random Film/TV stuff











I put these together because I am sick of reading girls putting themselves down on tumblr because they don’t look like any of these women. There are things called high end cosmetics and photoshop that make these women look perfect by hiding their blemishes and wrinkles. The truth is they can afford far better makeup than you. The stuff they use is almost magic. And we all know the things they can do with photographs these days. Strip all that away and they’re just like you. You also have to figure how many of these women had cosmetic surgery. There is no so such thing as a perfect and flawless looking person.


These kinds of posts, whether it’s actresses, models, porn stars, whoever…they’re always so surprising. Because all of a sudden you realize all of those beautiful, glamorous, ‘flawless’ women you’ve seen in movies and on TV and in magazines are so…average-looking. Not that there’s anything wrong with that, but none of them are born looking perfect the way they do with all of their makeup on and hair done. 

Emma Watson and Demi Lovato are so cute without makeup but I really like that everyone actually just looks like a normal person

Except for Kesha. Kesha looks like a 14 year old boy

I think they all look normal

As I strolled through this list I saw Emma Watson and thought
I have chosen my celebrity crush wisely
no force on earth can make her not gorgeous

But it frustrates me because these women should be allowed to look like this, ALL women should be allowed to go out without slap on their faces without the world going OH MY GOD IS THAT WHAT YOU LOOK LIKE. We don’t have this shock with any male celebrities because they aren’t altered beyond belief every time they are near a camera and it makes me sad. Women shouldn’t have to be changed, to be painted, to appear beautiful. 

(via enchantedapples)

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Let’s get to the choppa

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A névjegykártya a minden.

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delorean, brooklyn 2014


delorean, brooklyn 2014

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my thoughts on television and “theme” vs. “operational theme”


a tv series can have a “theme” but more importantly, it needs what i call the “operational theme”: the thematic desire of the protagonist that fuels season after season.

in a procedural this is cut and dry - the protagonists are dedicated to - literally “law & order”.

in more modern television, the “operational theme” of “breaking bad” - for example - begins as walt’s need to save his family at all means but is later revealed as his own attempt to self actualize and stave off death by doing the one thing at which he truly excels but no one appreciates.

your series can have a lofty, intellectualized theme - the kind of thing that fuels criticism and college-level papers - “power,” “alienation,” “the shallowness of modern life” or “the banality of evil”…

…but without an operational theme - one that can support a number of variations of action while supporting a consistent emotional need - you don’t have a series and you are not succeeding as a televisual dramatist. 

my favorite example of the perfect fusion of plot, story and operational theme is the film “die hard”. the entire movie is a metaphor for marital therapy, the operational theme is a husband trying to earn back his (for good reason, by the way) estranged wife.

the terrorists in “die hard” are really a metaphor for what keeps john mcclaine estranged from holly: as with any person in marriage counseling, john mcclaine loses his metaphorical armor as he fights the barriers to the point of emotional exhaustion… he ends up blubbering to his “therapist,” having lost his weapons, shoes and clothes.

he’s bleeding both thematically and practically.

the bathroom confession in “die hard” could have just easily been an episode of “in treatment”: a man denuded through adversity of all the trappings of pride. 

what makes “the shield,” “the sopranos” and “breaking bad” interesting is that the operational theme is the tragic struggle of their protagonists to NOT change.

walter white, tony soprano and vic mackey - and don draper, as well, as he pursues a life that is essentially a fantasy construct of his grotesque childhood - want their cake and eat it too.

this desire, to remain evil - and delusional about that evil - in spite of its corrosive influence is where every last bit of the drama of those series lies. that is why they last - until the protagonists are either stripped down to their most base emotional reality - their core level trauma - or destroyed.

let’s say you are creating a series. unless you truly know what your protagnist’s operational theme is - the basic want that propels episode after episode, all the thematic intellectualizing in the world won’t help you or your series survive. 

many ideas have tap danced around a lack of an operational theme for a while - a pilot, maybe even a season of decompressed cable-style narrative. but at the end of the day, a stark, robust, and recognizable operational theme is the sun source of all televisual drama.

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these guys

these guys

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The Classics: 'Solaris' →

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Végre valami értelmes csávó irányítja az Enterprise-t

Végre valami értelmes csávó irányítja az Enterprise-t

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Risin’ up, back on the street
Did my time, took my chances
Went the distance
Now I’m back on my feet
Just a man and his will to survive

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Melyik melyik film? Mind BAFTA jelölt volt.

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Legutóbb a twerkes vírusvideóját kapta fel mindenkit, aztán lepődtek meg rajta, hogy Kimmel csinálta. Most pedig kiderült, hogy a “Farkas Sochi-ban” sztori mögött is ő áll. Egy versenyző segítsége kellett hozzá, hogy jó forrása legyen a videónak, be is jött: felkapta a média. Még az index is lehozta, gondolom ti is belefutottatok.

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