#this is one of my favorite scenes in the series its so gd funny

[cobragardens]

My Favorite Good Omens Moment:

An Essay on Why It Is Cool and Rad (Part 1)

There's this moment in Good Omens that makes me cackle every time I see it and leaves me full of warmth, so here's an essay on its context and meaning, because explication and analysis are how I show love. I will try to keep my thoughts as tight as possible, but they do have a tendency to spiral outwards, and I am very stoned. Come, sistren, and get nerdy with me.

My favorite moment in the series so far occurs in 1601. To approach it we will first need an assload of context. There's a TL;DR in bold at the end of the Context if you don't fancy reading the whole assload. Key arguments are in italics and bold throughout.

David Tennant gives Crowley a very consistent facial expression every time Aziraphale says something so outlandish Crowley can't quite believe he's hearing it. It's this one:

Chronologically, we see the Eyebrows of Disbelief twice before my fave moment in 1601: once (above left) in that scene on the Garden Wall that familiarizes the audience with Crowley's face before adding the dark glasses, when Aziraphale admits he's given away his sword; once when Aziraphale tells Bildad the Shuhite that he, Aziraphale, has Fallen because he lied to the angels to save Job's children.

The Eyebows of Disbelief always signal surprise and amusement with something Aziraphale has said or done. This amusement is sometimes at Aziraphale's expense and sometimes not.

In the gifs above, Crowley is laughing because what Aziraphale has just admitted to doing is fantastic and unexpected and frankly pretty gd punk rock. He's not laughing at Aziraphale, he's laughing because he is delighted with him. The only record we have thus far of Crowley laughing at Aziraphale is this one:

Crowley laughs when Aziraphale informs him--him, a demon who has personally been through the process of Falling--that Aziraphale is Fallen and must be a demon now. As though of the two of them Aziraphale is the expert on how and under what circumstances this occurs.

And yet when Crowley sees Aziraphale's distress--not his fear of being taken to Hell, but his heartbreak and lostness over the fact that his conscience has diverged from God's stated will--Crowley stops laughing, and instead he acts very kindly towards Aziraphale. He validates the gravity of what Aziraphale has done and assures him he won't turn him in. He sits with him so Aziraphale isn't totally alone (like Crowley probably was) as he goes through the loneliest moments of his existence to that point and picks himself up newly weighted with the secret he must now bear.

And after this scene (in canon as it stands thus far), we don't see Crowley laugh at anything Aziraphale says or does again.

And he really has to work for it sometimes. We talk a lot about the things Michael Sheen is able to convey with his face in Good Omens, and absolutely rightly so; David Tennant earns a chunk of his paycheck in this regard as well. If you haven't given yourself the treat yet, rewatch the scene in Will Goldstone's magic shop in 1941 and focus on Crowley's reactions:

Tennant takes great care to show, with precision, that Crowley is expending effort not to react to Aziraphale's nervous chaos Muppetry and lack of self-awareness. Crowley is self- and socially and contextually aware enough that he knows (better than Aziraphale, at least, which is not a high bar to clear) what's cringe, what's funny, what's ridiculous, how to behave. But whenever Aziraphale crosses a boundary of normalcy, or even sanity, and there is opportunity to laugh at him, Crowley very carefully doesn't react. He doesn't interrupt him, he doesn't try to correct him, he doesn't make fun of him, he doesn't even smirk; he just watches him, as stone-faced as he can manage, no matter how bizarre Aziraphale becomes.

We should be reading this lack of reaction to Aziraphale's social and rational transgressions as powerful positive action. Go watch the Doctor Who episode "Human Nature," or literally any episode of The Inbetweeners, or read or watch Regeneration, and reflect on what it shows you about English masculinity; then consider again the depth of significance in how English- and male-coded character Crowley treats English- and male-coded character Aziraphale in an England created by an English and male-codedpresenting author based off a book written by himself and another male-presenting author. Within its context of English masculinity, Crowley's lack of reaction is not a neutral stance; it is a very fucking loud show of support.

