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#film: clue
dcbicki · 3 months
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Clue (1985) dir. Jonathan Lynn
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browsethestacks · 5 months
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Arthouse Muppets
Art by Bruce McCorkindale
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ok so we know about the need to infodump, but what about the opposite? The need to absorb more information about your special interest like a sponge, but you literally can’t find any new material because you’ve already consumed every fact about it
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nerd4music · 2 years
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CLUE (1985) dir. Jonathan Lynn
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bossuets · 11 months
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Clue (1985) dir. Jonathan Lynn
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neechees · 1 year
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How is the cult from Midsommer white supremacist? Because they are swedish and borrow from paganism? The nazis appropriated Norse culture, they even misused different runes and symbols, and Scandinavia is one of the most tolerant regions in Europe.
There's Nazi imagery throughout the film, & the fact that all the poc die first is no mistake. Ari Aster himself has said that the Harga are White Supremacists:
Defying an outdated horror trope, Aster does not kill off Josh (William Jackson Harper) — the only black character for miles — first. As Aster points out, though, the Hårga are racist, a callback to “a part of Swedish history and European history,” and all of the “outsiders” or “new blood” recruited for mating are purposely white.
“He’s thrown away in a way that the other members of the main cast are not," Aster notes. “And that is because these people have no further use for him.”
The Harga, when not inbreeding with each other, go out and groom new members to either 1. Be sacrified or 2. Introduce new genes by manipulating people into the cult or drugging & raping them (what they did to Dani & Christian), & they ONLY pick white people for this. There are no nonwhite Harga & that's not an accident.
The script also makes it crystal clear that the nonwhite couple were specifically chosen (bc they are not white) & brought there to be sacrificed & were never going to live. The member that brought the nonwhite couple displays hatred & malice towards them when they're not looking, but doesn't do this with the other white outsiders
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(Ingemar is the Harga that brought Connie & Simon, the nonwhite couple). Connie & Simon didn't do anything wrong, they didn't do anything outright to insult the Harga. The only thing they did was be shocked about seeing the ritual suicide & express desire to leave (and they weren't the only ones who did this, Dani also did). And yet they were some of the first to die.
Even the visuals-- the Harga wear all White, it's always in blinding daylight. Whiteness is a GLARING theme. There's also foreshadowing early on in the film, where a book titled "The secret Nazi language of the Uthark" featured in Christian's room just before they go to Sweden.
There's also other Nazi ideology present within the Harga, such as the strict gender roles (the women all wear dresses & cook & clean & care for the children together but the men butcher the bear together), eugenics & ableism (the elderly are killed off at a certain age because they see disability & needing to be cared for as an elder "shameful", which is what one Harga states at the ritual suicide scene, & of course killing off the nonwhite characters), the "return to tradition" ideology (there are NO modern technology in the community, & it's in the countryside).
You see a cult full of ONLY White people, using Norse paganism (something VERY popular with Nazis) in an isolated area, who routinely murder poc, don't intermix with poc, kill off their elderly, Dani (the blonde, light eyed white girl) is praised for her beauty & made their May queen by the Harga, with strict gender roles, & this film was made by a JEWISH MAN to show the Harga as the bad guys, & you don't have a hunch that the Harga are maybe supposed to be white supremacists/nazis? That doesn't raise any red flags for you?
& let's not forget how Scandanavia committed genocide against the Saami, the Indigenous population who were there for hundreds of years before anyone else. That's a little off topic, but as a First Nations Canadian I aint gunna let that just go unacknowledged. Scandanavia has a white supremacy problem too, & Ari Aster is right for pointing it out
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robotpussy · 1 year
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Barbie (2023) - Official Trailer
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somehow-a-human · 24 days
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Whose POV is it Anyway?
The Dirty Donkey, I think I found *Clue!*
DO NOT ASK NEIL ABOUT FAN THEORY
Continuing with my analysis of the changing POV's in Good Omens 2, let's take a look at the pub scene in the Dirty Donkey and the rest of episode 2!
For reference & context, I recommend reading these posts:
Whose POV is it Anyway? - Introduction
Lens Filters
POV "Your 'Something's Wrong' Voice"
POV a Trip to Hell and a 25 Lazarii Miracle
POV a Companion to Owls
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When we first see Crowley in his tactical turtleneck, it's when Shax shows up at the Bentley. He is asleep in the car and his sideburns are long. Is this because he's being observed by Shax first in this scene so it's her POV? It's difficult to distinguish if the filter could be the BDFX Crowley filter or the BPM Hell filter, but if we're using the sideburn lengths as an indicator we can look at this initial scene as an external POV.
