little freak

This is what I wanted to see!! 🙌🙌🙌

the benoit blanc movies show really beautifully how to write a queer character whose story is not centered around their queerness. it's shown that benoit blanc is gay married (to hugh grant!) it's shown that he participates in queer mediums like musical theater and fashion, but none of those things are ever explicitly remarked on. he doesn't have a big coming out scene because he doesn't need one; and the subtle details about him not speaking to his mother, the way he associates a church with homophobia, allows us to draw conclusions about how his family felt about his queerness without making that the sole conflict in his story. the conflict in benoit blanc's story is not that he exists in the world as a gay person, it's that he's always trying to wrangle a bunch of 30 somethings into not confessing to crimes they didn't commit

I'm gonna just be basking in wake up dead man for a while and I'm sure I'll have more thoughts but good on them for doing such a moving story about religion and what it can mean to people and how it can be exploited and abuse but also heal while staying steadfast in the fact that Blanc is not religious. Because if there's one thing that old southern queen isn't, its fucking catholic

courage the cowardly dog is not cowardly because that poor dog will be facing the flayed corpse of god or some shit every episode. courage the reasonably horrified dog

the snyderverse genuinely ruined dc because what do you mean there are people who think david corenswet's hope-inducing, man-doing-his-best-to-do-good superman is inaccurate? what do you mean there are people who think the butchered, broody mess that is cavill's superman is what superman should be? superman has always been a man of the people who will stop at nothing to do the right thing and save as many people as he possibly can. snyder turned the symbol of hope into a symbol of despair, and it has done irreparable damage to the character. superman is meant to represent humanity at our best and not our worst.

i havent watched yellowjackets yet but im very intrigued by the fandoms ability to ship every single one of those girls with one another and also provide irrefutable evidence for each pairing. like im convinced by every single gifset. ill be damned if those two girls arent in love. which two girls am i talking about? doesnt matter. god bless

I feel like enough time has passed since Steven Universe ending to say this: inventing your own alter ego and then launching a war against yourself is an iconic move actually. It's like if Batman and Bruce Wayne had public beef except if entire armies were involved. She really Did That. She said "go big or go home" and then went so big that no-one could ever go home, and then changed the fate of the entire galaxy by faking her own death. She slutted it up bisexually and broke countless hearts along the way. Iconic move after iconic move. Non-stop slaying. A queen an icon a legend. No-one does it like her.

CHALLENGERS (2024, dir. Luca Guadagnino) is a film that doesn't root for any of its three main characters and isn't concerned about who gets to win in the end. it's written and shot like a long tennis rally that doesn't let up; nobody is willing to drop the ball, but everybody's anticipating the moment it finally happens. it's obsessed with the back-and-forth while simultaneously desperate for a release, and good god does every character get to have theirs in the end.

what's so clever about Clara Bow is that when she references her own name at the end, she's not talking about the present but the future, quoting the inevitable way people are going to one day talk about her, imagining it will only be in regards to the woma(e)n who surpass her. because there will be someone who surpasses her, eventually. that's the cycle of fame, isn't it? we're simultaneously captivated by the alluring trick of the past while looking for the next big thing. we compare current stars to the lights that shined before them, "you look like taylor swift." but we're also constantly waiting for someone new and greater to take the crown and captivate us anew, "you've got edge she never did." And half the song is about acknowledging that being revered is hell on earth for the people who are in it, because you're always trapped between what came before and what will come after. you're only safe insofar as you remain shiny. But the real beauty of the song is that it never succumbs to this dichotomy, but embraces it. It's Taylor acknowledging she wouldn't be who she is were it not for the women who came before her, who shared the same dreams, and recognizing her place in the chain of the women who will come after. The future's bright, dazzling.

i think what this project proves is that 1), taylor and florence need to work together a LOT more, and 2), we need to get her and hozier in a studio together asap.