Sophie Ada Mathison Violet Baskerville

@sophie.baskerville.net

190 Followers 214 Following

Full Snack Assurance Specialist. Here for as long as this place doesn't turn as toxic as xitter/facebørk/instaspam/threads. sophie.baskerville.net

Colour still from *The Great Escaper* (2023): an elderly Second World War veteran stands on a ferry deck, solemnly saluting in a dark blazer, green cardigan and striped tie. A row of campaign medals hangs prominently from his chest, while other passengers stand behind the railings above him. A purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Poster image for Tenet (2020): two sharply dressed men stand back-to-back amid a fractured cityscape, each holding a firearm as skyscrapers loom at impossible angles around them. The image is tilted slightly, centred against a dark background and framed by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Poster image for *Interstellar* (2014): an astronaut in a white spacesuit walks alone across a bleak, icy landscape beneath a pale sky. The title “INTERSTELLAR” appears near the bottom, with the poster centred against a softly blurred grey background and framed by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Poster image for *Inception* (2010): a lone figure stands in a flooded city street as towering buildings bend impossibly overhead, folding the skyline in upon itself. The red title “INCEPTION” appears near the bottom, with the poster centred against a blurred blue background and framed by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from *Harry Brown* (2009): an elderly man (Michael Caine as Harry Brown) in a dark coat stands beneath graffiti-covered fluorescent lights in a grim pedestrian underpass, gripping a handgun low in front of him and staring down with cold resolve. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour promotional image for *The Dark Knight* (2008): a black-armoured, bat-masked vigilante stands against a stormy night sky while a high-rise building burns behind him, the flames forming a vast winged emblem across its façade. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Children of Men (2006): a bruised and bloodied man supports a frightened young woman clutching a newborn baby wrapped in a brown blanket, as armed soldiers move through the shattered, smoke-filled building behind them. Harsh daylight pours through the ruins, framing the small group amid the surrounding violence. A narrow purple border surrounds the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from The Prestige (2006): a stern Victorian gentleman in a black bowler hat, brown leather overcoat and patterned scarf stands alone outside a snow-covered industrial building. He gazes warily to one side, framed by weathered timber and rusted corrugated metal. A narrow purple border surrounds the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Batman Begins (2005): a masked vigilante in black, bat-themed armour crouches beside the sweeping folds of his cape in a dim, smoke-filled industrial interior. Harsh backlighting catches the edges of his cowl and armour, giving the scene a brooding, theatrical menace. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Poster-style image for The Quiet American (2002): against a deep red background, a young woman in a white dress stands closely beside a man in a white suit and tie, gazing up at him while he looks down with a guarded expression. The lower half fades into shadow, and a narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Poster-style image for Miss Congeniality (2000): a glamorous beauty-pageant contestant in a sparkling red gown, tiara and sash stands against a night-time city skyline, holding a bouquet in one hand and dangling a pair of handcuffs from the other. A holstered pistol is strapped conspicuously to her thigh. The design fades into black on the left and is framed by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from The Cider House Rules (1999): a smiling young man and woman sit together in the rear of an open-top car, leaning comfortably against the red leather seats as autumn sunlight catches their faces. Trees and lawns blur softly behind them, and a narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Little Voice (1998): a young woman with a blunt blonde bob stands alone on stage in a sparkling pale-pink dress, head bowed and expression tense beneath bright theatrical lighting. Deep blue drapes and gold illuminated scenery frame her against the dark background, with a narrow purple border around the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from The Muppet Christmas Carol (1992): a stern Victorian gentleman in a dark coat and white nightcap stands beside a large, shaggy red-bearded Muppet with a bulbous orange nose. Both stare solemnly ahead in a dimly lit interior, a pairing that somehow makes perfect sense because cinema occasionally achieves civilisation. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Dirty Rotten Scoundrels (1988): in an elegant bathroom, a sharply dressed man sits before a mirror while another man stands behind him with a towel draped around his shoulders, both reflected repeatedly in the surrounding mirrors. Their expressions are serious despite the unmistakably absurd grooming arrangement. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Poster image for Jaws: The Revenge (1987): a huge shark erupts vertically from the sea with its jaws wide open as a terrified woman clings to the bow of a small boat. The red title “JAWS” appears above, with the poster centred against a blurred blue background and framed by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Hannah and Her Sisters (1986): in a book-lined room, a bespectacled man in a dark suit speaks to a smiling woman in a checked shirt, who stands with her arms folded and watches him with amused affection. