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#jk I like the danger
cipheramnesia · 1 year
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The "movie about a movie that kills you" is a surprisingly robust genre of horror. There's a wide range of approaches, but one key factor is the question of how good the deadly film in a film is, on its own. Some approaches are keeping the faux film entirely unseen, use brief clips, or make it real short.
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Antrum: The Deadliest Film Ever Made goes in for a high risk approach and delivers a complete finished film, ostensibly made in the 70s and never released, framed by brief opening and closing info bites to set the stage of it.
Somehow this thing was completely off my radar, which means I was taken fully off guard as an ominous warning about the content in white text on black appeared on screen, giving a thirty second count down to leave if I wanted.
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Wonderful showmanship and canny filmmaking that got me right in the mood to enjoy what followed. While I wouldn't call it a scary movie, I found it almost delightful in the atmospheric dread and devotion to its aesthetic of low budget 70s films. Nothing in it feels like a curse on its own, but it does feel like the sort of movie that could easily prompt psychological distress for anyone under psychotropic influences, pre-existing emotional vulnerability, or prone to delusional states. Not through anything supernatural, more because it works hard to keep the viewer in constant doubt over what is and is not real for the characters in the film. Combined with the framing device of it being a movie somehow able to influence the real world of the viewer, and the use of fractionally visible flashes of occult symbols on the screen, it generates an intense feeling of unreality which for me was an almost drug-like high and an immersive pleasure.
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The premise of Antrum is simply a brother and sister decide to dig a hole to hell, and the movie plays out around this event by surrounding it with disturbing sounds and imagery, as well as real world dangers that weave the protagonists between the supernatural and mundane while keeping them in a state of terror and madness that grows until it becomes unrelenting.
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In a certain sense it also feels cursed, like the kind of film where there are elements that feel very transgressive - in particular the opening scene which to my mind evoked Un Chien Andalou - not the infamous eyeball slicing scene, but the use of rotting animals. The few and very basic visual effects remind me as well of the early Survival Research Laboratory devices engineered by Mark Pauline.
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However, the core question for me is also always what is the movie about besides the plot. If I had to identify some rough themes, I would say it's trying to explore the idea of understanding death and violence through the eyes of children who do not yet have the psychological tools for processing such matters, but who have been left on their own to do so regardless.
Many of the unusual elements in the movie can relate to death rituals poorly understood, starting from the very premise of digging a hole into the earth. And the same act is surrounded by strange rituals unclear in their origin, ideas which might be logical drawn from watching words recited over a grave without having a connection of purpose. Their encounters with other people are fully without possibility of communication as none of them speak the same language, and these mundane threats feel at times akin to a satanic Alice in Wonderland, rituals and violence whose meaning cannot be understood by the protagonists.
Likewise the supernatural is full of unprocessed images of death. Demons with black skin who look like mummified corpses. River crossings and empty chains dragging through leaves. It's as if death itself has manifested through the ambient world, surrounding the two children and refusing to let them leave its circle.
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In combination with the intriguing use of sigils inscribed throughout, it creates a movie that is for me a joy to watch. An absolutely perfect Halloween spook for next year, but your mileage may vary between finding it full of pretentious nonsense or maybe the scariest film you'll ever watch. It can really come off either way, and I'm honestly not quite sure why my reaction was actual joy in the watching. Not to undercut the severity of the subject matter, but I just can't stop thinking about how happy I was to watch the movie at work mechanically, to enjoy the well oiled pieces fitting together, and then all topped off with the delicious extra treat of the framing device. Surely worth 90 minutes of your life.
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the-writing-mobster · 6 months
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| The Most Dangerous Game | Predator | 💙 🔪 💔 |
Both Chapter 5 AND Chapter 6 are available to read on AO3! You can find the link to the fic by clicking the blue title up above.
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“Scary, is a good word for it… I hope you’re not scared of me…”
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daisyachain · 4 months
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Restorative or Transformative?: Homoerotic Subtext, The Closet, and Ciphers in Pop Culture. The nature of commercial art is that it’s sometimes bad and inconsistent. Notably it’s also misogynistic. One way in which audiences try to reconcile massive plot holes or gaps in character motivation is by reading secrets or hidden information into a plot.