This is not even an inference; it's stated outright in the show. Crowley himself puts it into words 422 years after my favorite moment:

You know how Crowley calls Aziraphale "angel" because the factuality of the descriptor offers him plausible deniability to any Heavenly or Infernal agents who might be listening? Remember how Crowley is a great equivocator? Crowley is equivocating here, too: he's using the cover of what Maggie and Nina will take as a disparaging joke at Aziraphale's expense in order to make a perfectly sincere statement. This is his genuine perception of one of the relationship dynamics he has with Aziraphale and how he feels about that dynamic. Crowley thinks he himself is quite witty (an accurate assessment), Crowley thinks Aziraphale isn't sufficiently self- or contextually aware to hide how strange he is and therefore frequently says and does mad things (also an accurate assessment), and Crowley is Into. That. Shit.

Okay. Now let's look at 1601.

Chronologically it's been almost 1,000 years since we last saw Aziraphale and Crowley. In 537, Aziraphale isn't willing even to consider a labor-saving working arrangement with Crowley of fucking off home out of the damp of Arthurian Wessex; but by 1601, he's worked (and met, and Arranged) with Crowley "dozens of times now," Crowley says, and Azirapahle does not correct him.

In that millienium, Aziraphale has grown to care deeply about Crowley:

In fact he may be somewhat smitten with him:

Seriously, go back and watch Aziraphale here as Crowley approaches and starts speaking to him: he doesn't start smiling until he recognizes that the person speaking to him is Crowley (but he only smiles at Crowley while Crowley's not looking at him).

And Crowley is definitely become smitten with Aziraphale:

Our man(-shaped entity) is so allergic to work he sets up a meeting to weasel, cajole, or (as it happens) cheat a coin toss to get Aziraphale to do an easy temptation for him in Edinburgh, and then in the same conversation agrees to miracle a play into success because Aziraphale gives him a single hopeful look. Crowley's got it bad.

TL;DR: The Eyebrows of Disbelief happen when Crowley is surprised and amused by something Aziraphale has said or done. Sometimes that amusement is delight with Aziraphale; sometimes it is at Aziraphale's expense. Crowley is aware of this distinction, and when his amusement is at Aziraphale's expense, he suppresses it, even when it takes some effort on his own part, and remains stocially composed. This is equivocation on his part: to Celestial/Infernal operatives lacking knowledge of the intricacies of human behavior, this non-reaction would seem like neutrality; to Aziraphale, who shares with Crowley and the audience the contextual knowledge of English masculinity's utter viciousness, this non-reaction is a profound show of support; and in the safety of support from Crowley, Aziraphale lets his weirdness blossom.

As another meta points out [link if I find it again], we also see in Aziraphale's wordless request about Hamlet and Crowley's immediate understanding of it that by 1601 Aziraphale and Crowley have developed an unspoken, coded method of communication with each other.

Now that we have all of that in mind, here's my favorite moment in Good Omens:

Ixi of Fuck Yeah Good Omens has even kindly archived a closeup of the aftermath, for Crowley, of "Buck up!" In gif 4, above, you can see that the tiny smile is an involuntary reaction that happens as Crowley's eyes widen: for a fraction of a second, he's caught off-guard. In the closeup it's easier to see that he suppresses the smile and gives a tiny shake of his head, Eyebrows of Disbelief heading for his hairline.

There are a number of things Crowley's reaction could mean and what messages it could communicate (we'll get to that in a sec), but regardless, his reaction is, unquestionably, one of surprise and suppressed amusement. This is an aspect of Crowley and Aziraphale's relationship and characters that I like very much, viz., that one of the reasons Crowley likes Aziraphale (though Aziraphale is judgy and occasionally, unintentionally, horrifyingly cruel) is that in addition to being one of the kindest and most courageous beings in existence, Aziraphale is mad as a bag of frogs. Crowley does not know what is going to come out of Aziraphale's lovely mouth next, but Crowley does know there's a good chance he will struggle to believe he's hearing it, and Crowley likes that.

That's what makes this my favorite moment. What makes this moment so cool and rad, though, is its ineffability. We know from the Eyebrows of Disbelief that Crowley is surprised and amused, but any of several things could be read in that almost imperceptible headshake. Like:

What are you doing? or

Why are you like this? or

How can you be aware that you say these things out loud and yet still say them out loud? or

How has my existence come to this? this moment of listening to such insanity?

each of which is a fair and just feeling to have/message to communicate to a man(-shaped entity) who is yelling "Buck up!" at Hamlet.

But that's only if we read Crowley's amusement as being at Aziraphale's expense. And I don't think we should. Because watch Aziraphale here:

He's doing it on purpose. He is shouting a hilariously inappropriate, 100% authentic Aziraphale-brand thing over arguably the gloomiest passage of Shakespeare's famously gloomy play--right after Crowley complains about its gloominess--and he is watching Crowley as he does it. Look at his smile! He knows he's being Deeply Uncool, and he is doing it literally right into Crowley's face.