*Fun thing I noticed here: when Shax threatens Crowley the plants in the backseat start squealing and shaking because they're afraid lol.
Next we get to see Crowley and Aziraphale go to the pub! They never go to the pub! Aziraphale strokes the thin dark dukes chest, and is saved by his snusband from the scary carpet man. The entire scene inside the pub is warm and hazy and glowy AS HELL (well not as hell, that's a different filter) It's clearly filmed with the BGG filter and likely Aziraphale's POV, which makes sense, they talk about making people fall in love, romance, Jane Austen, Cotillion Balls, it's VEERRRYYY Aziraphale. Crowley's sideburns are long throughout and when the pair get up to leave it's because Aziraphale mentions he wants to show Crowley *the Clue*!
Crowley's response to this is: "I'm lost, am I doing a rainstorm?" nothing rude about the Capital C Clue, yet.
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Then the scene cuts to a shot of them walking out of the pub and we have transitioned to Crowley's POV! The lighting has changed and is saturated and cool toned, Crowley's sideburns are short, and he IMMEDIATELY roasts Aziraphale,
"Whatever you found, don't call it a Clue... well don't pronounce the capital letter!"
spicy snek.
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Even if you make the argument that they could have filmed these scenes on vastly different days, the continuity for the extras dress and placement was spot on the, as you can see from these shots of before and after the cut. Notice the extra in the red jumper near the door is there in both shots with the same group of people, nobody seems to have moved, and Crowley's sideburns are the only thing that very obviously changes length between these scenes.
Crowley and Aziraphale then head back into the bookshop.
We're back to the warm hazy tones of the BGG filter and Crowley's sideburns are long again. We've switched back to Aziraphale's POV. They get a prophecy of sorts from Gabriel, and Aziraphale goes to study his Bible and think for a while.
We next see Crowley Asking Nina about Sudden Rain.
His sideburns are short again, and the BDFX filter is back evidenced by the bright cool saturated tone of the scene, so we're in Crowley's POV. Aziraphale meets him at the Bentley and says he'd like to drive the car. We can hear Crowley even smacks Aziraphale's hand away, which if this was from Aziraphale's POV I'm sure is a detail that would've gone omitted!
NEXT POV Bodysnatchers & Cosplaying a bookseller
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etchedstars · 8 months
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dcbicki · 11 months
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CLUE (1985) • dir. Jonathan Lynn
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angelstills · 1 year
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Get a Clue (2002)
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doctorwhoarchive · 7 months
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why’s this kinda just Tara and Sam
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Arthouse Muppets (With Bonus Art Process)
Clue featuring Gladys, Janice, Piggy, Gonzo, Fozzie, Kermit, And Scooter
Art by Bruce McCorkindale
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bossuets · 11 months
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Clue (1985) dir. Jonathan Lynn
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kromdar · 1 year
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Clue pulp magazine by Stephen Andrade
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avatar-state-kate · 10 months
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Growing up my mom always fall asleep when we would go to the movies. I remember shaking her awake at the end credits, asking her when she remembers nodding off so I can fill her in on what she missed.
Wes Anderson’s new film asteroid city has a story within a story, we watch the stage play in colour as the writer cast and crew develop the production in black and white. During one of these black and white segments the writer thinks through a scene we will ultimately not see unfold in the play proper- a town together asleep sharing a dream.
Films have often been described this way, a shared dream. A room full of strangers lulled to sleep as the lights dim, and before our eyes a dazzling show of colour and sound occurs- we share the dreaming.
My mother often describes scenes in films that never actually happened, scenarios she dreamed up as she fell into a nap in the theatre seat. A private dream. We bring our own dreams to the movies.
One of the characters in the stage play steps off of the stage, out of the world of colour and into the real world of black and white, meeting with the director he asks- am I doing it right? What does it mean?
Leaving the theatre I leave my phone on silent in my bag, for just a moment longer, taking my time to awake. I could search the film tag and have all my questions answered, but I’d rather sit in my curiosity longer- maybe it doesn’t mean anything, dreams often don’t, but the experience of having one always gives us something
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