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synthetickitsune · 1 day

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Petty ✧ h.js

Pairing: Joshua Hong x gn!reader Genre: angst/fluff Summary: Joshua can be a bit petty when he's tired and feels wronged. Even if he's at fault all along. Word count: 2.3k A/N: please get me out of here, i've been in shua brainrot since january and this is once again @hanniedream's fault >:(

Joshua has never hated your bedroom more than he hates it at this moment.

The room is too big. The walls are the wrong color. The windows are too big and it feels like the whole world can see him and laugh at him. The bedroom should be the only room in your house. It wouldn’t be so empty then.

The bed is too big to be sleeping in it alone. It’s cold. The sheets feel like ice around him, no matter how tightly he wraps himself in them, and his arms are empty even though your scent lingers on your pillow. He won’t be as pitiful as hugging it to sleep, he refuses.

Where are you anyway?

Pout pulls on his lips without his permission as he strains his ears but he can’t hear a single sound. He checks the clock again, then checks one more time that he’s not seeing wrong. You should be here by now. He accounted for everything - how long your night routine takes, a little snack if you felt like it, the time you’d need to be away from him after the fight, the time you’d waste on thinking whether you should hang onto the resentment or not. You should be here already. You should’ve been here ages ago. So where are you?

It goes against his pride that he gets up and makes his way to the living room where he expects you’d be sulking. And you are there - sleeping soundly.

He huffs in disbelief, hands on his hips as he watches you sleep while he can’t even keep his eyes closed. Does he mean nothing to you? How can you sleep without him?

He has half a mind to wake you up - he walks up to you and leans down, still undecided whether he should do it. What would he say? He can’t admit he can’t sleep without you, so he’d just look like a dick. Besides, you sleeping here means you’re still upset, so you wouldn’t come to bed anyway. Then he notices the dried tears in the corner of your eyes.

He frowns, any thoughts of waking you up gone from his head. Were you actually mad? The argument wasn’t long or, in his eyes, that big of a deal. True, he was also quite exhausted, so it’s kind of foggy and he knows he was a bit too harsh. He also admits he was in the wrong, a fact he realized during the first two hours of his tossing and turning when he remembered that the events happened differently from what he initially thought. But it wasn’t a big deal anyway… You don’t usually cry over petty arguments. And he knows better than to hope for any sleep now.

Joshua leaves for the bedroom quietly, sighing once he lies down in bed. The pout tugs on his lips again. He feels wronged too. You could’ve just told him instead of immediately getting defensive and calling him wrong when he just didn’t remember at the moment. Why would you cry? Was he really that mean? He doesn’t think he was. He tries to sleep, but over what remains of the night, he can’t get more than a couple minutes of sleep at the time.

Safe to say it didn’t exactly help his sour mood that he didn’t rest at all. As soon as he decides to get up for the day, he struts into the kitchen and starts on boiling the water for his coffee and taking out things to prepare himself breakfast.

“What the fuck, Joshua?” you groan from the adjacent room, voice dripping with annoyance and hostility. Of course the noise would wake you up. And now he can’t exactly explain why he thought he’d get his usual morning greeting - well he didn’t think at all, but now that the routine is broken and not one nice word is spoken to him, he pauses. He swallows uneasily thinking of how it usually goes - waking up with you in his arms or you hovering above him, wishing him a good morning with the sweetest kisses. Not this.

He snaps out of his, his pettiness wavering a little, but not enough. He was in the wrong, but you could’ve explained that to him more yesterday. Not like he was in a state of mind to listen to you, but you could’ve tried… He’s too tired for this.

So he keeps doing his thing, taking out the vegetables to cut. He notices you disappearing into the bedroom, to change and freshen up he supposes. It doesn’t feel great to have you walk away from him without another word.

He’s cutting vegetables when you return. At this point he doesn’t expect much, but he also doesn’t expect you to walk straight past him, barely stop the cupboard door from hitting his head when you take out your mug. He also feels something die inside him when you pour the boiling water into only one mug, making a drink for yourself despite there being enough water for both of you.

His focus is more on you than the knife in his hand, which is not the safest thing when he’s trying to cut the carrot, but he needs to be ready and catch every word you’ll say. Because you need to say something, right? Wrong, apparently. You’re just sitting there sipping your coffee and scrolling on your phone without paying any attention to him. Does he not matter to you?

He wants to get angry, wants to heave a long and angry sigh, slam the knife down and confront you - but that’s not him. It does cross his mind, he just can’t do it. It’d scare you and it’d make him feel like one of those stereotypical angry husbands and that’s the exact opposite of what he wants. Opposite of what he should do if he wants to ever have the chance to call himself your husband.

He closes his eyes and takes a couple of deep breaths. This situation was ridiculous. He can’t go another day without a proper sleep and he doesn’t think he can get through breakfast with you ignoring him. Was Joshua’s pride really more important than you? No. Of course not. Especially not when it was all so stupid and ultimately his fault.

“I was wrong,” he sighs, he finally puts the knife down before he can cut his finger off, “I’m sorry.”

