Hi!
What's your favourite Disney movie? And does your preference for the dorms have any influence on their movies and vice versa? Like I know you love Diasomnia so is Sleeping Beauty high up there for you?
I'm just asking because Snow White is actually my favourite Disney Princess and her movie is my favourite yet Pomefiore is my least favourite dorm (but Lion King and Savanaclaw are both in my top two) and I was wondering if it's similar for you?
yessss someone else whose favorite princess is Snow! ❄️
that said, it's hard to say what my favorite movie is, because I'm one of those annoying people who's like "well it depends" (on different aspects, on my mood, on the phase of the moon, etc). though out of the ones represented in Twst, I think it probably is Sleeping Beauty! I think it's really pretty and just a delightful movie! it hits a nice sweet spot for me of being kind of...gently grounded while still having that floaty-fairytale feeling, if that makes sense also I might have had a huge villaincrush on Maleficent that is being massively projected onto Meleanor, shh
although I actually sort of hated Diasomnia at first (l-look, they didn't have cards at first and all we had to go on were the website descriptions that make everyone sound horrible). so I dunno, maybe the influence helped win me over to them! or maybe just because, like everything else in Twst, they were unexpectedly enjoyable in practice?
(I don't think there are any that had a negative influence either, because I am also one of those annoying people who's like "well I don't have a least favorite, I like everybody!") (sob. it's true though.) (I just, I just love characters so much --)
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im mad bc i liked the Saw franchise fine enough bc it was goofy and dumb but tumblr made me like the first movie so much more than i already did and now i ship two sopping wet kittens and one of them isnt even alive and it makes me sick when i think about him
i couldve been normal about something for once but nOooOoOoooOo
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Me: *watches Borderlands movie trailer*
Also me: *sees Mouthpiece or at least his mask in a quick shot*
Me again: *has mental breakdown wondering if this means there will ever be a live action movie version of Troy and Tyreen*
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I think one of the keys to happiness might just be having low standards in the media you enjoy like yes I will be watching that movie with a 2.9 rating on letterboxd and I will be grinning the entire way through... I will glean every bit of joy I can from everything I consume
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just saw Avatar 2 and someone please please please tell Hollywood that the three-act-structure is great and there is a reason most movies used to follow it and spreading a story thin and giving 3 hours’ worth of content for one plot development so that you can have sequels sucks and kills every chance at enjoyment
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read the most pompous jerk off 2 star review for the zone of interest where the person at no point ever mentions the soundscape of that film. Explicitly the most important part of the film, 90% of the story is told through sound off screen. That is the point of the film and the visuals are there to directly clash with the audio storytelling. Like if you're going to suck your own dick so hard at least pay attention to the movie you're critiquing.
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considering what you have spoken about regarding selina do you also get frustrated with like…i cant quite explain it but sometimes especially in more recent years shes been posed or positioned like some sort of damsel that needs a big strong man to save her and like im not saying she should be portrayed with the “hollywood level feminism” for lack of a better term im just think about how old versions of selina would have hated that. like im just thinking of anytime in the reeves movie where bruce grabs her or forces her mouth shut or even when he didnt allow her to kill falcone and im just thinking she should claw the fuck out of him for that. i just miss a version of selina who wouldnt allow anyone to walk all over her personal autonomy like that
oh absolutely! in fact this is specifically why i can't stand loeb's take on her character lol (and as we both know that was a significant point of reference for the reeves film). it's really jarring to transition from her volume one and two canon to the long halloween / dark victory / when in rome. i think a lot of people tend to latch onto these books because tim sale's art is to die for and it's obv hard not to enjoy a good murder mystery. in that aspect they're still books i can enjoy in isolation. but i find it very difficult to enjoy them as a selina fan specifically because in every single one it's like she's looking for solace and security in a man and i'm not sure why. like what was so bad about her original backstory of having a deadbeat dad (whether you ascribe to the volume one or volume two version of him) and why did she need to go looking for her "real" father in carmine falcone. why did she need to seek out temporary boytoy relief in italy. why did she dream about being saved by bruce. none of it really has a reason other than to create a "lack" in her for the sake of it being there, because she'd never needed a man like that before in her post-crisis narrative. as you mentioned it was quite to the contrary and she was fiercely independent and protective of her own peace, esp from men. when she felt empty or without a connection or lifeline to someone real, it was mostly about people like maggie or holly or arizona. her people
what i think it ultimately comes down to are two things: the first thing is the diminishment of her post-crisis origins. after all, it's convenient to ignore how distrustful selina is of people, and of men with power at their leisure to abuse specifically, when her post-crisis origins are no longer relevant to her personal characterization. although selina's status as a sex worker is more prominent now, it was more or less completely swept under the rug for the bulk of volume two. loeb also refused to engage with it in any capacity. it only really resurfaced with the conclusion to volume two because it drew direct parallels to how we initially found her in volume one, and then brubaker expanded on it once again in his take on the character, which was notably juxtaposed against a pre-existing romance with bruce and brings me to the second thing. i've already waxed about this at length so this may very well be recap but i really don't think selina's lack of control over her personal autonomy can be divorced of the modern portrayal of the romance. when selina looking for security and understanding and comfort in bruce is what drives the romance forward there's not much room to maintain her original values and guarded demeanor, if not her outright defensiveness and hostility. a lot of people look at the extensive trauma selina has experienced and argue that she deserves to be in a relationship with someone who allows her to let those walls down. this isn't incorrect in theory. but it does repeatedly ignore who she is. it's kind of like the point i was making about bruce yesterday. exploring the inherently abusive nature of robin or of bruce's right to his children in light of that fact is interesting to do, but the actual execution has rarely managed to take into account who bruce actually is
for however nice it might be for selina to let her walls down romantically and look for solace in bruce—and i say this mostly for the sake of argument, personally i would argue against its necessity—it's realistically not something she's actually going to do. at least not as willfully as she's been portrayed to. realistically she's going to make it extremely hard, which if anything is precisely the appeal. i love it when selina gives bruce a hard time. i love that it's not supposed to be easy or maybe even a possibility for him to win her over bc there's so much about his own ideological stances that's flawed and in opposition to her own. she doesn't have to be any less unrelenting in her principles and worldview for that romance between them to be compelling bc at the end of the day the entire crux of it is that against all odds bruce cares. for however wrong he thinks she might be in a given moment or in her stance against the government, he knows who she is and how hard she's fought and what she's survived and it makes him sympathetic to her because she's real. she's a wonderful character through which to explore the logical limits of bruce's self-righteousness and categorization of crime, as well as a wonderful mirror to hold up to his face as he starts to ask himself whether what he's doing is really the only means of keeping the city safe. and the novelty of it all is that you don't have to sacrifice her character for any of that to be true. writers have simply deluded themselves into believing that they have to and that's why we are where we are today
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