House of Nettles

dumb ed's pharmacy

2026-03-14T21:59:15Z

2026-03-13T17:09:29Z

I think if I were making a movie I would probably subtitle it by hand before I'd let it be presesd to disc without subs

2026-03-11T08:39:08Z

no yeah the british royal family should totally be abolished but so should the peerage. strip them of their lands, too. you wanna make sure they don't just weasel their way out of it by diversifying so just strip them of all their capital. actually while you're at it do that to the bourgeoisie as well. and not just in britain either, it everywhere. now we're cooking

Becoming a Video Game Scientist Part 1: Archipelago

2026-03-04T11:52:46Z

The bulk of my hobby time for the past six months or so has been spent not playing video games, nor yet creating them, but autopsying them. Layer by layer I peel them apart, examining every cartilaginous connection and noting down how each muscle pulls on the bone structure beneath. I am building on the work of those who came before me, a great berth of knowledge at my back and many fine tools at my hands without which my task would be too overwhelming to contemplate. I give back to this world by crystallizing the knowledge I find into forms that may be re-used and built upon long into the future.

In plainer terms, I've been spending a lot of time reverse-engineering From Software games.

2023: Dipping my Toes

A couple years ago, my friends and I learned about Archipelago, a system of interconnected game mods and related tooling which supports what they call a "multiworld randomizer". You may already be familiar with the concept of randomizer mods, in which the items within a game are shuffled about at random while still tracking enough game logic to ensure that the game can be completed. They're popular as ways to bring fresh life to games one has already played many times over, and can be particularly fun to play in a racing context where the strategy around figuring out how to proceed can be more complex than even the game mechanics themselves.

A multiworld randomizer takes this concept and expands it beyond the boundaries of a single game. Archipelago is able to randomize items across many games and connect them all through the internet, so that a Hollow Knight player in Minneapolis can find bombs for a Link to the Past player in Seattle, which lets them blast through a wall and find a Super Mario World player's ability to run. The possibilities are limited only by the imaginations and hacking abilities of a community of volunteer developers.

My little group quickly decided we wanted to give this a try. Looking through the list of available games, much shorter then than it is now, the one that appealed to me most was Dark Souls III. I consider the From Software oeuvre to be largely masterpieces, and while DS3 isn't my favorite^[1], it was the one that was available at the time.

The Old Mod

Unfortunately, the implementation of the game was not very good. No shade on the dev—modding with these games is difficult, as I was soon to discover. They use a totally idiosyncratic game engine that was originally built for Demon's Souls and has haphazardly accrued new features ever since; the whole thing is a mass of many different custom file formats all held together with difficult-to-decompile (and in some cases intentionally obscured) C++ code. But the player experience was not so great.

The core problem was this: because it was so difficult to figure out how to do anything at runtime in these games, the only thing the mod was really able to influence was the moment the player received an item. They could see which items the player was getting and replace them with something else. What's more, this didn't work with items purchased from a shop.

The core principle of a randomizer is the separation of "items" from "locations". A location is a place or situation in a game that gives the player something; the item is the thing the player gets. Archipelago works by knowing all the items and locations in each game, and assigning new items to each location. This poses a problem when all you know is which item you received: unless that item is unique across the entire game, you have no idea which location it came from. The Dark Souls III mod's solution to this was simple: only unique items could be randomized.^[2]

The other critical problem was that the mod had no way of telling the player what item they were receiving for another player's game. Foreign items, as they're known, were simply replaced with Prism Stones in the local player's game. Many was the time I'd hear a player say "wow Natalie, thanks for that!" only to have to ask them what I'd even given them.

The New Mod

It didn't take much of this before my mental wheels began to turn. Thanks to my previous work dissecting enemy AI for Elden Ring, I was familiar with the basics of how From Software games were assembled. I had also done a fair amount of Sekiro randomizer playthroughs using thefifthmatt's randomizer, which operated entirely statically: rather than injecting a mod into the game which messed with items during play, it created new variations of the game's files which stored which items existed where.

Imagine all the data in the game laid out in a giant spreadsheet^[3]. Each item has its own row with all the information about it, each enemy type has its own row with all of its stats, and so on. The static randomizer works by rearranging cells in this spreadsheet and using a small off-the-shelf mod to inject the new data into the game. The result is that any item can be moved to any location, including shops and locations that originally held non-unique items, without any extra reverse-engineering required.

