fantastic beasts but like,,,,,,,, without the plot,,,,,,,,,,,,,, just two hours of my boy newt taking care of all the creatures in his suitcase- and maybe a sideplot about picket’s struggle to fit in with the rest of the bowtruckle,,,, no johnny depp no deeper plot no awkward romantic pairings just good old newt scamander and his magical creatures
<b>Me:</b> I love the dark, night time is my favorite time. Hello darkness my one and only friend.<p/><b>Also me:</b> * Opens all lights when home alone* Every sound you hear while in the dark is a sign that you are closer to death.<p/></p>
i really love leverage because the concept has the potential to be super dark and gritty and angsty and morally ambiguous–you’ve got the grieving father of a child who died of cancer, you’ve got legal injustice versus illegal justice, you’ve got characters with severe emotional issues, dark pasts, and substance abuse problems–but instead it’s this sweet, lighthearted, seriously funny show about a found family of master criminals that does things like film a whole episode in the style of the office or name characters’ aliases after sci-fi actors. it still has enough solemn moments to respect the darkness of the characters and the issues that the show handles, but it never falls into that darkness so hard or for so long that the fundamental tone of the series is lost. i really, really love leverage.
Star Trek Advent Calendar - Day Two: Favorite Film
ok there are a lot of things about Star Trek Into Darkness that annoy me but for some reason it remains my favorite. probably because its super spirky. though the philosophical questions are a bit hard to find in between explosions, i like that corruption is part of the story’s theme, as is the characters’ fears about the militarization of Starfleet. Despite its issues, to me STID shows the importance of loyalty and love.
plus Spock and Jim trying to talk about their feelings about each other to each other is both adorable and heart-wrenching.
like every single minute their lives aren’t in mortal danger, they’re trying to explain how they feel and failing at getting where the other person is coming from until the end of the film when they vulcan kiss and suddenly EVERYTHING MAKES SENSE
I will now treat you to my dark theory about the world of Pixar’s Cars. This theory is largely (OK, solely) based on the first Cars film, but it makes the sequel and its offshoots horribly sinister.
When McQueen is staying the night at the Cozy Cone, the room is essentially a garage. He’s parked on the floor like a car…
But in that same film we see a car with a mattress strapped to its roof…
And though the cars have enabled devices such as gas pumps and doors to operate without the need of thumbs. Some things are just too complex to be built with all-weather radials for hands. Who made the flags that hang at Luigi’s? The intricate figurines for sale in Lizzie’s shop?
The answer: Humans.
Now here’s where my theory differs from other Unified Pixar Theories, which pose the possibility that the world of Cars exists in the distant future after Wall-E when technology has advanced to a point where machines have feelings, etc. In my theory, the humans that created the world of Cars STILL EXIST AS CAPTIVES!
The proof of this terrifying reality is that lone mattress. Why would a car need a mattress when we know they sleep in garage-like rooms? They don’t, but humans do. So if humans still exist to help build elaborate mechanisms of their automated overlords, Cars takes place in the NEAR future. But then where are they? Where are the people? Chained up in some kind of work camp, no doubt. The hidden missing cog that makes the world of Cars feasible.
And I’m not the only one who thinks there’s something awful going on in the Cars films. The Simpsons too it a step further…
In summation: The cars in Pixar’s Cars films keep the human race as slaves to build things for them with their opposable thumb-hands and/or eat them. And that means the cars in Cars are PURE EVIL.
I’m beginning to realize there is a difference between a fandom blog and a *Fandom* blog.
Like, an MCU blog loves the MCU but thinks it definitely has room for improvement, especially in terms of the diversity of it’s cast and crew throughout the films.
An *MCU* blog insists that Sharon Carter is the worst character ever, will only ship Steve with Bucky and calls anyone who doesn’t ‘homophobic‘, calls Tony a villain for being a human being who makes mistakes and is emotionally manipulated by others,
ignores the TV shows that aren’t on Netflix,
constantly forgets about the existence of Rhodey, T’Challa, Fury, Wilson and other characters of color, and will reblog every DCEU positive post they can find with a response that basically amounts to “WRONG!!“
edit: Yes, I have done a few *MCU* blog things. Looking back, most of them were out of bitterness and anger. I see that now, and I hope never to do so again.
You know what tuck everlasting would be? A great studio ghibli film. It has all the key points of one:
- lots of nature
- a spunky young girl as the protagonist
- vague magical happenings
- a power hungry old man as the villain
- darkness hidden by a whimsical setting
- an out of nowhere climax
- a weird and anticlimactic ending
MISS PEREGRINE by Jack Flamel
I saw the book in a bookstore and decided to buy it, because I like to collect old pictures as its author. I read it and I liked it. Imagine my surprise when I heard that Daddy Tim going to do a film adaptation with the actress that most inspires me. I don’t know if it’s going to be a good movie, but is Tim Burton, and Eva, and a super entertaining book. So, of course, I’ll love this movie, I know.
The Maze Runner; was released on September 19, 2014 in the United States by 20th Century Fox. The film received mainly favorable critical reviews, with praise aimed at Dylan O'Brien’s (along with the cast) performance as well as the film’s intriguing premise and refreshingly dark tone, and even considered the film better than most young adult book-to-film adaptations, as it topped the box-office during its opening weekend with a $32.5 million debut, making it the seventh-highest grossing debut in September. Since its release, the film has grossed over $339 million worldwide against its budget of $34 million.
***This theory has a minor Fantastic Beasts spoiler***
So, Rowling has stated in interviews that dementors don’t breed with each other, they “grow like a fungus” in places of darkness and sadness.
FB introduced obscurials, wizards/witches who repress their magic due to trauma, and obscuri, parasites that form from that repression.
An obscurus grows within the magical person, LIKE A FUNGUS, due to their inner darkness and sadness.
BUT WAIT, THERE’S MORE.
In the film, Grindelwald wants to recruit an obscurial to use its power. Okay, cool, makes sense on its own. But where does Grindelwald ultimately end up in the earlier stories? Not Azkaban, another prison called Nurmengard.
Wouldn’t Azkaban be an adequate place to hold him, given the other powerful dark wizards there? UNLESS… HE KNOWS HOW TO MANIPULATE DEMENTORS.
What I’m proposing: A dementor is what is left over when an obscurus kills its obscurial! All we’re told is that the child dies; in the magical world, there are many fates worse than death. The children could simply be “dead” in the sense they are no longer living souls.
Grindelwald seemed to know a lot about obscuri and obscurials. Perhaps, if this process didn’t already happen in nature, Grindelwald is connected to the creation of dementors. That could explain why they are so common by the time of the HP stories, while there is no mention of them at all in FB despite their similarities to an obscurus.
On paper, Cowboy Bebop reads like something John Wayne, Elmore Leonard, and Philip K. Dick came up with during a wild, all-night whiskey bender.
The response from critics and fans may have sounded hyperbolic—the word “masterpiece” was thrown around a great deal—but the praise was justified. Watanabe had created a gorgeous tale of morality, romance, and violence–a dark look at the lives of outlaws that’s shot like an independent film. It was unlike anything the genre had seen before. It even approached its music differently. Countless filmmakers, animators, musicians—they’ve all been drawn into the orbit of Watanabe’s space-age cowboy western.
As producer Sean Akins explains, Watanabe’s show “created a whole new world.” “It’s hard for me to quantify the impact that I think it has had”.