Remember that we just talked about how by this point in the chronology Crowley and Aziraphale have learned to communicate with each other nonverbally through facial expression? So what does it mean when Aziraphale responds to Crowley's grumbling about Hamlet's gloominess by smiling his minxious Mona Lisa Aziraphale smile, looking right into Crowley's face, and yelling at Hamlet to buck up? Aziraphale, in a carefully coded, carefully Aziraphale way, is joking with Crowley. His silliness in this moment is for Crowley.

So with aaaaaaallllll of this essay in mind, what does it mean that Crowley's reaction to "Come on, Hamlet! Buck up!" is widening eyes, an involuntary twitch of his mouth toward a smile, and then, his eyebrows still showing surprise and amusement, a tiny shake of his head?

Once more, with inferences:

I do propose, y'all, on the basis of this web of evidence I submit for consideration, that what we are seeing here in my favorite moment of Good Omens is the ineffable equivalent of Aziraphale and Crowley sharing a laugh.

Crowley's amusement here isn't at Aziraphale, because Aziraphale is eliciting that amusement consciously and deliberately. Aziraphale, in good spirits and happy to see Crowley, uses his Aziraphaleness to offers Crowley not only an opportunity for amusement, but the opportunity to be in agreement with him about what in this situation is funny. They're on the same side of this joke.

And his humor lands just as he wants it to: Crowley, just for a moment, is caught off-guard, and tickled--

But remember, Crowley is worried in this scene about being surveilled ("I thought you said we'd be inconspicuous here"), and he worries about audio surveillance a lot ("Walls have ears"; "Don't say that. If my lot hear [etc.]," etc.), so he's very limited in what reactions he can show or voice. Aziraphale knows Crowley must be perceived by anyone watching or listening to disapprove of his, Aziraphale's, behavior (just as he must be perceived to disapprove vociferously of Crowley's). Both of them know this.

--so Crowley suppresses the smile almost successfully, and shakes his head at Aziraphale, minutely, to say Stop. What you're doing is working, you're close to making me laugh, and if I show how much you have just delighted me, it will blow our cover of "just an Arrangement."

I offer three final data points in advancing my argument that what we see in my favorite Good Omens moment is Aziraphale successfully attempting to joke with Crowley and Crowley recognizing that overture from Aziraphale and being momentarily surprised into a reaction of genuine delight before pulling his face back under control and indicating to Aziraphale that he must stop:

Datum 1. Nothing going on with Crowley's face in this moment is accidental. We know for sure we're not seeing David Tennant react to Michael Sheen here not only because of literally every other point of Tennant's and Sheen's performances in the show, but because Tennant is wearing opaque contacts and sunglasses under film lighting and therefore cannot be reacting to anything more compelling than a level-10-lift blur because Tennant cannot see shit. Crowley's reaction is a deliberate and careful performance choice on Tennant's part, and it's underscored by director Douglas Mackinnon's choice to film Tennant in 1/2 profile to keep Crowley's eyes visible and face readable to the audience. This reaction is supposed to be there and supposed to be meaningful.

Datum 2. The husbands in 1601 is not the only moment in Good Omens when we may be seeing an angel and a demon communicate the message Stop doing that, it makes us look too familiar between themselves with a little headshake:

Datum 3: There is another moment in Good Omens when Aziraphale offers Crowley the opportunity to enjoy a joke with him. There, too, his humor lands just as he intends, so we can use this other moment as a comparison to our 1601 moment. I don't have gifs for it, but go back and watch it, S1E6 49:27-42. Snips below.

Aziraphale says something that surprises and amuses Crowley (he asked Hell for a rubber duck while he was sloshing around in the holy water)--

--but what Aziraphale says makes Crowley smile long before it makes him laugh.

In fact, his laugh, though a genuine cackle, is quite delayed, and he laughs only after Aziraphale starts laughing too.

In other words, Crowley's reaction to Aziraphale offering him amusement they're both on the same side of is exactly the same as his reaction to "Come on, Hamlet! Buck up!" right up until he laughs instead of shaking his head. Here, after Armageddidn't, Crowley doesn't have to suppress his reaction, so he can let the smile bloom; he doesn't have to control his response, so, although it takes him a few extra seconds, he lets the smile turn into a laugh.