I put the pieces together and realized that you could do the same thing for Archipelago. It couldn't all be done by statically modifying data files, since at the very least you'd need to tell the Archipelago server which locations you found and receive items from other players. But you could statically add new items which included in their metadata which Archipelago locations they appeared at, and for foreign items you could even give them proper names like "Michelle's Amulet Jewel" so the player could see what they were and who they were for. Then the existing item-handling function would be able to distinguish any location in the game^[4] and swap in the correct item.

Once I'd had this idea, I knew I couldn't just let it sit stagnant in the back of my mind. I forked the DS3 Archipelago mod and thefifthmatt's randomizer and I set to work. It wasn't long before I had a proof of concept up and running: a DS3 Archipelgo mod that used a variant of thefifthmatt's static randomizer to load all the Archipelago metadata into the game items themselves. It worked as-is with existing DS3 Archipelago worlds, and as an added bonus it could randomize enemies as well (a feature we got for free from the existing static randomizer).

I could have left it there, submitted a pull request, and let the existing maintainer do with it what he wanted. But by this point he was largely inactive, and I've always found it difficult to let progress go unmade when I can clearly see how to do it. So rather than the end of my story, this is just the beginning.

To be continued in Part 2: Ghidra

That honor belongs to Sekiro: Shadows Die Twice. This was also the first one I played, but after replaying most of them numerous times I still have no hesitation putting this in my top slot. ↩︎
There actually was another workaround that could optionally be used. For certain classes of items, like upgrade items, the randomizer would count how many the player received over the course of their run, and with each successive item give the player a different item. It would keep track of how many Titanite Shards were guaranteed to be available before a certain point in the game to know where it was safe to put items that unlocked progression. This technique didn't play very well, but it was certainly clever. ↩︎
I haven't ever heard this explicitly verified by an employee, but rumor has it that From Software literally does just use a big Excel spreadsheet for all this data internally before it gets serialized into a more efficient format for including in the game. ↩︎
...except for locations in shops. Those still didn't work. ↩︎

Nettle Witch

2026-02-26T01:30:23Z

I bought an art from Missing and it's amazing! They do such great work, everyone reading this should commission them to make the cool wizards of your dreams!

detailed image description

A woman is wearing a tattered dress but clean apron and shawl over it. She has a large hat with string wound around and dangling off it, holding a few sprigs of nettles to the cap. A basket of nettles is looped over one arm. Her hands, wearing rubber gloves for safety, are working a mortar and pestle. She has a scythe on her belt and is wearing a black mask over her nose and mouth.

2026-02-08T21:45:15Z

when asked to explain the whole of Capital while standing on one foot, Marx replied "the rate of profit tends to fall. the rest is commentary; go and study"

Chimes at Midnight (1965) - ★★★★★

2026-02-04T02:02:25Z

Welles's absolute, undeniable stage presence is on full display. He makes himself huge physically, visually, and emotionally, and then spends the entire film toppling himself, playing both roles of Jack and the giant. This is a film about a man full of bluster and bonhomie who, despite being superficially well-liked by all around him, continually pushes their tolerance to the breaking point, needling them, sapping their patience and their wallets even as he makes them laugh uproariously. Falstaff is good friends with all who meet him but never quite truly beloved by any, and when he finally acts upon presumption of that love he is utterly destroyed.

Knowing that Welles identified so personally with Falstaff, went to such great lengths to make this film happen, and even said that this role was his life's work makes its function as self-critique to the point of self-destruction all the more pointed. Fallstaff lies baldly and constantly, and we know from F for Fake that Welles saw his own role as a liar and charlatan; this film suggests that as much as those lies were an intrinsic part of himself, they were also a source of grief. Orson Welles, a man who always presented himself as larger than life, in this film where he is at his largest is also at his most exposed, raw, and vulnerable.

2026-01-17T10:33:19Z

I've been having migraines on and off for over a week now, which is a very upsetting change of pace from the one migraine I'd usually get every three to six months, but if there's a silver lining it's that I'm reading a lot of audiobooks while I more or less can't use my eyes

2026-01-06T08:18:44Z

rotating in my mind the concept of getting a womb tat that's a medical diagram of a uterus

The MCCONAUGHAUPS

2026-01-05T04:56:25Z

This weekend, a few friends embarked on a voyage of romance, adventure, and discovery all from the comfort of our computer rooms. We came together to achieve something that, to my knowledge^[1], has never been achieved before. We experienced the MCCONAUGHAUPS: a two-day marathon of every 00s romantic comedy that starred Matthew McConaughey.

