I think the fascists' fixation on Sydney Sweeney has less to do with the size of her breasts and more to do with her blonde hair and blue eyes. They're thrilled to have an Aryan sex symbol in the mainstream again. They've felt threatened by the suggestion that other types of people can be considered attractive as well.

They also seem to be reveling in the fact that western culture is still superficial and celebrates people for being hot, that physical attractiveness is seen as virtue. Because fascism is an ideology predicated on superficiality, appealing to the most shallow of basic human instincts, they need surface-level aestheticism to peddle their rotten ideas.

Now, let me address the two big elephants in the room. I said I wasn't gonna talk about her boobs but they're not entirely irrelevant to the discussion. Skinny women with big tits represent the mainstream ideal of what straight men like, and fascists want to assert that what straight men like is what's right and true. The cis-hetero male-dominated beauty standard is the only one that should exist in their minds.

In reality, people (straight men included) like all sorts of bodies. But fascists don't like variety and diversity, they want a singular standard for society to adhere to. They want to reduce the complex and subjective experience of being human into something simple, a lie that's easy to understand.

The sand should be orange! Why isn't the sand orange?

Most of the exterior desert scenes look so. fucking. boring. These scenes are so devoid of color because they were shot in the most beige landscape imaginable. The sand is white, the sky is white, Timothée Chalamet is white. There is no saturation, no contrast. It looks so dull and flat and lifeless.

The landscapes themselves look pretty cool but imagine how much cooler they'd look with even a little bit of color instead of this shit:

It's especially confusing because many of the other scenes in the film make excellent use of the monochromatic color scheme. The interior and nighttime shots have this stunning contrast with predominantly vibrant yellow-orange hues which really stand out. So having orange sand would have visually tied the whole film together. But instead we're stuck with beige for the majority of Part 2.

I had assumed they shot where they did due to logistical restrictions (it probably wouldn't have been practical to shoot in the Sahara desert) but I looked up Wadi Rum, the desert in Jordan where they filmed, and it's orange as hell!

This place looks like fucking Mars, so how did they mess this up? They found the most boring section in the whole desert and filmed there instead?

My best explanation is that this was a very intentional and deliberate choice, so that when the film actually does use color it's more impactful. But... I still don't like it, I think it sucks. The sand should be orange.

88 keys? kinda sus if you ask me...

this show came out a month ago but I didn't know it existed until last night when I watched the whole thing in one sitting (it's only 5 20-minute episodes so about the length of a relatively short feature film)

I though it was really good, definitely recommend if you like dark comedy and dry/deadpan humor. you can definitely feel the influence of Atlanta but the show has it's own identity as well. I hope it gets a 2nd season because it seems like there's a lot more potential to explore

posting in honor of Twin Peak's Day, the 35th anniversary of Laura Palmer's death on February 24th, 1989

Laura Palmer's Theme

cross-posted from: https://hexbear.net/post/1878979

holy shit lmao. the choice to put cans of Campbell soup because the movie stars Bruce Campbell is truly inspired

holy shit lmao. the choice to put cans of Campbell soup because the movie stars Bruce Campbell is truly inspired

composed by Angelo Badalementi, written/produced by David Lynch for the soundtrack of Twin Peaks: Fire Walk With Me