LOGAN LERMAN as THE SON Bullet Train • 2022, dir. David Leitch
AARON TAYLOR-JOHNSON as TANGERINE BULLET TRAIN (2022) dir. David Leitch
fuzzy duck?
ducky fuzz
DOES HE FUCK?
FUCK, HE DOES
none of the gifs r mine
dm me if you know the owner(:
when hayley williams said "i wasted all my teenage years being a misery factory" and marina said "wish i'd been a prom queen fighting for the title, instead of being sixteen and burning up a bible" and mitski said "instead of pursuing something or going out and learning about or changing the world, i directed all that fire inward, and burnt myself up"
You know what I think? It’s cold, unlovable bitches like us make the world go round. EVERYTHING EVERYWHERE ALL AT ONCE (2022)
using a multiverse as a narrative framework to tell an immigrant story really is THE best possible implementation of this concept. like the idea that every time you make a decision in your life a different branching universe splits off where you chose differently, while obviously broadly universal because of course everyone wonders what if (what if i had chosen differently, what would my life look like then), really does hit such a specific core question that is imo fundamental to the immigrant experience
all the time my parents talk about imagining what lives they might have lived if they had chosen differently, if they had never left home, if they had never come here, if they had not raised their daughter in a world and a culture so utterly foreign to their own where she might make her own choices that are painfully incomprehensible to them. it’s all tied up with a sense of grief and loss and regret and almost existential melancholy, not necessarily because they think they chose wrong specifically, not because they think they’d actually choose differently if they had a chance to do it over again, but merely because that choice is such a monumental one and the enormity of it and the ripples it would end up causing are only obvious in retrospect. you make the choice to uproot your life and move to a different world, a different universe, and once you cross that bridge you can never go back. you can never truly go home again. and when we do go back to visit, we see in their old friends and classmates and relatives funhouse versions of ourselves, people we might have been but never were and never will be.
every immigrant story is a ghost story and the ghosts that haunt you are all the people you left behind including yourself—versions of yourself, of your family, of your children, of the people that are you but that you are not, lives that you recognize but are not yours. immigrant stories are ghost stories are multiverse stories and in multiverse stories all of your ghosts inhabit your body simultaneously, everyone who came before you and after you and everyone you left behind, everything that is and everything that never was… it really is everything everywhere all at once i am going to scream
“even though you have broken my heart yet again, i wanted to say, in another life i would have really liked doing laundry and taxes with you”
EVERYTHING EVERYWHERE ALL AT ONCE (2022) dir. Daniel Kwan, Daniel Scheinert
everything everywhere all at once is about intergenerational trauma. about depression and passive suicidality and the gravitational appeal of nothingness. about aging, getting older in your twenties and getting older in your fifties. about the specific hurt mothers can cause their daughters and daughters their mothers. about the harsh reality of the immigrant experience and the american dream. but it’s mostly about kindness and family and it’s about choosing to sit at home talking about taxes with someone who loves you, and it’s about telling your daughter that you’d choose her over the entire universe, and it’s about how even in the universes where life didn’t form, love can still exist. and it’s really all of that at once.
it’s so true that the greatest weapon against nihilism and existential despair is to find joy in the mundane and never stop chasing after love