The germ of the idea formed when I read somewhere that Matthew McConaughey, today known for his dramatic roles on the big and small screen, had spent his early stardom almost exclusively in chick flicks. It was, in fact, a conscious attempt to flee this typecasting that led him to refuse further roles as romantic leads beginning around 2010 and eventually through force of will mold his career into what we know today.

Now, I have no particular affection for the man. I would say I hadn't thought about him much at all prior to this event. But I do consider myself quite a fan of the rom-com genre, and having watched only a single one starring him my curiosity was piqued. What does it look like for a man to spend a decade in a genre, and what does it take for him to swear it off completely afterwards? I had to know.

I managed to talk a few friends into joining me, and together we trekked into the unstoppable flood of affable grins and light Texan drawls that was the MCCONAUGHAUPS. And now that it has come to a close, please allow me to present you with the fruits of our excursion: a thoroughly-researched ranking of all six of Matthew McConaughey's 00s rom-com feature films.

Tiptoes. A film whose existence is baffling, but not as baffling as the choices that went into making it. This only barely counts as a rom-com to begin with; only the first third of the film and the unwelcome sprinkling of fart jokes through the rest of it are at all comedic, and the rest is a dour drama about a man (McConaughey) who hates himself and his family. Glad I watched this with friends because it would have been unbearable alone.
Failure to Launch. A deeply stupid film where one of the running gags is that various animals bite Tripp (McConaughey) and then visibly chuckle to themselves about it because he hasn't yet achieved inner harmony. Portrays him as a layabout loser only to reveal halfway through the film that he was engaged but his fiancée died six years ago(!) and he's been helping to raise her son(!!) ever since. Dragged into watchability by Zooey Deschanel and Kathy Bates moving mountains as secondary characters.
Fool's Gold. Barely a rom-com, this is more of an adventure movie with light rom-com elements. Anodyne, overlong, and suffers tremendously from every black character being a rapper-slash-murderer. Other than that, though, it's decent enough.
Ghosts of Girlfriends Past. Silly, schlocky, but at the end of the day pretty fun. Connor (McConaughey) is a huge asshole in a way that's not always fun to watch, but everything around that is cute, and it pulls off the Christmas Carol schtick surprisingly well considering how far it diverges from the canon.
The Wedding Planner. We begin to get into the ones of these that I would actually describe as "good". The two leads (Jennifer Lopez and McConaughey) have real chemistry here, and the writing is absolutely on fire for the first act. The rest of the film suffers from some pacing issues, but it's still good fun. This was also one of the first rom-coms I remember seeing as kid, so it has a special place in my heart for that as well.
How to Lose a Guy in 10 Days. An actual delight. The leads are the same as in Fool's Gold (Kate Hudson and McConaughey), but they're given vastly better material here and are really able to show their chops. The supporting cast is also stellar, including Kathryn Hahn, Adam Goldberg, and Bebe Neuwirth. I'll be honest: I kinda want to watch this again just writing about it. Even if the rest of these were either mids or films I'd already seen, this alone made this project worth doing.

Even with the middling average quality of the films, hanging out with friends and shooting the shit is a lot of fun, and I may try to do something like this again... at least, if I can find another concept that grabs my fancy.

I have made no effort to acquire any knowledge of whether this has been done before. ↩︎

2025 Oaties: Films

2026-01-02T03:34:04Z

I feel a little less dire about the films of 2025 than I do about the games, but only a little. There are no films I found outright repulsive, which is a win I suppose, although I do feel like I'm still inhabiting the hater spirit in being relatively cool on films that sent people at large into raptures. Sinners was undeniably cool, but it was also unfocused, lacking in the clarity of purpose that's necessary to make a truly excellent film about supernatural horrors. One Battle After Another is principled in a shockingly impressive direction, but doesn't quite land the plane on its ambitions. Wake Up Dead Man is an excellent whodunit, but the writing and characterization around that ends up cartoonish as often as it is profound.

The other sad fact of this year is that there's no film from it that hit me hard enough that I have given it a full five stars. I do try to be conservative about giving out my highest possible rating, but despite that I've watched multiple five-star films each year all the way back through 2021. Worse still, looking back through the films that came out this year and my friends' reactions to them, I don't know if there's anything that's even plausible that I would love wholeheartedly.