Commonly, male characters are interpreted as closeted gay or bisexual to reconcile the absence of women from commercial narratives with the generally stunted and poorly-written male characters that form the focus on said texts. This reading has become especially common among a non-heterosexual milieu. Rather than transforming the original text into some radically different new form, this closeted interpretation seeks to make the original text stand on its own as a story rather than a Swiss cheese of dumb writing decisions.
This interpretation only works for a specific type of pop, usually genre fiction. Any story in which tortured male leads eschew women in favour of male-male bonds (because female characters are constantly killed off, written sparsely, or written out, because the production team keeps casting their male buddies, because actors demand to keep having scenes with their bros, whatever) can become a sounder structure if you put one of them in a closet.
The gay interpretation is the natural consequence of shoddy misogynistic writing from ventures like Supernatural, Naruto, all the biggest hits. It’s also the natural consequence of more benignly misogynistic writing like The Adventures of Sherlock Holmes or The Lord of the Rings, where women aren’t necessarily rejected but are simply absent from the worlds of the protagonists. When the emotional crux of the story falls on male-male interactions, this reads as romantic because society at large priorities (definitively heterosexual) romance as the pinnacle of human connection. Two forces are in conflict, the primacy of heterosexuality (read as: romance) and the primacy of men.
Anyway. All that is to say that the typical gay or bisexual reading of male characters in pop fiction comes from a very real place. But, in some places, that’s the default interpretation. Angst, insecurity, secrets, double lives, fatigue, disappointment, restrained passion, stunted personal growth, anyone living in the closet can tell you that it impacts and defines your whole life to know that you live in a way fundamentally incompatible with The Proper Way that life is structured around down to tax law and superstore prices (which assume a heterosexual nuclear family unit). Characters in fiction also tend to have personal problems because that makes them interesting and tasty.
If you’ve grown up on stories with the specific type of misogyny that can be papered over with a closeted interpretation of the male leads, carrying this interpretation over to any male character will make sense more often than not. Even a bit of angst or insecurity? Well of course that makes sense if a character is closeted.
Except that’s hurt a normal part of fiction, and sometimes the closeted interpretation takes away from the point of a character. If a male character is on another axis of marginalization, the closeted interpretation imposed by the slash reading community downplays or trivializes the effects of that marginalization in the plot by overwriting it with another type of marginalization. Alternately, sometimes a character’s heterosexuality is a part of the story. There are some sorts of critiques or investigations of misogyny or masculinity that don’t work if the character has an ‘opt out’ of the cisheteropatriarchal perspective. Not that gay/bisexual men aren’t except from misogyny, but misogyny masculinity and heterosexuality are so tightly linked that it sort of defeats the point if you interpret that character outside of heterosexuality.
All that is to say—the closet interpretation is a quick and easy spice to apply to the weaker parts of action-adventure genre fiction to make it taste better. It draws from a large enough sample of art that it’s pretty widely applicable. Because of that, it’s part of some people’s [my] default interpretation package just because the semi-dull macho show at least gets less dull if you imagine there’s a reason for there to be no girls besides simple hatred. That then forms its own problem where the interpretation that works with your average genre work gets then blanket-applied to all genre works and obscures the places where the closet interpretation doesn’t fix the work, and actually makes it less interesting.
