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#the child in time
elennemigo · 6 months
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BENEDICT CUMBERBATCH´s hands through his characters.
✦ GIFTOBER 2023 | Day 23/31: Hands.🖐
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thelostsmiles · 9 months
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Benedict Cumberbatch 2023 Birthday Celebration
Stephen Lewis in The Child in Time (2017) dir. Julian Farino
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twery · 2 years
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The Child in Time (2017)
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jeffwingxr · 1 year
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have any of you seen The Child In Time (2017)? i have thoughts and would like to discuss. if not i probably will post an analysis here later for funsies so look out for that
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thatrandomblogsays · 4 months
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Annabeth: I, a child, had to earn Thalia’s love, that’s how the world works! I have to earn my moms love. Love is transactional, you gotta be worthy of it first silly :)
Percy, listening to this on the train
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noknowshame · 1 year
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why is religious Christmas imagery all so joyful and pleasant? where is the inherent horror of the birth of Christ? A mother is handed her newborn child, wailing and innocent. Her hands come away sticky. Red. Simply by giving her son life she has already killed him. He is doomed from the beginning. Her love will not save him from suffering. Because the thing cradled in her arms is not a baby, it is a sacrifice: born amongst the other bleating animals whose blood will one day be spilled in the name of what demands it. the night is silent with anticipation. Mary, did you know? That your womb was also a grave?
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denimbex1986 · 3 months
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'*****
Andrew Haigh’s mysterious, beautiful and sentimental film is a fantasy-supernatural romance about loneliness and love. It concerns the climacteric of middle age when you realise you are probably nearer to death than birth, there is no guarantee that you will live your life inside a relationship and your parents were ordinary, vulnerable people – just like you.
All of Us Strangers is adapted by Haigh from the Japanese novel Strangers by Taichi Yamada, translated into English by Wayne Lammers (already filmed in Japanese), possibly tilting away from the the original’s tone of disturbing possibilities towards a melancholy sweetness, and very much keeping its feel for the eerie and the uncanny but finding something gently revelatory in these things.
Andrew Scott is Adam, a screenwriter in the first phases of depression, listlessly working on a script inspired by his relationship with his late parents, who were killed in a car crash when he was 12. In semi-silent montages, Haigh shows us Adam neglecting his work, watching daytime TV, eating biscuits, broodingly going through old photos of his childhood and putting the music of that era on the turntable, namely Frankie Goes to Hollywood’s The Power of Love. He lives on his own in an apartment in a modern block in London, a weirdly Ballardian-looking high rise in which he fancies himself to be the only occupant – or almost. Adam notices another man who keeps roguishly catching his eye: Harry, played by Paul Mescal. Like Adam, he is lonely; unlike Adam, he is a bit of a drinker. The booze emboldens Harry to approach Adam.
Just as this tricky relationship is beginning to take off, Adam goes on a whim to see the old suburban neighbourhood near Croydon where he grew up. Here, he makes a sensational discovery: mum (Claire Foy) and dad (Jamie Bell) are somehow still alive and living in his old house, which is decorated and furnished just as it was in the mid-80s. They have not aged and greet him with a mild, wry bemusement and easygoing welcome, as if Adam was home early from a term at uni and wanted his laundry doing. This is not a writerly reverie that Adam is having; he is by now about the age his parents were when they died and the universe has given him this secret miracle, to speak with his parents as an adult about his life, being gay and being on the verge of a relationship.
In its Englishness and politeness, All of Us Strangers reminded me a little of Ian McEwan’s The Child in Time and also Will Self’s The North London Book of the Dead, whose hero discovers that, after dying, his late mother has gone to live in a flat in north London’s Crouch End. (In Self’s novel How the Dead Live, we find that dead people go to live in bland suburbs.) When Adam first has a solo chat with his cerise-tracksuit-clad mother in the kitchen – she has briskly told him to take off his wet things after he’d been caught in the rain on his way over – I found myself thinking of Marty McFly’s Freudian encounter with his mother in Back to the Future. Yet the implications are not comic in the same way. His mum looks at Adam and realises that he looks exactly like her dad, the kind of epiphany that indicates that this quasi-ghost-mum is not simply a figment of his imagination.
