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@sapphiresaphics
🎥 My Media Analysis Master List Posts 🎥
———————————————
🦋Arcane: Season 1 + 2
🎪The Amazing Digital Circus
🚪The Backrooms
🏯Blue Eye Samurai

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Gooseworx is stronger than me because if my introspective transgender theme narrative about identity and accepting your circumstances was infiltrated by media iliterate 12 year olds who treated my work like it was fnaf and said my self insert of me at my worst was literally the worst person who deserved nothing but the worst and could not recover ever i would actually fucking explode. I would kill people. How does she do it.
The fact that she remained silent as thousands of them vehemently claimed "it makes more sense for Jax to be transmasc" shows how much mental fortitude she has. I would have committed a homicide.
Does anyone else feel kinda gross about people deciding to “rewrite” the ending of TADC as fan fiction?
Normally I wouldn’t care. If you don’t like how something ended, then make fan fiction. That’s what it’s there for. Have fun. Etc…
But what’s bugging me is that Jax’s abstraction and abuse and self loathing and downward spiral is something that is deeply personal to Gooseworx. A trans person.
Goose wrote Jax to be a sort of self insert of what could’ve happened had she not gotten the help she needed and so much of the way Jax behaves is all of the negative dirty gross aspects of being a super repressed trans person. It’s deeply connected to struggles that real trans people go through every day and seeing it play out is important for trans representation.
So whenever I see someone say they’re gonna rewrite the ending because they didn’t “vibe” with it, I feel like they’re actually trying to rewrite and erase a deeply personal trans story by a trans creator.
Does that not at all feel a bit icky to some of you?
“I personally think a stronger arc for Jax in the finale from a narrative perspective would have been her overcoming her fear of vulnerability, becoming more open with the others, apologizing for her wrongdoings, and becoming a better, happier person.”
Cool. Fair. Understandable.
“Jax abstracting was her taking the cowards way out so she wouldn’t have to face the consequences of her actions.”
What the fuck??
Literally… the number of people who seem angry that Jax abstracts (not because they wanted Jax to get better but) because “he doesn’t suffer consequences for his abusive actions” is mind numbing.
what gets me about the two different kinds of backrooms theories is the “that’s just a game theory/cinemasins/the creator put this here to tell us this and that” approach to the backrooms doesn’t engage with the overall themes of the work.
The backrooms is about an abusive and manipulative man who doesnt want to be better because it means changing who he is fundamentally as a person. The backrooms remembers this; it takes Clark and his fear but also his abusiveness and manifests it into what the second half of the movie is.
Pirate Clark doesn’t have that pained expression on his face and is chasing after Mary because he is the ‘real Clark’ and needs help; he’s ‘afraid’ because Clark was afraid. And he’s chasing after Mary because this entity is violent and was created from Clark’s violence. There is no “pirate clark is secretly this, real Clark is secretly that,” it is just a man who refuses to change his nature because he refuses to admit he’s wrong, even when he is actively looking his own violence, carelessness, recklessness, and manipulation in the face. And then it kills him.
That very reason is why I refuse to watch channels like CinemaSins or GameTheory, because they’re just absolutely garbage at understanding themes and intentions. Like, the film is not trying to pull the wool over your eyes, it’s pretty clear with its intentions.