But in 1601, it's not safe to laugh at Aziraphale's humor. It's not safe even to smile at him. A single piece of evidence or eye/earwitness testimony that he and Crowley have anything more friendly than the most passing and acrimonious of professional relationships could mean death to either or both of them, and depending on what Falling is like, maybe something worse than death for Aziraphale.

But Aziraphale is so funny, so effervescent for Crowley, at Crowley, that it catches Crowley just for a moment. Crowley's eyes widen and the corner of his mouth twitches toward a smile.

And that's dangerous. If Aziraphale keeps acting so charmingly mad, Crowley is going to laugh, and they can't afford that risk, so he shakes his head at Aziraphale. Stop, or I won't be able to keep a straight face around you.

And Aziraphale apparently receives that message, because he immediately eases off. Less than 60 seconds later we learn that he's deeply concerned for Crowley's safety--and that it's not so much that Aziraphale has Crowley wrapped around his little finger as it is that Crowley has wrapped himself around Aziraphale's little finger like a snake arranging itself on the tree branch it calls home.

UPDATE 14/10/23: HOLY SHIT Y'ALL IT GETS EVEN BETTER! THERE IS A SEQUEL!

#good omens #good omens meta #good omens 1601 #good omens microexpressions #good omens headshake #angelfish #aziracrow #ineffable husbands #good omens fanalysis

[emotionalsupporthandle]

After finishing the Percy Jackson series last night I had a lot of thoughts. And idk if they're hot takes or not. But I need to get my feelings out or I'll combust. So, here it goes.

I had A LOT of hope for this show, and a lot of faith in it. PJO is something that, to me, had all the elements needed for a good adaptation and just hadn't been handled with care previously. So when it was announced that Rick would be working on this, I was sold. I knew he would never let it be anything but a dream come true. But I've got to be honest, it wasn't a dream come true - at least not for me. And some of that might be because it was my first favorite series and has such a special place in my heart, and some of that might be because I'm not a kid anymore. I think it's more than that, though.

I thought the casting was EXCELLENT. I want to say that now. The cast was so so so so perfect, i couldn't have hoped for anything better! The trio are so perfect for their characters I could squeal. Sally? Amazing. Mr. D? I wish we had more, but he killed it with every appearance. Chiron - awesome. Poseidon - 10/10. I was so happy with casting.

I was also really pleased with the characterization. There were some changes, but I thought they were good updates. I really appreciate that Grover felt more fleshed out than he did in the first book. I loved all the extra seasoning we got between Percy and his mom. I could watch a show that's just the 2 of them navigating his childhood. I even really liked the way they did Hades for the series. He feels very dark and serious in the books, and I liked the way they played it a little lighter while keeping the same sentiment of "fuck off kid. I look out for no one especially not you." So all the characters kicked ass.

What I didn't like was the pacing. The show was episode length/number of episodes. The episodes either needed to be longer, or there needed to be more of them. They should have all been an even 45min-1hr, or there should have been like 10 eps. It felt rushed on a timeline that's already tight to begin with. It felt too fast, and I feel like a lot of great scenes and moments had to be cut or trimmed down to be able to make things finish on their puny 35min 8 ep timeline. And that made me so frustrated. Which brings me to my biggest beef.

The show was not very fun/funny. And that hurt me the most. These books have so much heart, and they are so fun to read and they're so funny. And the show was very much written for drama. Everything was just so gd dramatic and I feel like a lot of the fun was taken out and that really hurt me deeply. I've noticed this with a lot of adaptations recently, where they want something that makes "good tv" but they end up just making it feel one note. What makes the books so engaging, and I think would have made the show more engaging, is the silliness. The stupid jokes, the little scenes of them just being kids through it all. There were still some jokes, sure, but it felt like it was lacking a lot of its original goofiness. And I think part of that comes from not hearing Percy's POV, but that could have been made up for in more little jokes or silly bits. And if we're maintaining that the target audience for the show is the same as the books were, then it shouldn't have been as serious and dramatic as they made it. These 12 year old kids don't care if it's dramatic - they want to have fun watching it. And that's where I may just be an old lady disconnected from the youths now, but it didn't feel right for that audience. But maybe it didn't feel right in that respect because I'm not that audience.