His mum and dad aren’t angry about his gayness, nor do they make any show of being unimpressed, surprised or matter-of-fact about it – they don’t do the traditional twinkly-eyed we-knew-when-you-were-eight-years-old bit parents sometimes have to do in art, as in life, with varying degrees of sincerity. His dad does wryly say he could never catch a ball. His mum is frowningly concerned about the “lonely” or “childless” way of life he has chosen, evidently unaware of legal and cultural changes that have happened since she died. There are further fantasy scenes in which Haigh indulges in a note of comedy and even whimsy: Adam climbs into bed with his parents, wearing an enlarged version of his childhood PJs, and it’s a measure of the absolute seriousness with which Bell, Foy and Scott play the scene that it doesn’t just come across as silly.
As for Adam and Harry’s relationship, it continues to hold out the promise of happiness, with interesting dialogue scenes: they discuss the way the word “gay” has been replaced by “queer”. Harry’s theory is that “gay” was discredited by being used as a term of abuse in school: a “gay bike”, “gay haircut”, etc. Opinions may be divided over the film’s final scene, whether it takes this drama too far into another (familiar) genre and whether the scenes in which we’ve made such a tearful emotional investment have merely been misdirection. But what tremendous performances from all four; what style Haigh brings to this movie, fusing the themes of romantic relationships and intergenerational relationships of his previous movies Weekend and 45 Years.
It’s a heartstopping moment when Adam walks broodingly through a park and sees, in the distance, another man who briefly gestures with his head towards a thicket of trees; Adam follows, but the scene isn’t what we think. The film is an enormously satisfying and affecting experience.'
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july-19th-club · 1 year
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seriously have been thinking about this all night long. call me autistic but the fact that 90% of workplaces the point is not to get your work done and then be done doing it but to instead perform an elaborate social dance in which you find something to do even when you're done doing everything you need to do in order to show your fellow workers that you, too, are Working . because you are at Work . disgusting why cant we all agree that if there is no work immediately to be done. we just dont do anything
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lazylittledragon · 1 month
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he's nothing if not determined
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elennemigo · 4 months
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"I would love to see domestic Sherlolly..." Request by @sherlollyandspoilers ♡
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captain-mozzarella · 17 days
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I headcanon that all of Yoda's finest teacups were made by younglings
In fact most masters of the order's finest teacups were made during crèche crafting time when the kids were learning pottery.
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artplecornhusk · 7 months
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he has degrees
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hhhhunty · 20 days
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How funny that she never considered that.
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leandrocrossard · 2 months
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something really cool happened today that i wanted to share:
my nephew is 9 years old, and a stereotypical little boy. he likes dinosaurs, minecraft, and ninjas.
today i walked in on him excitedly watching Nimona with my dad. (minor spoiler warning!)
i had never heard of it, but i sat down and watched some of it, just to see why he was so happy.
he started narrating it, anticipating parts of it, almost as if he’d seen it before. he had.
we didn’t get to finish it, but i watched it on my own, because it looked fun and i wanted to see how it ended.
and i loved it. it was a fun, exciting, fantastical adventure about the importance of acceptance people who are different to us.
and it had a very clear queer subplot.
one that my nephew hadn’t mentioned at all in his explanation of the film. his summary was “it’s about a monster who helps a knight that was framed for killing the queen”.
and honestly yeah, that is what the film was about.
before sharing it with us, he had watched it all, engrossed himself in the story, took it in entirely, and the part he cared about most was whether Nimona got her acceptance. he wasn’t indoctrinated, or confused, or questioning anything about himself.
he didn’t bat an eyelid over a gay love confession. he just enjoyed the film, raved about it, made my 60 year old dad watch the movie about the monster who didn’t fit in.
he’s still the same little boy who’s been asking us how to get a girlfriend.
the only thing a movie centred around queer and queer-coded characters taught my nephew was that those who are different to him are not monsters. that’s it.
and that dragons are really cool.
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The Afton family gatherings are always wild in FNAF,,
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