complex emotions he has arround it, as many colonised peoples have and still do, when he recites the lord's prayer

remmick and the vampires are no less racist than hogwood and the KKK, are no less predatory or evil, they're just less blantant about their bigotry, they represent the system, the normalised white supremacy that is seeped into the very foundation of culture in america, the point isnt that remmick would call any of the black characters in the movie the n-word, i dont think he would, the point is that his exploitation and desacration and inserting-himself-into-when-he-wasn't-invited of the juke joint is a microcosm of what white people have done to black american arts and culture since ever since there have been black and white people in america, and even before that

theres a reason vultures are shown early on in this movie

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Something something vampires have no reflection so he can't even try to see his brother's face anymore when he looks into the mirror

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it really frustrates me to think about how people are inevitably going to take Remmick’s one (1) singular statement about how much he resents the way the Irish were colonized and forcibly converted to Christianity and use it as fuel for “actually he had a point” and “he was right actually” and “he’s not really the villain here” posts, when the whole point is that Remmick is, through the vampiric hive mind he’s creating, forcibly assimilating people into yet another manipulative and parasitical system. he doesn't value the cultures of the people he assimilates—notice how all the vampires he turns dance to his culture's music using his culture's dances, and how he only uses the languages or knowledge other vampires have to offer when he needs to manipulate someone. Remmick is extremely transparent about the way he sees the people he turns as resources to exploit.

he’s perpetuating a cycle that he claims to hate and resent, and I think the movie is pretty damn clear about the fact that he doesn’t see anybody as valuable or useful to him except as prey and as pawns—otherwise he would just, you know, focus solely on people who actually consent to being turned. but he looked sad in that one scene and he’s an apparently attractive white cis man so people are gonna bend over backwards justifying all the harm he did.

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The portrayal of white people who have been violently separated from their own culture stealing the power of black culture and music to try to get reconnected was SO literal and somehow not at ALL heavy-handed or trite. Fkn remarkable.

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One, two, three, four, five. Hunt the hare and turn her down the rocky road, and all the way to Dublin. Whack-follol-le-dah!

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Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done on earth as it is in heaven.

SINNERS (2025) dir. Ryan Coogler