I understand that 1:1 book to screen adaptations don't work. I'm not an adaptation hater at all. I've seen some excellent adaptations. I even enjoyed some of the changes made in this show! But overall this one fell flat for me. It was just entirely too serious the whole time. It was really frustrating. I went into with such an open heart and mind, and I had full faith in Rick. I wanted to love it so so so bad. It really hurt that I didn't. I felt so guilty that I didn't enjoy it.

Anyway, that's all. Thanks for listening to me ramble.

[moveslikemurs]

#love victor #love victor season 2 episode 4 #the sex cabin #victor salazar #michael cimino #benji campbell #george sear #felix weston #anthony turpel #lake meriwether #bebe wood #this is one of my favorite scenes in the series its so gd funny #myedit #over100

[we-pay-for-everything]

Hi, I'm another quarantined anon, and I can't tell you how touched I am that your response is always "how can I do even more?" If you feel like it, I would love to see your picks for your top 10 favorite BTVS episodes and what you love most about each. And if you feel like being snarky, your 5-10 least favorite BTVS episodes and why you dislike them. THANK YOU!!!

Hi! I’m quarantined too! Were you really touched?

Favorite BtVS Episodes

Amends: You asked what I love most about each of my favorite episodes so I’ll just say about this one that I love Angel’s story and the closure it offered Buffy and Angel. Amends was all about closure, for all characters, but it was a a huge turning point for Angel and Buffy especially. It allowed them to process their emotions and thoughts about their past and to take a step forward towards healing from them (individually and as a couple). It was a cathartic episode that didn’t shy away from the cold truth of Angel and Buffy’s, or anyone’s, reality, but had a hopeful message nonetheless. 

Innocence: This episode is just really powerful: Angelus’s reveal, his fight with Buffy in the rain (!), that colossal plot twist that leaves everyone a bit breathless even after multiple rewatches… Innocence is that emotional, intense, thrilling episode that always gives you chills. 

Becoming: I don’t care if Becoming and GD are two different episodes, it’s not fair to rate them separately! Becoming is just... Becoming haha. Do I have to explain its awesomeness? Angelus and Buffy’s fight, “Me.”, Buffy and Angel!!! etc. You know why it’s great, don’t you?Let’s move on!

Graduation Day: I love part 2 more than part 1, which is an unpopular opinion, I’ve heard. I like Buffy and Faith’s fight, but I love the bite scene, Buffy’s goodbye to Faith, Angel and Buffy’s parting, the battle, that final scene with all the characters, etc. the most. Those are my favorite scenes. The nostalgia factor is big in this finale. 

I Only Have Eyes For You: Every Bangel fan knows what it is like to love this episode more than everyone else! The episode is obviously beautiful because of its message of forgiveness and compassion, but what is really special about it, to me, is the sense of closure we derive from it. Buffy and Giles experience it, but we feel it the most. It’s like we get Angel, who we miss so much, back for awhile, and we know everything will be okay. We say goodbye to him and Buffy. Also, the plot device used to achieve this emotional cleansing is quite original and was executed well. (Angelus’s bare chest doesn’t hurt either hehe.)

The Body: I don’t know what to say about this one. I love it for the same reasons everyone else does. It’s an amazing episode. 

The Zeppo: This really is a personal favorite. It’s just hilarious. And I love the growth we see in Xander. It’s really interesting to see Xander’s side of things. I love that the episode is so funny and true to Xander’s role in the series, but it’s also surprisingly emotional and well-rounded - exactly like Xander!

When She Was Bad: Such an underrated episode! The soundtrack alone is amazing. I love the change in tone from season 1 and how it hints at what’s to come. Sassy, mean girl Buffy is as sad as she is funny. 

Selfless: I’ve always loved this episode. I like the way it was directed, I like Anya the best in this episode. I really like that moment when it cuts from Anya and Xander’s song to Buffy running her sword through Anya and pinning her to the wall. It’s so poignant. 

Pangs: This episode is super funny and that’s why I like it. It’s also a surprisingly “woke” episode that is as insensitive and offensive as it is progressive. Go figure. (Also, Angel returns!)

Honorable mentions: Witch, Living Conditions, Anne, Forever, The Prom, Angel, Surprise, Villains, What’s My Line. 

I was trying to answer this quickly for you, but it actually took a long time! Even figuring out my top 10 favorite episodes was hard haha. I tried to keep the list interesting, but the last episode could’ve been Angel, Surprise, Witch...