He turns around, and after what feels like eternity you’re looking at him. You sigh too, rubbing your eyes. Properly seeing you now, he notices you must’ve had a restless night just like him. It makes the last remains of his pettiness dissipate. He opens his arms cautiously, hoping, wishing… You get up and hug him back, let him hold you as he wraps his arm around your middle and cradles your head with the other one. Finally he feels like he can breathe.

“I’m glad you apologized,” you rub his back, and fortunately you don’t flinch away when he kisses the side of your head. He hums sheepishly, squeezing you a little tighter. “I was really frustrated with you. It wasn’t even that big of a deal, you could’ve already apologized yesterday.”

“I know,” he acknowledges. Looking back, he shouldn’t have brought out the issue out of nowhere in the first place. “Are you still mad at me?”

“I wasn’t mad, just frustrated,” you repeat, “It’s fine now.”

He nods, letting you go just enough that he can kiss you properly. His morning feels much better immediately. You smile at him and he’s wondering why would he ever do anything to threaten that smile. He doesn’t want to let you go now that he has you back in his arms, but he’s hungry and he thinks you must be too. “I’ll make breakfast for us, hm?”

You free yourself from his embrace rather than him allowing you to pull away. His reluctance shows in his hands taking hold of yours and bringing them to his lips, lingering. You give him a reassuring smile and only then does he let go.

What you notice before going back to your chair, before moving from the spot, is Joshua looking at your cup on the table in a way that you can only describe as a puppy watching his favorite toy spinning in the washer. You don’t think he noticed you saw, or that he meant for you to see at all, and it takes a lot not to start laughing. It does give you some satisfaction, though, to know that the argument and his own mistake didn’t leave him unaffected. His shoulders are still slumping and he looks so down you’d think you didn’t make up already.

“Joshua?” you call his name and he quickly turns his head towards you as soon as he puts the knife down again. You chuckle and rest your head on his shoulder. “Should I make you a cup of coffee?”

“Yes please, thank you,” he beams at you, eyes turning into crescents when you kiss his cheek.

You pull out a mug, conscious of his eyes following your every movement. Something about your choice of the piece of ceramics must be not up to his standards if his displeased grunt is any indication. However when you look at him, he only gives you a small smile.

“What’s wrong?” you cross your arms over your chest. He grows timid, looking away. You roll your eyes. You’re almost sure you’re being played for attention, but you will give him the benefit of a doubt this time because he seemed genuinely sorry for the fight. It’s cute how he melts into you when you hug him from behind, your hands resting on his stomach.

“What about the matching ones we got for Christmas instead?” he mumbles almost too quiet for you to hear.

“I already have my own cup though,” you frown.

“You need to make a new one,” he says like it’s the most obvious thing in the world

“Huh?”

“We’re gonna restart this morning,” he explains calmly, “I won’t be an asshole and we’ll have a nice breakfast together with our cute matching cups.”

“You called them cringy before.”

“Don’t ruin the vision,” he warns playfully. You hold his gaze, hoping he’ll cave but he doesn’t. You break first.

“What am I supposed to do with the other cup though?” you laugh at your ridiculous boyfriend, but he’s not done being unreasonable.

“Bring it to me,” his tone is suspicious, so you have no idea why you listen. You get to watch as he downs the rest of your morning drink in a few long gulps and puts the cup in a sink. “There, problem solved.”

“Joshua Hong, you’re insane,” you sigh. You’re smiling though - so it’s his win anyway. He won and now he’ll get to watch you boil more water and prepare coffee for both of you, because you need to match one hundred percent of course. It’s still not the safest to cut vegetables when he’s so distracted but his fragile heart is practically jumping off his chest when you take out the very cheesy matching Christmas cups and set them down. “Stop staring.”

“I need to make sure you’re doing it right,” he teases. He’s happy that everything is fine, happy that his morning returned to normal and happy that-

“Do you think I can’t?” you quirk a brow at him, pausing the preparations.

He swallows and nearly trips over his over feet closing the distance between you and cupping your face in his hands.

“No, baby, I’m so sorry,” he frowns, kissing your forehead and lingering there, waiting for your verdict. He hears you sigh and his chest feels thigh.

“You’re so cute, Shua,” there’s a smile in your voice and his heart skips a beat when he hears his nickname, “I’m not upset, I’m just playing with you.”

“Don’t do this to me,” he whines, burying his face into your shoulder. His arms wrap around you and you’re stuck between his body and the counter, trapped in his hug. All you can do is hug him back and press some kisses to his neck.

“I’m sorry, baby,” you smile, “How about I finish the coffee, hm? Then I can hug you and cling to you to make up for it.”

“I made you upset first,” he mumbles. You roll your eyes at his sudden self-awareness. He pulls away to look at you, a slight pout on his lips. “But you took advantage of that. I think I deserve a kiss as well.”

You should’ve known it was all a manipulation tactic.

But knowing or not, it doesn’t change the fact that you kiss him and smile against his lips as you do when you feel him smile too. He doesn’t let go until he’s had his fill, until he leaves you breathless and chasing after his lips.

“I missed you,” he whispers, coming back for just one more kiss, “Hurry up with the coffee.”

You should scold him. You should remind him that he is the reason why your morning is so messy.

But you don’t.

