Listen to them, the children of the night. What music they make!
Phenomenal. That first dance scene is a revelation. Everything Coogler does, from the timer of the setting sun to the Lord's Prayer to the end-credits, he pulls off perfectly. The music (and the rest of the sound in those distorted states in the first half of the movie) deftly conveys the emotional states and sociopolitical allegory. A level of complexity to the use of the vampire motif that if I start talking about this will get way too long. Deeply moving. Great move to watch if you're terrified of death.
Will ye go, Lassie, go? And we'll all go together To pull wild mountain thyme All around the bloomin' heather Wlil ye go, Lassie, go?
Watched The People's Joker. Brain destroying. I do not know what to say. This is good and everyone should watch it. Seeing a cameo from Mr. Boop is mind-altering. Frequently shattering in its whiplash between hilarious comedy and painful earnestness (heavy on the former, light but effective on the latter).
when priam is like hi helen you have done nothing wrong in your life ever i only blame the gods and fate. btw who is that massive hottie on the battlefield. and helen is like you have been at war with this guy for the past nine years how do you not know who agamemnon is
SINNERS (2025) dir. by Ryan Coogler
I've been reading Dhalgren, like every novel I read, through a Joycean lens, and it has really begun to stand out to me how much the Bloom-ian, postcolonial lens informs an understanding of the Kid. Enda Duffy, in The Subaltern Ulysses, argues that through Bloom, Joyce is experimenting with an early postcolonial subjectivity, and that his insider/outsider, subaltern, and flaneur status all create a particular but encompassing individuality and perspective specifically in contrast to the colonialist flaneur figures of literature at the time. The Kid is also a subaltern flaneur, but you can't really have an indigenous American postcolonial subject in a contemporary setting because America is still colonial, so Delany (ingeniously) locally annihilates the American state. The setting of Bellona then is a glimpse at a possible sense of postcolonial American (and specifically indigenous) subjectivity, and its interaction with anarchism, libertarianism, and theoretical statecraft explores what the post-America will look like in urban landscapes. The Kid's indigeneity even further alienates him, because he is a member of a group that has undergone genocide in part for the purpose of building the American state, and he is being shown a vision of the collapse of that state. Again, the passage I keep coming back to resonates: "The miracle of order has run out and I am left in an unmiraculous city where anything may happen" (96).
I also think that his complicated relationship to indigineity and the few times it's mentioned in the novel so far align pretty closely with Bloom's experience of Jewishness, but that's a little harder to flesh out, I'll need to take another look at Reizbaum's James Joyce's Judaic Other.
warm bread with butter. reblog if you Agree
eating popcorn is a coin flip. it's either the best most satisfying tasty snack ever or it's deliriously mid and you'll get thirty skins of corn kernel shrapnel stick in the most inconvenient parts of your teeth
I'm still stuck in this scene
theyre going to kill me because nobody in history has acted strangely and im the very first
The Phoenician Scheme (2025) - Wes Anderson
I suppose I'm moved by this absurd performance.