Least Favorite Episodes:  

Fool for Love: Watching Spike kill a teenage girl and a young mother (both women of color) in what is supposed to be a “cool” way, and having him hit on Buffy with that “philosophical” story about slayers and death is so fucking disgusting that I don’t know how people love this episode so much. Spike saying all slayers “want to die” is the equivalent of justifying rape by saying some women are “asking for it”. Beyond disgusting.

Almost every season 7 episodes in which we are supposed to pity Spike, or in which he and Buffy have a “moment”.

Almost every season 6 episodes in which Spike and Buffy have scenes together. Ew.

That was already more than 5 episodes!

Halloween: Read here.

Thanks for the ask!

#ask meme #btvs #thanks #I had fun! #Anonymous

[whoarethegirls]

🎥 + saw !!

i’m gonna go in movie order

saw i: the reverse bear trap w/ amanda, everything after the line “we’re out of time” and F**k this Sh*t Saw OST by Charlie Clouser kicks in to the end, and special highlight for the ending b/c it still knocks my socks off ugh love that shit

saw ii: every scene with john talking to eric matthews because imagine this crinkly boomer is preaching plato’s allegory of the cave but fucked up to you while wearing a bathrobe and eating cereal and you have to sit and listen to him. fuck eric matthews but i’m impressed he made it that long b/c i would have beat the shit out of john 5 minutes in

saw iii: the angel trap is one of my favorites, the brain surgery scene b/c i like the grinding music, and the ending

saw iv: haven’t seen this one for a while and i can’t think of anything especially standout except eric matthew’s death but the rest of that scene is just a kick in the teeth

saw v: i absolutely love the fatal five’s plotline so any scenes with them, the opening’s pretty sick, the water cube i really like, hoffman getting the shit beaten out of him, and the ending. hehe crunch.

saw vi: this one’s funny as far as scenes because while it has some super boring ones it also hits some series highs at its best so the opening, the hanging trap, which i think is one of the best psychological traps, the “right now you are feeling helpless” scene is flat out one of the best ones in the series like it does a genuinely good job of building tension with the constant repetition and then the “strahm was already dead!” *BOOM*, “yew killed mah father yew mutherfucker,” and the entire ending. aside from the first one, this is my favorite ending. as a general thing, all of the scenes that smack you in the face with healthcare system commentary get a bit of credit even if they’re not saying anything new. 

best for last, the shotgun carousel. i have not shut up about this scene a day of my life since first seeing it in eighth grade. if there’s such thing as a hyperfixation within a hyperfixation that’s how i feel about this. it’s so fucking brutal and traumatizing for everyone involved yet at the same time i really love its aesthetics and the calliope music that plays in the quiet parts of the music adds *so much* it’s so terrifying and i think all the time about what it must have been like to have your back to the gunshot because that’s so so scary and “look at me! when you’re killing me you look at me!!” has played in my head for years. it never really seems to lose its punch either, and i’ve seen it a lot.  

saw vii: oh gd. i hate this movie so much but i love the score; tablesaw into/tablesaw, stitch face, only you, jill dream, car trap, quiet nina, roaster, and the final zepp. as far as actual scenes, few and far between. the support group scene definitely, it’s super effective. the garage/car/horsepower trap is one of my favorites in the series, logic of skin vs seat ripping first aside. the first two traps with people in bobby’s test are also pretty great; i have never gotten the sound of esophagus ripping out of my head and the impalement wheel is terrifying for everyone involved. and the reverse bear trap opening obviously, despite how much i hate the scene before it, it’s pretty epic. also the cane shove and the ending, i once found an edit of where the audio was replaced with “begone THOT” and i’ve never found it again :(

jigsaw: also been a while on this one uhh anything with eleanor in it because i think she’s pretty and she’s also a lesbian, i love the music for grain silo and it’s pretty well done even if the weapon dropping is a bit too on the nose, the spiral trap is definitely my favorite of the movie even if i wish it had been done a lot differently (when i saw it in the trailer, i thought it would be a heat trap b/c it looked like a stove burner) and i love the music for that one as well, the shotgun scene as well as the music, and the ending: i bitched about them using cgi for a week before the movie came out and then i saw that scene in super low-res definitely-filmed-in-a-theater quality and lost my SHIT (in my defense, i was also 14) so y’know. serotonin. also it’s kinda pretty? it looks like a flower or a fucked up dinosaur

#thanks so much for the excuse to ramble asjhsfh #ask #horrorjew