spinnin spider

PEDRO PASCAL

- partner is in optimal position to give neck kisses and little bites and such. also they can whisper fun things in your ear or put a hand at your neck or any other fun variation

- similarly if ur not very loud it doesn’t matter cause ur partner’s ears are close enough to pick up on whatever sounds there may be. also u can both smell each other which feels weird to say but everyone knows im right

- u can sit on their lap. cute little mini squashing if ur into that. also they get 2 feel the way u move around which I think is probably fun especially if ur fat but what do I know

- nice to not have to hold yourself up. i am weak baby so others may not care for this feature. as for me i can either cum or have muscle control but not both

- this is controversial but i stand by it: it’s better and more fun if you focus on one person at a time. take turns guys u will probably like it. and the above activity is really easy to take turns with i feel.

- u probably know how to get urself off better than anyone else so if that’s a goal ur set 4 success. partner gets to see u cum if ur into that

- only one person’s hands have to get dirty at a time (!!!!!!!!!!) (this is autism of me but whatever)

camera angles!!!

when we’re with clark as he travels through the backrooms, the camera angles feel claustrophobic. there are a lot of tight shots of his face, and POV shots than any other character.

when we’re travelling with mary, the shots are agoraphobic. she’s out of her depth, and it gives you such a wide pan of the backrooms that you instinctively search every corner of the camera for Something.

clark feels trapped in his life. he works a dead end job, he’s been kicked out of his house, and overall feels very defeated. the camera angles reflect that, clark is afraid of being trapped.

mary, on the other hand, is still struggling with her mother’s agoraphobia. while she doesn’t have any massive indicators that she too has it, as the movie progresses and she starts dwelling on the trauma of her mother’s abuse more and more, she almost uses her mother’s fear as a way to cope with the backrooms.

i think this may also be connected to that first therapy scene we see, where we’re immediately introduced to the theme of the movie; in order to change your life, you need to change. if you don’t change your own behavior, you’ll be stuck in the cycle forever. we’re also shown two contrasting shots of mary and clark; mary with her back to a closed window, and clark with his back to an open one. this reflects their claustrophobic and agoraphobic parallels, but it also parallels the final shot of the movie, where mary is the one with her back to an open window. before each character gets sucked into the backrooms, they turn their back on the window. they turn their back on any hope of changing, and instead decide to stay stagnant. they can question people (phil or mary), they can complain, they can mourn, but if they refuse to exit the window, they will be trapped in the loop forever.

Clark has always been like this. We saw his extreme anger at the start of the movie. His disregard for those around him with how he speaks to and about them. The implied breaking of the glass was that he threw it, not knocked it over.