This has been a grim year in a lot of ways, and an infertile media landscape is hardly the worst of it. But it's also hard to say that the two are unrelated. How can you separate the systematic evisceration of life through genocide and culture through LLMs from the faltering of art itself? I suppose, if there's a silver lining to be had, it's that this ignites in me the fire to create things of beauty myself. And I can only hope I'm not the the only one.

Film of 2025: Frankenstein

I'm not universally a fan of Guillermo del Toro's work, although I'm always a fan of the way he thinks about and articulates his relationship to art. Frankenstein, though, hit for me in a way that nothing he's made has since Pacific Rim. It thoroughly embodies his philosophies of creation, perhaps because it's about creation. I also can't deny the influence on me from the large volume of quotes and making-of shots that I saw on Tumblr—getting into the artist's head doesn't always help make the art more compelling, but in this case it worked wonders.

The other thing that boosts this to the top spot, of course, is the lack of competition. The only other film that I gave the same rating was Naked Gun, which I do heartily appreciate as a proper comedy that refuses the tyranny of the deadpan. But ultimately the craftsmanship of Frankenstein won out for me over the exuberance of Naked Gun.

It's not lost on me that these two are an adaptation and a remake, as I was bemoaning in my post on games as well. Wake Up Dead Man is a sequel, and Bugonia is another remake. I think the best wholly original film I saw was Marty Supreme, and even that feels like it exists in the shadow of Uncut Gems despite not being a sequel as such. I want to escape this spiral of endless reproductions and imitations. Is it too much to ask for something both new and excellent?

Films of the Years

This is truly where I have experienced the most unbridled joy in art this year. I watched 215 films this year, which is down from my all-time high in 2024 but still the second most of any year I've been keeping track. Most of these films I'd never heard of before. Many of them I loved, with a substantial amount of overlap between the two categories. And even of those I didn't love, I usually found something to appreciate. Even in bad film, there are elements of its time and its perspective that are fascinating to dive into. And as a result, there has been a considerable amount of change to my list of films of the years:

1942: Casablanca. With this year's watch of Cat People, I finally hit the five-film minimum necessary to add 1942 to my list. Cat People itself may be kind of dire, but Casablanca is the source of every quote you've ever heard for a reason.
1945: Brief Encounter. This was actually the first film I watched in 2025! Between it and Mildred Pierce, 1945 is now in play, and the former film takes it handily with its bittersweet romance and stalwart commitment to avoiding cliché.
1952: Limelight brings 1952 onto the board with a bang. I haven't watched much Chaplin at all, and I certainly didn't expect to see him (and Buster Keaton!) put up such a stunning dramatic performance. This film was such a surprising joy when I watched it year and I'm glad to be able to feature it on the list.
1954: Rear Window. Either of Carmen Jones and On the Waterfront would have allowed me to bring this onto the list, and so have the whole of the 1950s represented. And what a film for it: Rear Window is my personal favorite Hitchcock, an absolute tour de force of cinematic technique and gripping plot. It's actually been a few years since I watched it, and I might need to concoct an excuse to watch it again...
1966: The War Game replaces Daisies. A truly magnificent piece of agitprop, you can feel the palpable desperation in The War Game to get through to the average viewer about the unspeakable horror that a nuclear war would represent. While I enjoy and respect Daisies a lot, it's not nearly as profound nor as intense as this semi-documentary horror story.
1970: The Conformist. I'm shocked it took me so long to fill out 1970, by far the latest year I hadn't seen five films from, a dubious honor that has now fallen all the way back to 1947. I watched The Conformist in 2024 (Colossus: The Forbin Project and Count Yorga, Vampire were the films that finally filled out the quota), but I consider it a truly magnificent piece of post-fascist cultural introspection.
1975: Jeanne Dielman replaces Mirror. Look, I think very highly of Mirror. Tarkovsky giving himself wholly to abstraction is a marvelous thing. But I don't (yet) feel like I totally understand Mirror, whereas Jeanne Dielman became an immediate and undeniable presence in my artistic consciousness the moment I watched it (on a cinerama screen no less!). I may go back on this opinion again once I get around to watching Mirror a few more times, but for now this is my pick.
1993: Trois couleurs : Bleu replaces Groundhog Day. A slam dunk replacement if there ever was one. Groundhog Day is fun and shockingly savvy, but Trois couleurs as a whole is a masterpiece and Bleu is my favorite of the three by a comfortable margin. Just tremendous.
2007: Michael Clayton replaces Hot Fuzz. This year, Michael Clayton came to me like a cold drink in the desert. I watched it in December, as I was beginning to rotate in my mind the ideas that I would express in these posts, which is to say: as I was beginning to truly despair at the quality of art as a whole. To see a film so pristine, not even an art film as such but a thriller executed to perfection, did a lot to remind me that good art could exist and would again.
2024: Challengers replaces I Saw the TV Glow. It's not often that I replace the previous year's entry the very next year, let alone with something that I did in fact watch in the year it was released! I do still stand by my choice of I Saw the TV Glow as my 2024 film of the year, but it was by a razor-thin margin at the time and through the course of 2025 Challengers was the film that danced around my mind the most. I want these lists to be living documents more than records of years past; I already have blog archives and Letterboxd history for archives of years past! Today, going into 2026, Challengers is my film of 2024. Perhaps next year it will be something else entirely.

