teatimepixie

[teatimepixie]

cupid hanzo doodle

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“if you take medication for that, you’ll be taking medication all your life!!” yeah, and?? bud, i already put on my glasses every morning. it’s like. a condition of mine, not a side hobby i’m pursuing irresponsibly. 

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Puss In Boots: The Last Wish may be one of, if not, the best movie in the past decade that truly shows what proper character development actually goes.

While I do love the voice acting of Antonio Banderas giving a near authentic yell of desperation and fear.

The thing I love the most about this scene is that Puss is so determined to get his wish out of fear. He's completely lost all composure and is thinking and speaking irrationally. The famed "Fearless Hero" is trembling out of fear.

Especially this scene here where he struggles why he needs the wish.

He's so afraid and desperate to get the wish that his reasoning to have it was to continue being "The Legend", completely removing Kitty and everyone else out of the picture.

Like I previously mentioned, he lost all composure, he's trembling, stuttering, being irrational, and most of all afraid. It's the complete opposite of what he was in the beginning. The notion of only having one life has changed him dramatically.

It's only later on when he faces Death and realizes that he's no longer fighting to continue his legacy. He's now fighting for his one and only remaining life. To live life to the fullest.

Armed with courage and bravery. He no longer shows fear, instead he faces Death like the way he faced bigger foes before, like the Fearless Hero we know we love.

Before: "I don't want to die."

Now: "I want to live."

"The fear of Death follows from the fear of life. A man who lives fully is prepared to die at any time."

- Mark Twain

This movie is a masterclass of writing character development and I'm loving every second of it!

[teatimepixie]

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THE LEGEND OF VOX MACHINA 2x07 | “The Fey Realm”

[teatimepixie]

Fear me, if you dare!

Help support me on PATREON

[teatimepixie]

miscellaneous mario & luigi/peach & daisy roleswap stuff i did back in september!!! kinda scuffed but ah well. i should go back to this idea eventually

[teatimepixie]

Not alone

[teatimepixie]

More underworld siblings to end the year 🫶🏾

[teatimepixie]

the trouble is, you think you have time. 

GONCHAROV (1973)  dir. Martin Scorsese 

[teatimepixie]

Goncharov Uquiz time for the memes, since it’s enjoying a renaissance!

[teatimepixie]

[teatimepixie]

���Take care, Andrey. You never know when your time could run out.”

GONCHAROV (1973) Dir. Martin Scorsese

[teatimepixie]

Goncharov (1973) dir. Martin Scorsese

“The greatest mafia movie (n)ever made.”

[teatimepixie]

what the fuck is a goncharov

[teatimepixie]

a few of of my favorite goncharov reviews on letterboxd

[teatimepixie]

Scorcese’s Goncharov, the film that rattled the cage and shattered the confines of what a mafia thriller ‘should be’ — every cinephile and film critic worth their salt over the past half-century has watched it and painstakingly dissected every scene ¹, from the memorable shot of Goncharov’s silhouette slowly emerging from behind the Kremlin walls to the shocking turn of Katya’s ultimate betrayal, her expression masterfully contorting in a metamorphosis from feigned obliviousness to a sadistic smile. The film is a must-see ³, a scathing critique of the stereotypical and narrow-minded portrayal of Russians and Italians so typical to Hollywood and western media, as well as being emotionally touching and cloaking its intrinsic value in stunning cinematography.

What stupefies a number of first-time viewers, and truly places this artwork in the pantheon of the avant-garde, is the regular usage of fourth-wall breakdown throughout a variety of episodes, most notably prior to the scene of Goncharov’s death. Evoking Shakespearean tragedy once more ² , we see the crushed crime lord direct his gaze towards the lens and pose, in an almost accusatory tone, the futile question of whether ‘anyone would stoop low enough to save him yet’. The plea is cast into what may as well be a soundproof room as the gun goes off, and the audience realises with a creeping unease that we are a powerless voyeur, even worse, that by virtue of our presence and refusal to help, we express our unwavering support for the killer.

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¹ Namely Moments in Italian-American Cinema: From Little Caesar to Scorcese in From the Margin: Writings in Italian Americana (Robert Casillo, 1991)

² See Two Houses, Both Alive: The Interplay And Contrast Of Russian And Italian Crime Clans In Martin Scorcese’s Mafiosi Epic (Maksimillian Vittoli et al., 1986)