Instead you do exactly as he told you and enjoy having him close again once the coffee is done. And you enjoy as Joshua feeds you the first piece of breakfast for a taste test, and you enjoy him pulling out a chair for you, bringing you your plate, and holding your hand the entire time you eat.

Most of all you enjoy his warm embrace when you lay down for a nap that won’t make up for the cold and lonely night, but that feels heavenly nonetheless.

#seventeen scenarios #seventeen x reader #joshua x reader #joshua scenario #svthub #seventeen imagines #seventeen angst #joshua angst #svt angst #svt x reader

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loriannbowman · 2 days

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Honkai Star Rail X Arknights | Yandere!Sunday X Sankta!Reader | Part Three

Sunday sits you down in a room that you can only compare to a conference space. You had walked through a long corridors littered with sparkling windows, golden statues. There was a room with a mini city in the centre. You didn't get a chance to look around though, Sunday was insistent that you follow close to him.

The room was round with an evenly round table, place eerily perfect in the center. Tall bookshelves that reach the ceiling cover the walls, some having library ladders next to them.

"Make yourself comfortable," Sunday says casually, running his finger tips across the top of the table as he makes his way to his seat, "We might be here for a while."

You uncomfortably shift within your seat, the cushion beneath you not as comfortable as you'd expect. Your poor ass.

"Now," Sunday interlaces his fingers, "Where should we begin, hmm? We already had polite introductions, what should we do next?"

You can't help but feel a bit uneasy; his casual demeaner is so off putting. You leg begins to bounce rapidly, a nervous tick you picked up.

You attempt to clear your throat.

"Well... let's go over what we already know," you say, trying to regain control over yourself.

You scoot a little in your chair, straightening your back and folding your hands.

"I am (Y/n), codename: Lamplight. I am a combat specialist and medical researcher in Oripathy. Uh... I'm from the region of Laterano, species: Sankta. I currently work under the association 'Rhodes Island' under the direction of Doctor Kal'tsit, Doctor Loriann, and Amiya. Uh... there's nothing really else that comes to mind... Oh! I am also highly dangerous as I am infected with Oripathy."

Sunday sits quietly, his lips lightly pursed, eyes closed as he takes in all this sudden information. All of these things... he's never heard of a single one of them. Sunday takes a deep breath before letting it go through his nose.

"Alright. Thank you for your introduction. Let us first go deeper into these statements. In return, I will explain as much and equally about me and the world around you. Does that seem fair, Lamplight?"

You nod your head, eyes slightly wide at him referring to you by your codename.

"Good. Then let's start with this 'Oripathy' you speak of. You say you're a researcher in this field while also being... infected?"

Your hands fiddle with one another, once again shifting uncomfortably in your seat. You clear your throat again.

"You just had to start there, huh...?" you say with a somber tone, "Alright, I'll tell you everything I know."

You begin to explain your home, how a powerful and dangerous material, 'Originium.' You explain the usages it has... and the horrible, deadly effects it has on the human body. You even roll up the pant sleeve to show a small collection of black crystals forming on the side of your shin. You even told him how you became infected.

"I was on a mission with Doctor Loriann when I got pierced by a Originium lump. Luckily, The Doctor was right there and was able to immediately slow and contain the growth of the Oripathy. I'm glad that I don't use Arts, or the growth would be a lot faster. You don't know just how lucky I am to have my Oripathy growth so slow. Other infected would kill to have theirs infection be so well maintained. I just hope it gives me enough time to live a somewhat fulfilling life."

Sunday's gaze during the whole time never left your form, and once you showed your leg, his eyes never stayed from the crystallin chunks that speckle your skin. He attempted at one point to touch, but you quickly grabbed his hand.

"I wouldn't, not unless you want to be infected too."

It was more of a warning than anything, of course, but you could never be too sure. You would never forgive yourself if you got an innocent person infected.

"I see... Well, let's continue our conversation, shall we?"

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thesublemon · 2 days

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best picture

For the first time in a long time, I watched all of the movies nominated for Best Picture at the Oscars this year. Partly on a whim, partly for a piece I’ve been working on for a while about what is going wrong in contemporary artmarking. I cannot say that the experience made me feel any better or worse about contemporary movies than I already felt, which was pretty bad. But sometimes to write about a hot stove, you gotta put your hand on one. So. The nominees for coldest stove are:

Poor Things. Did not like enough to finish. I always want to like something that is making an effort at originality, strangeness, or style. Unfortunately, the execution of those things in this movie felt somehow dull and thin. Hard to explain how. Maybe the movie’s motif of things mashed together (baby-woman, duck-dog, etc) is representative. People have been mashing things together since griffins, medleys, Avatar the Last Airbender’s animals, Nickelodeon’s Catdog, etc. Thing + thing is elementary-level weird. And while there’s nothing wrong with a simple, or well-worn premise, there is a greater burden on an artist to do something interesting with it, if they go that route. And Poor Things does not. Its themes are obvious and belabored (the difficulty of self-actualization in a world that violently infantilizes you) and do not elevate the premise. There’s a fine line between the archetypal and the hackish, and this movie falls on the wrong side of it. It made me miss Crimes of the Future (2022), a recent Cronenberg that was authentically original and strange, with the execution to match.