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Educating Rita (1983): a curly-haired woman (Julie Walters playing Rita) in a pale blouse and dark cardigan sits forward on a black leather sofa in a book-lined university study, looking up with an alert, questioning expression. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from *Deathtrap* (1982): a man in an open-necked white shirt (Michael Caine) holds a gleaming knife upright beside his face, looking upwards with wary concentration. Behind him, a dark wooden wall is crowded with blades and assorted implements, making the room feel less like a study and more like a very committed warning. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from Escape to Victory (1981): two military officers stand side by side outdoors under a bright sky. One wears a dark German uniform and peaked cap; the other, in a lighter shirt with braces and cap, looks ahead with a wary, calculating expression. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from A Bridge Too Far (1977): a young army officer in brown uniform stands before a large wall map marked with branching roads and routes. He looks ahead with a grave, slightly strained expression, as though the plan is already displaying an unhealthy number of moving parts. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from The Eagle Has Landed (1976): a soldier (Michael Caine as Colonel Steiner) in a dark beret crouches behind a weathered gravestone, aiming a submachine gun through a churchyard. His face is tense and watchful, with trees and scattered wildflowers blurred behind him. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
Colour still from The Man Who Would Be King (1975): beneath a shaded canopy, a stern man (Michael Caine as Peachy Carnehan) in a bright red military tunic stands behind a seated, heavily sideburned companion (Sean Connery as Daniel Dravot) who points commandingly into the distance. A crowded settlement and sun-baked fortress rise behind them, suggesting imperial ambition has already begun to get ideas above its station. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Colour still from Sleuth (1972): smoke billows through an ornate, cluttered study after a violent confrontation. A long gun juts across the room while a man lies collapsed on the floor beside a desk strewn with papers, telephones and decorative objects. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Colour title-card still from Get Carter (1971): a grim-faced man in a dark overcoat stands beside a white car, gripping a long double-barrelled shotgun angled menacingly across the frame. Large yellow text reading “MICHAEL CAINE” stretches across his torso, all enclosed by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Colour still from Battle of Britain (1969): a fighter pilot in an orange flying suit sits tensely in the open cockpit of a wartime aircraft, leather helmet fastened and goggles pushed up onto his forehead. He looks downward with grim concentration as the curved canopy and metal frame crowd tightly around him. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Colour still from The Italian Job (1969): moments after an explosive test has obliterated far more than intended, a blond man in a tan coat confronts his flat-capped accomplice with appalled disbelief, delivering the immortal rebuke, “You’re only supposed to blow the bloody doors off!” The image is framed by a blurred background and purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Colour still from Funeral in Berlin (1966): a black hearse approaches a guarded steel bridge at a border checkpoint, where red-and-white barriers block the road and uniformed officers stand watch beneath a grey winter sky. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Black-and-white close-up from Gambit (1966): a poised woman in ornate Asian-inspired dress, jewelled headpiece and dangling earrings stares directly ahead, while a sharply dressed man beside her watches her intently in profile. A narrow purple border frames the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Black-and-white still from Alfie (1966): a suited man reclines languidly across a rooftop bench and the laps of four smiling women, his head propped on one hand and his legs stretched almost the full width of the frame. A narrow purple border surrounds the image. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Caine In One Frame: A black-and-white frame from The Ipcress File shows two bespectacled men standing in a kitchen; one is Michael Caine as Harry Palmer. The other, wearing a dark jumper, holds a wooden spoon while watching Palmer, in a suit and tie, carefully open a small tin. The image is centred within a soft, blurred purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners
Caine In One Frame: A widescreen frame from the 1964 film Zulu shows several Zulu warriors standing solemnly in the foreground, carrying long shields and spears and wearing traditional headdresses and animal-skin decorations. Behind them, hundreds more warriors form long ranks across a dry, sunlit hillside beneath a clear blue sky; the image is surrounded by a narrow purple border. Images are reproduced at low resolution for parody, criticism and commentary. Rights remain with their respective owners.