#kelsey rambles#I’m as guilty of it as anyone.#just thinking about Johnny Storm and like. bisexual ass character. deeply bi guy. but.#what IF he’s just heterosexual. what then. wouldn’t that almost be…more interesting#if he’s Like That and not closeted? what twisty gnarled psychological torments would a good comic have to explain him#and on the other hand. that one post I saw about how miles/hobie totally misses the point that their relationship is about solidarity#spider-punk and spider-byte’s alliance with miles are the same thing and to read it as romantic erases the important part#and on a third hand. when speaking of miles’ story. the stupid fucked Bendis running joke/subtext with Ganke#to have Miles be gay would possibly take away from the messy and interesting part of his character that is being a person with nothing#to hide. a totally honest genuine straightforward kid who is forced to start a double life by an outside actor#but at the same time it’s dumb and a cop-out to throw in that much bait and that much of a genuinely charged tense friendship#and then go ‘lol jk. nothing to see here’#the other thing is the semi joke in atsv about ‘coming out’ as spider-man#the most important thing about Miles having to hide is his relatively precarious position as a black kid. he’s not afforded the leniency#that Peter Parker would expect if he got unmasked. Miles is more cautious because he is in more danger because he’s Black#so to paint that struggle with the gay brush is to disregard the character’s raison d’être. while also#using that sort of language and structure deliberately puts a gay lens over that character and ignoring that or kicking it to the side#feels a bit cheap. to borrow the look and not the substance#way too many tags and it’s past my bedtime. thesis statement is:#miles morales is a character whose history is fraught with plenty of real gay subtext and whose character struggles are entirely divorced#from any sense of gender performance. he’s subtextually bi but that’s got so little to do with his story that it feels almost wrong to read#that into him because there is so much other interesting stuff going on with him
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ptashenka · 1 year
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mercutio della scala and tybalt cappelletti 🫶🏼
did some lazy art of my stupid boys, looking all handsome and dreamy. put a lot of thought into it and not a lot of work asfkjsk
technically just colored sketches with some textures thrown on top to make the pics presentable
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mirkwoodsuperspy · 6 months
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mike wheeler loves his sisters.
if you think he wouldn't absolutely break if either of them die, you're wrong.
if you think he wouldn't absolutely leap up to protect them (with the little bit that he can do) when they are in danger, you're wrong.
if you think he wouldn't go to any lengths to make sure they are okay, you're wrong.
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chirpsythismorning · 2 years
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Stranger Things 5 and no I will not elaborate….
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Rewatching DS9 and VOY has just made me want to do episode rewrites but with the TOS crew. So what about Voyager s2 e25 Resolutions but with TOS mckirk or AOS spones. This is a kinda long post and just my random thoughts so heres a keep reading
So Jim and Bones are stuck on a planet while infected with some virus that doesn't effect them while on the surface. And the Enterprise then has to leave because of some reason. So Spock is left in charge like Tuvok was and has to deal with the fact that the Captain and CMO have been left behind and with the growing resentment towards him even though Kirk ordered them to leave.
Also like the idea of Bones being busy researching how to cure them while Jim quickly grows to enjoy the easy living and maybe for once in his life the ship isn't a burden on him. While bones is losing his mind because being stuck on a planet with nothing but researching this one cure is like Bones' worse nightmare. (like i know most people would think Bones would be like Chakotay but its my episode rewrite and i can do what i want). Also the idea of Jim wanting to build them a log cabin extension is very fun. Also since neither of them have any romantic attachments they actually do something about the romantic tension and then have to deal with that when they get back on the ship.
Though I'm not sure if they would have to ask for help from some enemy or Bones would just figure out a cure. Maybe Bones finds a cure and then isn't sure what to do since Jim seems so happy and he doesn't want to ruin that or maybe he thinks if they go back to the ship Jim will just pretend what happened on the planet didn't. And then a day later the ship comes back with a cure and he has to deal with the fact that he didn't instantly tell Jim about it. And of course Jim finds out and hes conflicted because he wants to be angry at Bones for not telling him right away but hes also angry that the cure was found at all so its a whole mess.
Or if it was AOS it would be Bones and Spock who are left behind mainly so it would mirror the fact that Janeway has a partner back home so spones just have awkward weird romantic tension. (not sure if this would have mckirk as well or just spuhura) Though in this version nothing would actually happen on the planet cos no cheating thanks, also not enough time would have past where they actually think theres no going back. Not sure either Spock or Bones would be like Chakotay, they'd both be super focused on finding a cure. They would also have to deal with this fallout on the ship but it would be in a very different way than TOS mckirk. Maybe if theres no mckirk it would end up with mccoy/spock/uhura in some configuration. Though if mckirk was already a couple it would stay the two different couples. lmao or maybe mckirk comes out of it since jim realised how much he actually missed Bones. i dont know this is post is turning into a mess
So its Jim and Nyota who have to deal with leaving the people they care most about behind. As i think there would be less resentment from the crew to deal with. I'm sure the med crew would miss their boss but they would have less power to make a fuss about it.