Anatomy of a Fall. Solid, but not stunning. The baseline level of what a ‘good’ movie should be. It was written coherently and economically, despite its length. It told a story that drew you along. I wanted to know what happened, which is the least you can ask from storytelling. It had some compelling scenes that required a command of character and drama to write—particularly the big argument scene. The cinematography was not interesting, but it was not annoying either. It did its job. This was not, however, a transcendent movie.

Oppenheimer. Did not like enough to finish. But later forced myself to, just so no one could accuse me of not knowing what I was talking about when I said I disliked it. I felt like I was being pranked. The Marvel idea of what a prestige biopic should be. Like Poor Things, it telegraphed its artsiness and themes and has raked in accolades for its trouble. But obviousness is not the same as goodness and this movie is not good. The imagery is painfully literal. A character mentions something? Cut to a shot of it! No irony or nuance added by such images—just the artistry of a book report. The dialogue pathologically tells instead of shows. It constantly, cutely references things you might have heard of, the kind of desperate audience fellation you see in soulless franchise movies. Which is a particularly jarring choice given the movie’s subject matter. ‘Why didn’t you get Einstein for the Manhattan project’ Strauss asks, as if he’s saying ‘Why didn’t you get Superman for the Avengers?’ If any of this referentiality was an attempt to say something about mythologization, it failed—badly. The movie is stuffed with famous and talented actors, but it might as well not have been, given how fake every word out of their mouths sounded. Every scene felt like it had been written to sound good in a trailer, rather than to tell a damn story. All climax and no cattle.

Barbie. Did not like enough to finish. It had slightly more solidity in its execution than I was afraid it would have, so I will give it that. If people want this to be their entertainment I will let them have it. But if they want this to be their high cinema I will have to kill myself. Barbie being on this list reminds me of the midcentury decades of annual movie musical nominations for Best Picture. Sometimes deservingly. Other times, less so. The Music Man is great, but it’s not better than 8 1/2 or The Great Escape, neither of which were nominated in 1963. Musicals tend to appeal to more popular emotions, which ticket-buyers and award-givers tend to like, and critics tend to dislike. I remember how much Pauline Kael and Joan Didion hated The Sound of Music (which won in 1966), and have to ask myself if in twenty years I’ll think of my reaction to Barbie the same way that I think of those reviews: justified, but perhaps beside the point of other merits. Thing is. Say what you want about musicals, but that genre was alive back then. It was vital. Bursting with creativity. For all Kael’s bile, even she acknowledged that The Sound of Music was “well done for what it is.” [1] Contemporary cinema lacks such vitality, and Barbie is laden with symptoms of the malaise. It repeatedly falls back on references to past aesthetic successes (2001: A Space Odyssey, Singin’ in the Rain, etc) in order to have aesthetic heft. It has a car commercial in the middle. It’s about a toy from 60 years ago and politics from 10 years ago. It tries to wring some energy and meaning from all of that but not enough to cover the stench of death. I’d prefer an old musical any day.

American Fiction. Was okay. It tried to be clever about politics, but ended up being clomping about politics. At the end of the day, it just wasn’t any more interesting than any other ‘intellectual has a mid-life crisis’ story, even with the ‘twist’ of it being from a black American perspective. Even with it being somewhat self-aware of this. But it could have been a worse mid-life crisis story. The cinematography was terrible. It was shot like a sitcom. Much of the dialogue was sitcom-y too. I liked the soundtrack, what I could hear of it. The attempts at style and meta (the characters coming to life, the multiple endings) felt underdeveloped. Mostly because they were only used a couple times. In all, it felt like a first draft of a potentially more interesting movie.

The Zone of Interest.Wanted to like it more than I did. Unfortunately, you get the point within about five minutes. If you’ve seen the promotional image of the people in the garden, backgrounded by the walls of Auschwitz, then you’ve already seen the movie. Which means that all the rest of the movie ends up feeling like pretentious excess instead of moving elaboration. It seemed very aware of itself as an Important Movie and rested on those laurels, cinematically speaking, in a frustrating way. It reminded me of video art. I felt like I had stepped through a black velvet drape into the side room of a gallery, wondering at what point the video started over. And video art has its place, but it is a different medium. Moreover video art at its best, like a movie at its best, takes only the time it needs to say what it needs to say.

Past Lives. I’m a human being, and I respond to romance. I appreciate the pathos of sweet yearning and missed chances. And I understand how the romance in this movie is a synecdoche for ambivalent feelings about many kinds of life choices, particularly the choice to be an immigrant and choose one culture over another. The immigrant experience framing literalizes the way any choice can make one foreign to a past version of oneself, or the people one used to know, even if in another sense one is still the same person. So, I appreciate the emotional core of what (I believe) this movie was going for, and do think it succeeded in some respects. And yet…I was very irritated by most of its artistic choices. I found the three principal characters bland and therefore difficult to care about, sketched with only basic traits besides things like Striving and Being In Love. Why care who they’d be in another life if they have no personalities in this one? It’s fine to make characters symbols instead of humans if the symbolic tapestry of a movie is interesting and rich, but the symbolic tapestry of this movie was quite simple and straightforward. Not that that last sentence even matters much, since the movie clearly wanted you to feel for the characters as human beings, not just symbols. Visually, the cinematography was dull and diffuse, with composition that was either boring or as subtle as a hammer to the head.

