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#BUT ITS LIT
tokidokifish · 1 month
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tarutaruga · 11 months
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please hoyoverse give this man a british accent you don't know how much I NEED this
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adobecult · 15 days
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TWIN PEAKS 2.20 — "The Path to the Black Lodge"
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shit-talker · 1 year
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One of my absolutely favourite things about Across the Spiderverse, other than the amazing sound and visuals, is the small little metaphorical forshadowing we get.
My person favourite is the cakes. When Jefferson and Rio are talking to Miles's teacher, she tells them that Miles "wants to have his cake and eat it too" which is impossible and Miles bursts in and says "unless you have two cakes." And it's such a subtle way to hint that Miles has conflicting intreasts, and that's his biggest issue. He wants to be Spider-man, but he doesn't want to sacrifice the people he cares about. And in case you think I'm grasping at straws here, they do more with the cake when Miles literally decides to buy two cakes for his dad because he cannot fit the writing on one, but by the time he gets home after doing all his Spider-manning both cakes are destoryed. It's forshadowing not only to the fact that Miles desperately wants both things equally, but by trying to have both of them, he's going to cause detrimental damage.
The idea of having things in double is a general reoccurring theme in ATPV. We see it with the cakes, and we see it when Miles and Pav talk about Chai-tea, and Miles tells the spot not to call it an "ATM Machine" because M means Machine. The constant reference to the unnecessary repetition is almost representing the duality of being Spider-man and how taking on that role means making sacrifices and potentially harming your normal life, but it's also forshadowing to the fact that in the end, we have two Miles's. We have Spider-man Miles and Prowler Miles.
Things in this movie come in doubles and I absolutely fucking love it 😭
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soracities · 15 days
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Mahmoud Darwish, Memory for Forgetfulness: August, Beirut, 1982 (trans. Ibrahim Muhawi) [ID'd]
on context: "[set during] the 1982 Israeli invasion of Lebanon and the shelling of Beirut [...] Memory for Forgetfulness is an extended reflection on the invasion and its political and historical dimensions. It is also a journey into personal and collective memory. What is the meaning of exile? What is the role of the writer in time of war? What is the relationship of writing (memory) to history (forgetfulness)?" (source)
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mugentakeda · 6 months
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misc kataangs
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firstfullmoon · 5 months
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Those days of blistering cold are almost always accompanied by a kind of light that is so pure and crystallized it feels like salvation, if salvation could feel like anything. There is a type of winter light, a cold light seeming warm, a light that, when beamed through a windowpane, feels like it clears whatever it touches, maybe even forgives it. It is a light that makes you forget death, a light that makes you wonder if death is even possible. It is a light like water, as beautiful as it is full of life.
— Devin Kelly, Ordinary Plots: Jenny George’s “Reprieve”
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deathberi · 2 months
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death and strawberry
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I dont think I'll ever be able to get over the "I work in Soho, I hear things," line Aziraphale says in 1967. Cuz like if you exam the scene background for more than a couple of seconds you realize how fucking ridiculous Crowley and Aziraphale are being.
Because, Crowley KNOWS where the bookshop is. Crowley was probably there when Aziraphale came up with the idea and when he chose the property and for sure was there for opening day. Crowley KNOWS it's still there in 1941, they go back at the end of the magic show for wine.
The fucking Dirty Donkey is established as being across the street from the bookshop with a perfect view to the inside during s2e4.
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See how the crossed out windows the zombies are looking through are visible through the window over Crowley's shoulder. If Aziraphale were heating up the tea kettle on his little parlor stove, he might even be able to see the pub's entrance or any cars coming up the street.
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And I doubt that the pub moved locations in or around 1967 only to be moved back by 2023 so we can safely assume that what's visible in 1941 is visible in 1967 during Crowley's meeting.
I went back to the 1967 bit in s1e3 to figure out where the fuck Crowley is parked and I'm pretty sure the ramp he speaks alone to Shadwell in front of is the same ramp that Marguerite's restaurant has.
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And in s2e5, as Aziraphale leaves to invite all the shopkeepers to the 'meeting' we see Marguerite's sign through the windows to the right of the front door.
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Which means Crowley's conversation with Shadwell is fucking visible from the front door of the bookshop.
And it also means those fucking strip tease signs that Crowley has parked the Bentley in front of are covering up the record shop and the window over Aziraphale's desk (Which I'll admit, unfortunately means that the ramp isn't visible through the window and might only be seen via the windows of the front door of the shop). Why are these windows covered up? Maybe the set designers wanted to give the illusion that they are on some different part of the street. UNFORTUNATELY I CAN FUCKING SEE THE BOOKSHOP PILLARS IN THE CORNER OF THE SCREEN YOU CANT FOOL ME.
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Let's put it all together now: Crowley drives the Bentley, his ICONIC Bentley(no doubt who's fucking Bentley that is if you see it come down the street through the window), just past the bookshop, and parks. He has to get out on the bookshop side of the street and backtrack, PAST THE FUCKING BOOKSHOP DOOR, and to the pub that is in perfect view of one of the (only unblocked) bookshop windows, and has a conversation with a strange man in view of the bookshop's front door.
"I hear things" Aziraphale, baby girl, you didn't have to hear anything you can literally see Crowley at every moment.
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And also Aziraphale, you're not off the hook for ridiculousness either. Why the fuck did you teleport into the Bentley. THE BOOKSHOP IS RIGHT THERE. You fucking depraved me of a full cravat outfit shot because you wanted to spookily and mysteriously appear to your beloved demon. YOU'RE KILLING ME AZIRAPHALE.
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suntails · 28 days
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hijo de la luna
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fadeintoyou1993 · 1 year
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tai voice happy wife happy life......
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almondpiglet · 4 months
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wip for valentines day (if i freakin' make it on time??)
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poetrypdf · 3 months
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24/2/2024
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crawley-fell · 6 months
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sometimes i have to take a deep breath and remind myself that 'rescuing me makes him so happy' was a real line??? in the actual show??? an acknowledgement of all the many, many memories and adventures they've had together!! that is so INTIMATE that line holds so much love and trust and knowledge of someone else and your impact on them, knowing just how much you mean to them that time and time again they have risked danger for you - and they ((not so secretly)) enjoy it!! amazing
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spacesaturnarts · 6 months
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Im working on responses to asks but have this while I do. I called it Construction but tbh I just drew it like this bc i was sad it doesnt really mean anything
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soracities · 1 year
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Jean Valentine, from “Sanctuary”
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