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@lil-plumworld / lil-plumworld.tumblr.com

jess (she/her)
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vampiremotif

the thing about code or language switching is that its almost always context-based and purposeful. strip it of its context and it becomes frivolous and meaningless.

the reason “hola mi nombre es juan. oh my god I didn’t realize I was speaking spanish.” is ridiculous is because it’s exceedingly rare anyones going to accidentally switch languages. in everything everywhere all at once, they speak chinglish to each other. they never accidentally speak mandarin to deirdre in the IRS office for example because that would be ridiculous.

eeaao is such a splendid depiction of this. especially due to the varying levels of mastery across their generations. its clear joy understands mandarin but doesn’t speak it (except when jobu is trying to be dramatic). she doesn’t have enough grip of cantonese to tell gong gong that becky is her girlfriend but she understands enough to know evelyn doesn’t say it. you have to understand that Both of these things can be true for this scene to hit so hard. in particular, i love the back and forth between waymond and evelyn. she fully switches to english when speaking to alpha-waymond. but switches back and forth with her waymond in a way that feels so reflective of speaking languages that represent home in different ways. with an ease you can only grow into with someone having grown up in both environments.

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no because when everything everywhere all at once said “‘alone I’m useless’ ‘everyone’s useless alone. good thing we’re not alone.’” and “in another life, i would have loved to have just done laundry and taxes with you” and “you think i am naive. i’ve been alive just as many years as you. this [love] is how i fight” and “of all the places i could be, I just want to be here with you” and-

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everything everywhere all at once is about intergenerational trauma. about depression and passive suicidality and the gravitational appeal of nothingness. about aging, getting older in your twenties and getting older in your fifties. about the specific hurt mothers can cause their daughters and daughters their mothers. about the harsh reality of the immigrant experience and the american dream. but it’s mostly about kindness and family and it’s about choosing to sit at home talking about taxes with someone who loves you, and it’s about telling your daughter that you’d choose her over the entire universe, and it’s about how even in the universes where life didn’t form, love can still exist. and it’s really all of that at once.

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komonatin

that daughterhood feeling of wanting to blame your mother for how you turned out, wanting to be angry at her for how you’ve inherited her pain and her insecurities, but at the same time wanting to keep coming home to her, out of everyone else in the universe, because you know that if there’s anyone who might be anything like you–if there’s anyone who might even have a clue of what it’s like to be you–it could only be her. and no matter how many times you’ve hurt each other, no matter how difficult it might be to get her to truly see you, you still just want her to love you as you are, to tell you that this isn’t your fault, and to show you that she would keep letting you come home to her.

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kienava

"nothing matters so do what you love and be kind" is the single most viscerally impactful message i have ever gleaned from consuming media and i'm going to live every day with that kind of hopepunk nihilism for the rest of my life

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it’s so true that the greatest weapon against nihilism and existential despair is to find joy in the mundane and never stop chasing after love

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lesbalisious

Everything everywhere all at once is a film about a girl ripping the entire universe apart just to find a part of her mother that she feels understands her. And everything everywhere all at once is a film about a mother ripping the entire universe apart just to understand her daughter. And my chest feels like it’s caving in when I think about it too long

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The Wind Rises (2013) Dir. Hayao Miyazaki

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The Wind Rises (2013) Dir. Hayao Miyazaki

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HOWL JENKINS PENDRAGON 🧡

HOWL'S MOVING CASTLE (2004)

Dir.: Hayao Miyazaki

bonus: calcifer (⁠^⁠∇⁠^⁠)

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