Maestro. Did not like enough to finish. Something strange and wrong about this movie. It attempts to perform aesthetic mimicry with impressive precision—age makeup, accents, period cinematography—but this does not make the movie a better movie. At most it creates spectacle, at worst it creates uncanny valleys. It puts one on the lookout for irregularities, instead of allowing one to disappear into whatever the movie is doing. Something amateurishly pretentious in the execution. And not in the fun, respectable way, like a good student film. (My go-to example for a movie that has an art-school vibe in a pleasant way is The Reflecting Skin). There’s something desperate about it instead. It has the same disease as Oppenheimer, of attempting to do a biopic in a ‘stylish’ way without working on the basics first. Fat Man and Little Boy is a less overtly stylish rendition of the same subject as Oppenheimer, but far more cinematically successful to me, because it understands those basics. I would prefer to see the Fat Man and Little Boy of Leonard Bernstein’s life unless a filmmaker proves that they can do something with style beyond mimicry and flash.

The Holdovers. Did not like enough to finish. It tries to be vintage, but outside of a few moments, it does not succeed either at capturing what was good about the aesthetic it references, or at using the aesthetic in some other interesting way. The cinematography apes the tropes of movies and TV from the story’s time period, but doesn't have interesting composition in its own right. It lacks the solidity that comes from original seeing. (Contrast with something like Planet Terror, in which joyous pastiche complements the original elements.) The acting is badly directed. Too much actorliness is permitted. Much fakeness in general between the acting, writing, and visual language. If a movie with this same premise was made in the UK in the 60’s or 70's it would probably be good. As-is the movie just serves to make me sad that the ability to make such movies is apparently lost and can only be hollowly gestured at. That said, the woman who won best supporting actress did a good job. She was the only one who seemed to be actually acting.

Killers of the Flower Moon. The only possible winner. It is not my favorite of Scorsese’s movies, but compared to the rest of the lineup it wins simply by virtue of being a movie at all. How to define ‘being a movie’? Lots of things I could say that Killers of the Flower Moon has and does would also be superficially true of other movies in this cohort. Things like: it tells a story, with developed characters who drive that story. Or: it uses its medium (visuals, sound) to support its story and its themes. The difference comes down to richness, specificity, control, and a je ne sais quois that is beyond me to describe at the moment. Compare the way Killers of the Flower Moon uses a bygone cinematic style (the silent movie) to the way that Maestro and The Holdovers do. Killers of the Flower Moon uses a newsreel in its opening briefly and specifically. The sequence sets the scene historically, and gives you the necessary background with the added panache of confident cuts and music. It’s useful to the story and it’s satisfying to watch. Basics. But the movie doesn’t limit itself to that, because it’s a good movie. The sequence also sets up ideas that will be continuously developed over the course of the movie.* And here’s the kicker—the movie doesn’t linger on this sequence. You get the idea, and it moves on to even more ideas. Also compare this kind of ideating to American Fiction’s. When I said that American Fiction’s moments of style felt underdeveloped, I was thinking of movies like Killers of the Flower Moon, which weave and evolve their stylistic ideas throughout the entire runtime.

*(Visually, it places the Osage within a historical medium that the audience probably does not associate with Native Americans, or the Osage in particular. Which has a couple of different effects. First, it acts as a continuation of the gushing oil from the previous scene. It’s an interruption. A false promise. Seeming belonging and power, but framed all the while by a foreign culture. Meanwhile potentially from the perspective of that culture, it’s an intrusion on ‘their’ medium. And of course, this promise quickly decays into tragedy and death. The energy of the sequence isn’t just for its own sake—it sets up a contrast. But on a second, meta level it establishes the movie’s complicated relationship to media and storytelling. Newsreels, photos, myths, histories, police interviews, and a radio play all occur over the course of the movie. And there’s the movie Killers of the Flower Moon itself. Other people’s frames are contrasted with Mollie’s narration. There’s a repeated tension between communication as a method of knowing others and a method of controlling them—or the narrative of them—which plays out in both history and personal relationships.)

Or here’s another example: When Mollie and Ernest meet and he drives her home for the first time, we see their conversation via the car’s rearview mirrors. This is a bit of cinematic language that has its origins in mystery and paranoia. You see it in things like Hitchcock or The X-Files or film noir. By framing the scene with this convention, the movie turns what is superficially a romantic meet-cute (to quote a friend) into something bubbling with uneasiness and dread. This is not nostalgia—this is just using visuals to create effects. It doesn’t matter if you’ve seen anything that uses the convention before, although knowing the pedigree might add to your enjoyment. The watchfulness suggested by the mirrors and Ernest’s cut-off face will still add an ominous effect. It works for the same reason it works in those other things. Like the newsreel, it is a specific and concise stylistic choice, and it results in a scene that is doing more than just one thing.