2025 Oaties: Games

2026-01-01T09:20:26Z

This year, I think I'm going to split up my oaties post into two, one for games and one for films. I don't want the posts to be massive, especially since I'm going to continue the tradition I established last year of updating my all-time of-the-year lists along with choosing individual years.

I'll be honest: I'm not feeling great about the state of video games in 2025. I certainly missed some games that might change my opinion here—notable games I didn't get around to that I think I stand a shot of really loving include PEAK, Shadow Labyrinth, Of the Devil, and Kinophobia. I'll mention Despelote as well as a game I watched Eden play most of and thought very highly of. But on the whole, this year leaves a bad taste in my mouth and makes me feel like a hater.

I always try to muster precise and thoughtful critiques of games I don't like, especially when I know other people feel differently, and that often means I'm putting myself in the position of thinking as much about the games I don't like as I do about my favorites. This year, though, it felt like I was endlessly pouring out criticism with only brief intermissions for auditions.

Many people, including numerous friends of mine, loved Blue Prince, Donkey Kong Bananza, and Hades II. I found all three of these flawed in ways that were actively repugnant to my design sensibilities. That's not to say I didn't enjoy them, but the fun I had felt like digesting content, that increasingly refined slurry of choose-three mechanics and the steady drip-drip-drip of unlocks. The failures, on the other hand, were born of deep misunderstandings of the player's perspective-in-the-moment—the very experience whose careful shepherding is what I find most compelling about the very best game design.

I was looking forward to Civilization VII so eagerly I took time off work to play it with Liz. It was so disappointing we abandoned it after two days. Even games I broadly quite liked, like Q-Up and Demonschool, were marred by notable design flaws.

That's not to say there weren't games I enjoyed this year, but looking back at them I'm faced with the horrifying realization that everything I really loved this year was a sequel or a spinoff. Fish Fear Me, Monster Train 2, Elden Ring: Nightreign, Death Stranding 2, and Hollow Knight: Silksong all remix or reinvent their source material to some degree, and I think they're all excellent. But the knowledge that none of them (nor Hades II nor Civilization VII) is fully original haunts me.

Game of 2025: Hollow Knight: Silksong

This is kind of a shoo-in choice, if I'm being honest. There are only three games I gave five stars this year. Nightreign is certainly my most played of the three, and (similar to my reasoning for picking Elden Ring as my game of 2022) exploring it and developing strategies with friends was a unique joy. But it's also got plenty of flaws itself—not so many as to make it not an absolute favorite, but enough to keep it from being a serious competitor for the top seat.

I liked Death Stranding 2 a lot more than many. I don't entirely disagree with Carolyn Petit's critiques of the game; there are certainly ways in which its mountain of quality-of-life improvements over the first game feel like sanding down some of the unique character, and while I like the fact that stealth-action sequences were more of a real thing I don't disagree that they do bring it closer to a normal AAA game (and certainly closer to Metal Gear Solid V). Its biggest strength is its narrative, but that's also the only thing that's a truly substantial change relative to the original.