³𝙻𝚒𝚜𝚝𝚎𝚗, 𝙸 𝚍𝚘𝚗’𝚝 𝚐𝚎𝚝 𝚒𝚝 𝚎𝚒𝚝𝚑𝚎𝚛. 𝙱𝚎𝚏𝚘𝚛𝚎 𝚢𝚘𝚞 𝚒𝚗𝚝𝚎𝚛𝚛𝚞𝚙𝚝 𝚝𝚘 𝚝𝚎𝚕𝚕 𝚖𝚎 𝚘𝚝𝚑𝚎𝚛𝚠𝚒𝚜𝚎 —𝚒𝚝’𝚜 𝚊𝚕𝚠𝚊𝚢𝚜 𝚋𝚎𝚎𝚗 𝙶𝚘𝚍𝚏𝚊𝚝𝚑𝚎𝚛. 𝙶𝚘𝚗𝚌𝚑𝚊𝚛𝚘𝚟 𝚖𝚢 𝚊𝚜𝚜, 𝚗𝚘 𝚘𝚗𝚎’𝚜 𝚎𝚟𝚎𝚛 𝚍𝚒𝚜𝚌𝚞𝚜𝚜𝚎𝚍 𝙶𝚘𝚗𝚌𝚑𝚊-𝚏𝚞𝚌𝚔𝚒𝚗𝚐-𝚛𝚘𝚟 𝚒𝚗 𝚖𝚢 𝚟𝚒𝚌𝚒𝚗𝚒𝚝𝚢 𝚏𝚘𝚛 𝚊𝚜 𝚕𝚘𝚗𝚐 𝚊𝚜 𝙸 𝚕𝚒𝚟𝚎 𝙸’𝚟𝚎 𝚋𝚎𝚎𝚗 𝚊 𝚏𝚊𝚗 𝚘𝚏 𝚖𝚊𝚏𝚒𝚊 𝚖𝚘𝚟𝚒𝚎𝚜 𝚠𝚑𝚎𝚗 𝙸 𝚜𝚊𝚠 𝚂𝚌𝚊𝚛𝚏𝚊𝚌𝚎 𝚊𝚜 𝚊 𝚜𝚙𝚛𝚢 𝚢𝚘𝚞𝚗𝚐 𝚜𝚎𝚟𝚎𝚗𝚝𝚑 𝚐𝚛𝚊𝚍𝚎𝚛 𝙸 𝚔𝚗𝚎𝚠 𝚝𝚑𝚒𝚜 𝚠𝚊𝚜 𝚝𝚘 𝚋𝚎 𝚖𝚢 𝚏𝚞𝚝𝚞𝚛𝚎 𝚖𝚢 𝚠𝚊𝚢 𝚘𝚏 𝚖𝚊𝚔𝚒𝚗𝚐 𝚒𝚝 𝚊𝚜 𝚊 𝚖𝚊𝚗. 𝚆𝚎𝚕𝚕 𝚠𝚎 𝚊𝚕𝚕 𝚔𝚗𝚘𝚠 𝚑𝚘𝚠 𝚖𝚢 𝚐𝚊𝚗𝚐𝚜𝚝𝚎𝚛 𝚌𝚊𝚛𝚎𝚎𝚛 𝚝𝚞𝚛𝚗𝚎𝚍 𝚘𝚞𝚝, 𝚘𝚛 𝚛𝚊𝚝𝚑𝚎𝚛 𝚍𝚒𝚍𝚗’𝚝, 𝚋𝚞𝚝 𝙸 𝚌𝚊𝚗’𝚝 𝚌𝚊𝚛𝚛𝚢 𝚝𝚑𝚎 𝚋𝚕𝚊𝚖𝚎 𝚘𝚏 𝚋𝚎𝚒𝚗𝚐 𝚌𝚘𝚗𝚜𝚒𝚍𝚎𝚛𝚎𝚍 𝚊 𝚙𝚑𝚒𝚕𝚒𝚜𝚝𝚒𝚗𝚎 𝚌𝚊𝚞𝚜𝚎 𝙸 𝚍𝚒𝚍𝚗’𝚝 𝚠𝚊𝚝𝚌𝚑 𝚝𝚑𝚊𝚝 𝚘𝚗𝚎 𝚏𝚞𝚌𝚔𝚒𝚗𝚐 𝚏𝚒𝚕𝚖 𝚘𝚋𝚓𝚎𝚌𝚝𝚒𝚟𝚎 𝚌𝚞𝚛𝚛𝚎𝚗𝚝 𝚝𝚊𝚜𝚝𝚎 𝚑𝚊𝚜 𝚍𝚎𝚌𝚒𝚍𝚎𝚍 𝚒𝚜 𝚝𝚑𝚎 𝚜𝚞𝚙𝚛𝚎𝚖𝚎 𝚖𝚊𝚜𝚝𝚎𝚛𝚙𝚒𝚎𝚌𝚎. 𝚋𝚒𝚝 𝚝𝚛𝚒𝚌𝚔𝚢 𝚝𝚘 𝚔𝚎𝚎𝚙 𝚞𝚙 𝚝𝚘 𝚍𝚊𝚝𝚎 𝚠𝚒𝚝𝚑 𝚜𝚠𝚒𝚗𝚐𝚜 𝚘𝚏 𝚝𝚑𝚎 𝚙𝚎𝚗𝚍𝚞𝚕𝚞𝚖 𝚘𝚏 𝚌𝚞𝚕𝚝𝚞𝚛𝚊𝚕 𝚌𝚛𝚒𝚝𝚒𝚌𝚒𝚜𝚖 𝚠𝚑𝚎𝚗 𝚢𝚘𝚞’𝚛𝚎 𝚝𝚎𝚖𝚙𝚘𝚛𝚊𝚛𝚒𝚕𝚢 𝚖𝚊𝚛𝚘𝚘𝚗𝚎𝚍 𝚒𝚗 𝚊 𝚕𝚘𝚐 𝚌𝚊𝚋𝚒𝚗 𝟸𝟶𝟶𝟶 𝚏𝚝 𝚊𝚋𝚘𝚟𝚎 𝚜𝚎𝚊 𝚕𝚎𝚟𝚎𝚕 𝚒𝚗 𝚝𝚑𝚎 𝙵𝚛𝚎𝚗𝚌𝚑 𝚊𝚕𝚙𝚜 𝚏𝚘𝚛 𝚜𝚒𝚡 𝚖𝚘𝚗𝚝𝚑𝚜 𝚋𝚞𝚝 𝚐𝚘 𝚏𝚒𝚐𝚞𝚛𝚎 𝙸 𝚐𝚞𝚎𝚜𝚜 𝚐𝚘 𝚏𝚒𝚐𝚞𝚛e