In general, the common thread I noticed as I watched these nominees, was the tendency to have the ‘idea’ of theme or style, and then stop there. It’s not that the movies had nothing in them. There were ideas, there was use of the medium, there was meaning to extract. There were lots of individually good moments. But they tended to feel singular, or repetitive, or tacked on. Meanwhile contemporary viewers are apparently so impressed by the mere existence of theme or style, that being able to identify it in a movie is enough to convince many that the movie is also good at those things. The problem with this tendency—in both artists and audiences—is that theme and style are not actually some extra, remarkable, inherently rarifying property of art. Theme emerges naturally from a story with any kind of coherence or perspective. And style emerges naturally from any kind of artistic attitude. They are as native as script, or narrative, or character. A movie’s theme and style might not be interesting, just like its story or dialogue might not be interesting, but if the movie is at all decent, they should exist. What makes a movie good or bad, then, is how it executes its component parts—including theme and style—in service of the whole. When theme is well-executed it is well-developed. Contemporary movies, unfortunately, seem to have confused ‘well-developed’ with ‘screamingly obvious.’ A theme does not become well-developed by repetition. It becomes well-developed by iterationand integration. Theme is like a melody. Simply repeating a single melody over and over does not result in the song becoming more interesting or entertaining. It becomes tedious. However, if you modify the melody each time you play it, or diverge from the melody and then return to it, that can get exciting. It results in different angles on the same idea, such that the idea becomes more complex over time, instead of simply louder.

Oppenheimer wasprobably the worst offender in this regard. Just repeat your water drops, crescendoing noise, or a line about ‘destroying the world’, and that’s the same as nuance, right? Split scenes into color and black and white and that’s the same as structure, right? That’s the same as actually conveying a difference between objectivity and interiority (or another dichotomy) via the drama or visual composition contained in the scenes, right? When I watched many of these movies, I kept thinking of a behind-the-scenes story from Buffy the Vampire Slayer. The story goes that Joss Whedon was directing Sarah Michelle Gellar in some scene, and when the take was over he told her how great she was, and that he could see right where the music would come in. And Gellar replied that if he was thinking about the music, he clearly wasn’t getting enough from her acting alone. This conversation then supposedly informed Whedon’s approach to “The Body,” a depiction of the immediate aftermath of death that is considered one of the best episodes of television ever made, and which has no non-diegetic music whatsoever. Not to imply that music is necessarily a crutch, or to pretend that “The Body” is lacking in other forms of stylization (it is a very style-ish episode). But more to illustrate the way that it is easy to forget to make the most of all aspects of a medium, particularly the most fundamental ones, once one has gotten used to what a final product is supposed to feel like.

And that’s why most of these movies don’t feel like movies. They create the gestalt of a movie or a ‘cinematic’ moment—often literally through direct vintage imitation—without a sense of the first principles. Or demonstrating a sense of them, anyway. Who needs AI when the supposedly highest level of human filmmakers are already cannibalistically cargo-culting the medium just fine.

[1] “The Sound of Money (The Sound of Music and The Singing Nun).” The Pauline Kael Reader. (This book contains the full text of the original review, rather than the abbreviated review that I linked earlier.)

#posts: art #movies #am rusty at blogging and don't have all the virtuous nuance i would like in this but we will go with it

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cressthebest · 2 days

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Crimson Rivers thoughts pt. 22

chapter 38:

1. “"Right, so, your stylist?" Marlene asks, settling in as they continue to sway. "The one who looks like a fucking goddess? Yeah, so get this, she says we're friends…"”

james and marlene gossip sesh <3333333

2. 😧 MCGONNAGAL??????????

3. wait i think mcgonnagal is good. i’m pretty sure she’s from the phoenix. i’m not sure. i’m hopeful. i’m so hopeful

4. aww huey is kinda sweet. i like that’s he’s reg’s breath of fresh air when it comes to talking to the hallows

5. reg, i understand your anger, but please don’t make one of the only good sponsors feel bad

6. jealous james >>>>>>>>>>>>>>>>

7. “"I like your tea," James offers. "Maybe I'm biased, but it tastes better than anyone else's. What do you do to it?"

Regulus hums and lightly says, "I spit in it."

Without missing a beat, James replies, "Ah, that explains it."”

😭😭😭😭😭

8. “"Would you—" Regulus chokes on another relentless giggle, gasping a little. "Wait, would you actually drink my tea if I spit in it, James?"

"Love, I would let you spit directly into my mouth," James announces with absolutely no shame in his tone whatsoever.”

😭😭😭😭 james i love you

9. awww i love that barty is the most consistent part of reg’s life. i love barty

10. 😬 riddle is unconvinced in their love story. i- yikes

11. okay, right, mcgonnagal is good. thank god

12. dorcas wants to keep marlene out of the war, but only one of them has had a pov so far, so i’m not hopeful

13. oh shit marlene sounds hot

14. also, to add in, i’m so fucking glad there’s like no homophobia (that we know of) in this world

15. i do NOT want dorlene to be a tragedy in this universe

16. 😟 she gave back the ring. AHHHH

17. oh no. shit shit shit shit shit what did riddle do

18. “Riddle didn't even grant the liberty of leaving bodies behind for them to bury.” 😟😧

(but also, orion and walburga were dicks, so like, i’m not sad, just scared)

chapter 39:

1. aww regulus finally invites james in for tea

2. “On the day he accidentally kills a bee while tending to his flowers, he goes through the five stages of grief in less than an hour, which has nothing to do with the bee and everything to do with Vanity.” STOP! THE VANITY MENTION HURTS TOO MUCH