So that leaves Silksong. While it's not flawless, the quality of design is excellent across the board. And what makes me most impressed is the ways in which it plays off and even undermines the expectations of its predecessor. It's a sequel in the vein of Metal Gear Solid 2 or Dark Souls 2: one that's unafraid to reimagine the constraints of the original. Silksong begins with a bold mechanical declaration, that the downward aerial attack that was the bread and butter of Hollow Knight combat was no more, and builds outwards from there with utmost self-confidence. Team Cherry are among rarefied company in their willingness to use friction as part of their palette, and more importantly they do it without simply copying From Software's notes.

For all that I'm a little sad to have to pick a sequel, Silksong certainly deserves its place as my game of the year.

Games of the Years

I didn't play that many games from outside 2025 this year, and the only one I really loved was Slay the Princess which for all my esteem can't really compete with Void Stranger for the 2023 slot. As a result, the only changes to my GOTY lineup are from other cleanups or reevaluations:

1988: I've added Tetris as my game of the year. I didn't actually play any new games from 1988 this year, but I did realize that (despite Backloggd categorizing it as a 1989 release) the first documented commercial release of the game was in 1988. That puts '88 over the five-game minimum that qualifies it for a place in my GOTY list, and Tetris beats out Super Mario Bros 2 and 3 (both entirely delightful games) because, come on, it's fucking Tetris.

Despite Tetris being moved out, 1989 gets to remain in the list with Wonder Boy III: The Dragon's Trap sneaking in as the fifth entry. I played the 2017 remake, not the original, but I generally count remakes as the same year as the original unless they're wildly different.
1994: The Incredible Toon Machine displaces Jazz Jackrabbit. Both of these are childhood favorites, but I'd forgotten to mark the former on Backloggd until this year. While the OG Epic shooter platformer was an absolute fascination for young Natalie, as an adult I find the Incredible Machine's open-ended approach to puzzle design and the ways it presents challenges in what is fundamentally a sandbox much more interesting.
2008: Metal Gear Solid 4 replaces Armored Core: For Answer. I played MGS4 at the beginning of 2024 and I'm not sure why I didn't make this change during the previous update. I like ACFA just fine, but MGS4 is a multimedia masterpiece in its own right as well as the culmination of the primary arc of the most fascinatingly metatextual AAA franchise that ever has or likely ever will exist.

Bonus: Hundo Club

We welcome two new entrants to the hundo club this year: Elden Ring: Nightreign which I played 277 hours of (mostly with friends but not insignificantly also taking photos for the wiki) and Death Stranding 2 on which I racked up 121 hours just playing through the main plot while taking diversions to do optional deliveries whenever I felt like it, which turned out to be a lot of the time. Shouts out as well to Against the Storm, already a member of the club from last year but which I'm pretty sure Liz and I managed another hundred hours of this year.

2025-12-30T22:20:19Z

moser's frame shop wrote:

I Am An AI Hater

And I’m glad they’re lies. Because the makers of AI aren’t damned by their failures, they’re damned by their goals. They want to build a genie to grant them wishes, and their wish is that nobody ever has to make art again. They want to create a new kind of mind, so they can force it into mindless servitude. Their dream is to invent new forms of life to enslave.

And to what end? In a kind of nihilistic symmetry, their dream of the perfect slave machine drains the life of those who use it as well as those who turn the gears. What is life but what we choose, who we know, what we experience? Incoherent empty men want to sell me the chance to stop reading and writing and thinking, to stop caring for my kids or talking to my parents, to stop choosing what I do or knowing why I do it. Blissful ignorance and total isolation, warm in the womb of the algorithm, nourished by hungry machines.
…

I'm a bit late to the party, but I was just linked Anthony Moser's poetic and impassioned evisceration of LLMs today and I think anyone who hasn't yet read it should do so. I cosign it as an articulation not just of my position on the subject, but of my emotional stance towards it as well. The techno-cultural nexus that we have recently taken to calling "artificial intelligence" is deeply corrosive, and we must not tolerate it. We must not give it air to breathe. When this all falls to an ignominious end, we must dance on its grave that it may never rise again.

2025-12-26T17:27:50Z

all my friends are disowning me for saying I'm "playing a walklike" every time I go outside

the thing about Tilda Swinton's hypothetical doppelganger Swilda Tinton

2025-12-16T18:32:53Z

is that if anyone were going to have a doppelganger with a spoonerized name it would be her. she's made multiple films about basically that. so while I'm not claiming that Swilda Tinton exists (although I'm not claiming that she doesn't) I just wanna say: it makes sense. it makes sense!