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Themes and motifs I’ve noticed while watching Kane Parson’s Backrooms movie and his YouTube series:
Found footage 1 begins with a bunch of teenagers filming a monster movie. It starts with a guy in a mask shambling towards the camera and clawing at someone around the corner. This is a direct parallel to the way the monsters in the backrooms behave, especially Pirate Clark who is seen groping futilely at Mary in the narrow passageway at the end of the film.
Pirate Clark in particular has a terrified shocked expression on his face. But while he is scary and extremely dangerous, in that hallway passage he is almost sad and pitiful. This closely mirrors the Rolling Giant from Kane’s other series The Oldest View, where the giant is seen as a threat but once you learn more about the history of the giant you start to feel sad and sympathetic towards it.
Speaking of the Oldest View, there are multiple musical motifs and references to that series in the movie. Several musical tracks play out during creepy moments. The mall’s ambient music plays in Clark’s abandoned store. And the stairway that Mary has to traverse over the pit is very reminiscent of the stairway Wyatt climbs down in the Oldest View. It’s even complete with a hole in the ceiling as if the stairs were meant to continue upwards beyond that point.
Memory, and being forgotten play a huge role in the movie. Seeing Clark’s store in its entirety in the backrooms is highly reminiscent of the Texas Mall that was buried below the ground in The Oldest View. Likewise the leaves at the beginning of the film in the found footage portion remind me of the leaves you see outside one of the mall’s storefronts in the Oldest View.
The musical choice for the end credits of The Backrooms is ominous. If you listen to it, it’s a sort of techno track that describes the way a fetus evolves in the womb, starting at cell division and working its way up to a pumping heart. If we tie this song in to the Backrooms as a concept that seems to imply a lot of these misremembered rooms dividing themselves apart and reiterating on themselves is like the cells of an organism. The people and entities running through could be like blood or neural pathways. Does that mean that the Backrooms is gradually growing up and becoming a fully fleshed out creature? Is that why it started off so bland but it’s becoming more and more complex to the point that it’s starting to copy people?
I really love the themes of memory playing a role in how the Backrooms operates. With the MRI tech of Asynch, it’s almost like they accidentally gave the Backrooms the ability to scan people and places in slices and recreate them. That might also explain why certain rooms have furniture and geometry that seem to cut through other rooms and walls so much. It’s remembering new slices and overlaying them in top of one another.
Absolutely LOVE that shot of Mary’s childhood room being misremembered more and more, gradually losing detail, until it’s just a blank empty room with a crack. But then even that crack starts to get misremembered and it turns into a doorway.
The themes of loops and cycles is also interesting. Mary grew up in a household with a psychotic agoraphobic mother, which ended with her mother being locked away. This turns Mary to the study of psychology and she tries to help other people through their mental challenges, only for her to get caught by Asynch and for a version of her to get permanently stuck in the backrooms itself. Despite how much she tried to move forward she’s always looping back around to being trapped. Trapped by her mother, trapped by her job, trapped by her client, trapped by Asynch, and finally trapped by The Backrooms.
Posting falin’s failed attempt at resisting her urge again 💝
Backrooms, 2026, Kane Parsons
I don’t think we give Kane Parsons enough credit for his shot compositions. Kane began by doing found footage videos, so you’d assume his composition sensibilities would be more closely related to that format and style. And yet there are so many absolutely GORGEOUS scenes in this film that are just static… or wide… or uniquely framed…
In particular I love that shot of Mary standing by the doorway looking back. Because of the way she’s holding her hands the shadow on the wall appears to look like a creeping monster towering over her. Subtle foreshadowing to both the monster that chases her and her ultimate fate in the backrooms.
Kane continues to show remarkable restraint on fast paced action and seems to LOVE letting your eyes linger around the frame. He’s not afraid of getting REALLY FAR AWAY from the characters to emphasize their loneliness and the emptiness of the spaces they occupy.
More bullllshit
“Why was the finale so focused on Jax?”
Because all of the other characters have already completed their character arcs and Jax is the only one left (FOR OBVIOUS REASONS). Gangle no longer needs her happy mask to be happy, Zooble is comfortable with experimenting with their body, Ragatha is learning to back off and be supportive when people need it, and Pomni has accepted her life in the circus. The only two characters left are Caine and Jax. So yeah, a good chunk of the finale is focused on Jax because Jax is the ONE character that has REFUSED to change and grow.

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Idgaf I’m reposting this fuck you
Just a casual reminder that Pirate Clark was a real person. His name is Robert Bobroczkyi, and he’s a 25 year old Hungarian basketball player turned actor. He stands at 7 feet 7 inches tall, and his last big role was playing the alien hybrid in Alien: Romulus.
okay so obviously fictional characters can be interpreted any which way
but why are you people so desperate to avoid acknowledging even a FICTIONAL TRANS WOMAN.
So even if it's "technically okay" people who refuse to acknowledge transfem characters are and will for the foreseeable future just be attempting trans erasure in media. like people COME THE FUCK ON "it's not that important, it's just a character" LIKE FUCK IT ISN'T That is the first actually REAL depiction of a trans woman I have *ever* seen the first time a transfem was allowed to be messy and complicated on screen and you people are desperate to degender her, to make her anything but a woman just like most people do in real life. If you can't even acknowledge fictional transfems, I do not trust you'll respect real ones
Hey never thought I'd feel the need to make a post about this but here I am.
Protagonists don't need to be good people.
A protagonist doing something does not mean that the story or author inherently supports that action. In fact, the entire classic Tragedy story structure is built on the protagonist being narratively punished for their bad actions. A story can condemn its protagonist's actions while still showing their point of view.
Also, a character being sympathetic is not the same as a character being justified.
to be honest i think a lot of fandom drama would be nonexistent if more people knew the difference between excusing and explaining a character's actions
Amen.
The number of times I was accused of promoting copaganda just because I was trying to explain Caitlyn Kirramann’s actions in Arcane season 2 was disgusting. They treat explaining as endorsement.

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people seem to love redemption arcs but absolutely despise a character doing something bad to earn the redemption. it’s exactly why i hate things like ‘well actually ____ didn’t deserve a redemption arc!!’ like bruh you do know someone has to do something bad before they redeem themselves right. like that’s the point of it.
A lot of online discourse and criticism boils down to “well, I wouldn’t have done it that way.”
BITCH, we aren’t talking about how YOU would’ve done it. We are discussing how THEY did it. It’s THEIR creative project, so it’s much more interesting to dissect the how and why THEY chose to go in the direction they did. Doing so offers you insight into the mind of the creator and the message they’re trying to convey.
“I would’ve made the characters do this”
Cool… but you’re not in charge. The characters DIDN’T do that. So instead of critiquing a hypothetical story you didn’t get, how about we instead focus on what we DID get and discuss what that creative decision MEANS.
If the characters didn’t do a certain thing, what does that say about the characters and more importantly what does are the creators trying to say through their characters actions/inactions?
I am BEGGING you all to use your brains, PLEASE.