3. “When Regulus wants more time with him, he adds bagels, which James has now unconsciously been Pavloved into thinking of as his favorite food for that very reason.” STOP THATS SO GAY

4. sirius being dramatic about james and reg liking each other is TOP TIER in this fic, in the most realistic, aggravated, obnoxious, and completely loving way

5. BWAHAHAHHAHA JAMES GETTING A PIGGY BACK RIDE FROM SIRIUS IS GOLD

6. oh shit, (i’m not the best comprehensive reader, but i should have figured this out sooner), but from sirius’ perspective, he has to do the back and forth with remus his whole life. he doesn’t have the knowledge that i do, that a war is coming and they’ll finally get a chance to live together. he thinks he only gets to see remus once a year for two weeks at a time. this- this shit is heartbreaking yall

7. “”I watched him stand to his feet and tip himself into a river of blood in an act so tender that I'll never again be able to look at him with anything less than pure love. Every other member of the Black family, including you, fought and clawed their way home to their family, oftentimes to a family that never truly made them feel loved at all. Regulus? He fought and clawed through that arena, the entire time, for James. He's far more gentle than anyone gives him credit for."”

y’all, i’m crying over this. this is so lovely. effie is right, and i’m crying over how right she is

8. 😒 i know what’s coming. riddles a bitch. a right bitch. he’s gonna announce that previous victors are competing and i’m PISSED

9. so far, all three potters offered reggie food. they’re so hospitable, i love them

10. “He hasn't forgotten what it is to long for James. He still knows what it is to want him so badly that he'd be willing to kneel at the altar of James Potter and beg; he'd drop down on his hands and knees and crawl if that's what it took, if that would prove his devotion. He is the manifestation of longing built up with nowhere to go, and he craves, he yearns, he covets.”

both of them are so down bad

11. omg reg is so horny. his inner monologue is literally only like “”””“rip my clothes off please, read my mind and rip my clothes off”””””

12.AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH I KNEW IT WAS COMING! BUT IM SO MAD!!! FUCK RIDDLE

13. effie is a queen. she is a godsend. and i’m so upset right now

14. not effie making them promise not to volunteer, and immediately james and sirius arguing over who’s gonna volunteer for her

15. i’m seething. i’m pissed beyond belief. i’m so angry it’s indescribable. my babies are going back into that arena. honestly, fuck riddle

#marauders #regulus black #james potter #fanfic #jegulus #sirius black #effie potter #euphemia potter #sunseeker #starchaser #dorcas x marlene #dorcas meadowes #marlene mckinnon #crimson rivers

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yuusishi · 6 hours

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Could I request Silver, Ace and Deuce (separately) reacting to their s/o calling out Crowley for being useless and neglectful and how, if it weren't for ADeuce, they would've loved to watch NRC burn?

. . . ONLY EXCEPTION

pairings : Silver , Ace Trappola x gn!reader

genre : hurt/comfort-ish? has hints of fluff

cws/tws : yelling & cursing

a/n : sorry I was only able to do Ace and Silver !! I couldn't think of much to write about for Deuce 😭😭😭also I was doing this in the middle of a bunch of class breaks for a month so it may be messy lol

“You’re finally here, [Name]!” Crowley said enthusiastically, “As you know, there’s an upcoming festival in Sage’s Island that Night Raven College is—” “Let me guess, you want me to work on it” you said, a deadpan expression on your face, “Yeah, work on some stupid festival in an island in a world I don’t even belong in and was brought to for no fucking reason” the Headmage stared at the growing annoyance on your face, not knowing what to say. “Now, [Name], it won’t be that bad, so let’s settle this calmly” you clicked your tongue, “That’s what you said before! I’ve had to deal with a bunch of overblotting students and research how to get home on my own, all that then what were you doing? Nothing!”

A couple students started to gather outside the Headmage’s office upon hearing the commotion, and one of them was … . “If it weren’t for him and the others I would love to watch this stupid school burn to the ground.”

SILVER !!

Silver was one of the students that walked closer to the Headmage’s office to inspect the yelling. As he walked closer, he started hearing a familiar voice, his eyes widened in shock seeing that it was you giving Crowley a piece of your mind.

He’s not fond of hearing yelling (minus Sebek’s, but even then he tells him off if he’s going too far), it disturbs everyone and causes a scene. So imagine his confusion seeing you leaned down towards the Headmage’s table pointing a finger at him while Crowley just sank down his chair even further.

As much as he would've loved to go right in and calm you down himself, he could tell this was an issue that you wanted to deal with yourself. So, he waited until you ceased your barrage of insults and rants towards the Headmage and marched off outside the office, by this time the other students just began to ignore the scene and walk to their respective clubs and groups.

Seeing you walk out, Silver didn't waste a second grabbing your hand and asking in a worried tone if you were alright. He wasn't planning on forcing any explanation out of you, he already knew how you were treated by the Headmage, he just wanted to know what caused all this.

In the end, whether or not you explained yourself, he still pulled you into his arms in an attempt to comfort you. Silver didn't know what words to use, all of them felt wrong to say at the moment, so he just settled for just wordlessly holding you until you let go of him.