But theres still the fact that they're not as far away from starfleet as Voyager was and why the ship would leave but like why should that stop me?
I mean it could also just be AOS mckirk on the planet but for some reason i'm more drawn to the TOS version in this instance
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mutinouscaptain · 9 months
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okay but like the captain in the golden vanity is so barbossacore though
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bmpmp3 · 1 year
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ive been in a bit of a music discovery drought recently (have only found 2 good AMV imagining songs in the past couple weeks) and i think ive come down with my first case of art block in months but as you can imagine im handling it perfectly fine (explodes on impact)
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kostnyan · 1 year
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Hot Kalim take but, even though Kalim loves children, I do believe he'd at the very least be hesitant to have some of his own. Considering that Kalim got so upset over Jamil getting poisoned and put into a coma from eating a meal meant for him(so much so that it's one of least favorite foods), I can only imagine what his reaction would be toward the idea of his own child/children being at risk, simply because they are his heir. I doubt Kalim wants anyone to go through the exact thing he had to as a child even though he knew what came with the title of being the heir to Asim. But at the same time, Kalim loves kids. And I bet that even though he would probably think that it's selfish of him to want children of his own, even if it means putting his children through the exact trauma he had to go through, he would still want them regardless. It's probably a struggle for him knowing that even with his vast amount of wealth, his connections, his own magic, won't stop others from wanting to hurt him or his family just to gain something from him. And that he can only hope that his children will be as strong as him as they grow up in a loving but hostile environment, where even their own friends and family wants them dead. I just think that it would be in a constant battle with himself over this. Especially since it's expected of Kalim to have children at some point, to continue the family line.
Anyways hot take, I know, but still I'm constantly thinking about how technically fucked up Kalim's childhood was and he's just kinda expected to brush it off, even if it was severally emotionally damaging. And that he still has it in him to keep an optimistic outlook on life and how he's still willing to forgive those who wronged him. But that's a whole post on it's own that I will get to. At some point. Eventually.
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mazzystar24 · 1 year
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I feel like there is a hair stylist out there that feels very passionately about the blond buck discourse and is owed for emotional damages
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craycraybluejay · 4 months
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4 THE ALBUM GAME I’d like to know what’s you think of the album ‘less than three’ by mindless self indulgence, I think it’s you, at least it resonates with how I perceive you ^w^
SOMEONE ALREADY SAID THAT TO ME HAHA very much me apparently. I love that album smsmsmsm. Favs from it are probably Pay For It and Make Me Cum. Banger songs all of them.
The music feels very stimulation-seeking; about sex, judgement, junk food (A La Mode, anyone?), etc.
Which yeah. It's the reason social media got so toxic for me and the reason for a lot of things. I require mental and physical stimulation to the point where my satiated ideal would probably read as self harm or something akin to it to most people. Stagnancy is boring and frustrating.
Anyway, their music fucks severely, if anyone bothers me about any controversies I'm going to give them the Laser of I Don't Care Loser :3. I know I have great names for lasers.
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Mhmmmm vent post in tags cuz it's 2am and I can't slepe and nooooo ones gonna see it
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zeynatura · 7 months
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Whenever I see anything related to Ballistics like the previous post I remember that time I went into the dark web, to do my university homework ... it was about fire arms and their price ... and I accidently went into the black market to check for prices but HEY my homework couldn't have been more up to date lmao
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boot-prints · 1 year
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Made the mistake of scrolling down the Hogwarts Legacy tag for a while, gonna blacklist it now so I can't keep doing it because it's not a helpful or productive thing to do. It's all kinds of infuriating though.
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irlkenku · 2 years
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im gonna dress up as danger days gerard way for a ‘dress as ur queer awakening’ halloween party and even just trying on parts of the outfit is so so good for whatever the fuck gender im doing rn
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