After this he'll make sure that you're no longer being overworked by the Headmage (reluctantly, he needed to ask help from Malleus due to his power as a Housewarden) and that, as much as he would love for you to stay, he would help you with everything within his power to get you home.

ACE TRAPPOLA !!

Ace walked you to the Headmage's office before you headed in, chatting with you on the way but he could read like an open book that faint look of irritation that you tried to mask.

He isn't one to always go against authority, only ones he knows is doing wrong. Hell, he talked shit about the Headmage with you back then when the situation wasn't that bad just yet.

So as he stood leaning against the dark walls outside the office, he and other students flinched hard hearing yelling coming in from the inside. Without hesitation, he busted in the office and saw you berating Crowley.

He felt conflicted for a moment, he wasn't sure if he should pry you off the desk or let you let it all out, he didn't know the full extent of the stress that you were put through but he sure as hell knew most of it.

For the sake of not risking expulsion, he pried you off of the surprised Headmage and dragged you out the office, much to his surprise you didn't fight back.

"What the hell was that!?" he yelled, he sounded angry but you wished he wasn't. And he really wasn't, he was worried instead.

Worried about the repercussions you would face for doing that to the Headmage. What if you get suspended, or worse expelled.

Ace wasn't the best at comforting people, so his solution was taking you out to an isolated bench in the campus with some snacks he bought.

You don't need to speak, hell, you could space out the entire time and he wouldn't be bothered at all. He knows you're not feeling the best, so he just sits there until you're ready to start talking.

#twisted wonderland #twst #twisted wonderland x reader #twst x reader #silver x reader #silver x you #silver twisted wonderland #twst silver #ace trappola x reader #ace x reader #ace trappola #ace trappola x you

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n1ghtfurys · 2 days

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For the record

Mentions a toxic relationship

(Also I've never done this before so....yeah.)

“For the record this is self destructive” Soaps tone is flat, this has happened so much he's not even shocked anymore. Simon's mad over you, you have a fight, break up and he comes crawling back even when it's your fault. You make him stupid and it grates on Soap like nothing else, the fact that you don't like him doesn't help the situation much either.

“For the record I'm aware of that.” Ghost replies sounding exasperated, he knows you're bad for him. You like the attention you get, the way he fucks you when he comes back like he's hoping you'll see him as the only guy in the world and in a sense you do. You love him, you really do but you can't help yourself. When it's good it feels too good, so you fuck it up. You know it fucks with him and you know Soap hates you for it but you can't help it. You know one day he might not come back and that terrifies you, you're trying to stop it but old habits die hard right?.

Simon sighs and drags his hand over his face. He knows it's dumb to be so caught up in you but you get him and he can't explain it other than he loves you, loves being with you. Even the stupid bits where you decide you hate him, all the mood swings and screaming and shouting. The make up sex, the cuddling, the way you rake through his hair, how sweet your voice sounds, all of it.

Usually whenever you guys ‘fall out’ he spends the entire time fantasising about what he'll do when he gets back to you, that mixed with the fact that he was on deployment before your last spat has him reeling. He’s nothing if not pent up, the anger doesn't help either. He hasn't been able to get you out of his head, he's lost count of all of the wet dreams and the videos he's replayed. Some of them weren't even sexual, just videos of you smiling at him (from a vacation he took you on a while back).

He shifts his hips, trying to make the way his cock is chubbing up, again, from just the thought of you less noticeable.

“Si-” Soap begins but Simon cuts him off.

“For the record I've been picturing her body draped over the sofa wearing nothing but my mask.” He regrets it the minute he says it, he can't stop the way the idea of you like that makes him feel. How it makes his cock throb.

Soap rolls his eyes and makes an exasperated noise. “For the record.” He mimics clearly annoyed.

"I'm screwed." Simon knows he's right, he knows the two of you are toxic but he's addicted. Everything about you is so good, and maybe if he keeps coming back you'll realise that whatever fucked up reason you have for treating him like this isn't worth it.

Simon and Soap sit in a charged silence for a while before Soap appears to get sick of Simon's awkward fidgeting.

Simon gives him a grateful nod before Soap pauses at the door, “For the record, I think you should leave the lass, no matter how bonnie you think she is.”

They both know it fell on deaf ears, not only because he was too focused on how bad he wishes he could push his cock into you instead of his hand but also because they both know he's down bad.

The way Simon's palming at his cock the minute the door clicks shut is honestly pathetic, he wants you so bad it feels like he needs you. He dips into the grey joggers he has on and pulls his aching cock out and gives it a few fast tugs, before pushing his thumb over the tip and smudging the pearly bead of pre like you do.

He bucks up into his hand, your name falling out of his mouth as he imagines it's your soft hand wrapping around the base of his cock. As he wishes it was your tongue circling its sensitive head.

He drags his hand along the throbbing member remembering the way you clench around him. Envisioning your perfect form bouncing feverishly on his cock, milking him dry.

Before he knows it he's thrusting into his own fist, moaning your name over and over as if it will make his thoughts real while he spills over his knuckles. All while wishing he was cumming into your needy little cunt.

#cod smut #cod men #ghost #simon ghost riley #john soap mactavish #ghost smut #ghost x reader #drabble #smut #soap cod

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