DVD cover for The Tailor of Panama: an orange-and-black montage showing the Bridge of the Americas at sunset above two large male faces. Text names Pierce Brosnan and Geoffrey Rush, with the tagline: “In a place this treacherous, what a good spy needs is a spy of his own.” Highly recommended! 😊🕵‍♀️
Blue-hour view across a calm lake or estuary, framed by dark trees on both banks. The still water reflects the deep blue sky, while layered mountains and low cloud recede into the distance. Peak of Yr Wyddfa (Snowdon) is visible in the far distance.
A meme-style 5-by-6 bingo card titled “RUSSIAN OIL REFINERY BINGO”. Each square contains a photograph and Cyrillic name of a Russian oil refinery. Sixteen of the thirty refineries are covered by large red crosses, leaving fourteen still unmarked. Temporarily!
A meme-style 5-by-6 bingo card titled “RUSSIAN OIL REFINERY BINGO”. Each square contains a photograph and Cyrillic name of a russian oil refinery. Sixteen of the thirty refineries are covered by large red crosses, leaving fourteen still unmarked. But I'm sure Ukraine will cross off the remaining 14 before too long. And rightly so.
Image of nunchucks: two short wooden sticks joined together at one end by a fairly short chain. Deceptively simple. Can look amazing in expert hands. Can be a shortcut to A&E in less-expert & overconfident hands.
The history and social influence of the potato. Used book, on offer for £1112. Bargain. (Cheaper modern reprints are available!)
Three boys examine the handle used to open the drain on the Pontcysyllte Aqueduct right in the middle of it. Luckily it is kept padlocked.
Wide golden-hour view of a traditional English pub called “The Maiden’s Cock”, with brick and timber frontage, hanging flower baskets, glowing lamps and outdoor benches. An ornate hanging sign shows a smiling woman in a short purple dress, legs on show, holding a colourful rooster. The pub name is also painted in gold above the entrance.
Movies Silently @movies silently.bsky.social Turning off quotes for the night because a shocking number of people either have gunk in their food processor crevices or a clogged dishwasher and I didn’t mean to open this pandora’s box of icky insights into their personal lives 05:20 · 10 Jul 2026
“I played Richard III. There were three encores” Alan Rickman's character losing confidence in Galaxy Quest.
Alan Rickman in the 1982 BBC TV series Smiley's People. Looking fabulous.
Genuine surprise on Grüber's/Rickman's face in his final & fatal scene in the classic Xmas film Die Hard. Because he was expecting to be dropped on a count of three. But they dropped him at one, deliberately 🤣
Unfortunate ordering and visual confusion left me wondering why someone would want Memorex Twin Pack Compact Cassettes from 1982 "inserted" in anything! Oops 🫣
A middle-aged man sits alone at a restaurant table with a glossy mirrored surface, eating by candlelight. He looks tired and slightly dishevelled, with a loosened tie and an expression of quiet contentment as he gazes down at his own reflection in the tabletop, seemingly treating it as company. The surrounding seats are empty, reinforcing the joke that he doesn't realise he is dining alone. Warm lighting and the reflective table create an intimate but faintly melancholy atmosphere. AI generated image, based upon an original lunch (for those old enough to remember Spitting Image).
15 parallel lines of ants march along the delightful Italian street from the start of this thread. AI generabut to illustrate a point about space usage rather than pure lazy AI slop!
Indie
Two people in the crowd are dancing happily. The crowd is truly diverse.
Video of the Manchester Sparkle crowd singing along to Sweet Caroline performed by Eve Singer on a gloriously hot & sunny day in Sackville Gardens which contains the Alan Turing memorial statue.
Sergeant Nicholas Angel from Hot Fuzz with his Japanese Peace Lily
A BT Payphones vehicle offering free priority local and national calls.
Monochrome image of a globe centred on North America. The United States is completely hidden beneath dark, sagging tarpaulin stretched across its outline, held up by dense scaffolding around the edges. Canada, Mexico, the Gulf of Mexico and the Caribbean remain visible on the globe, making the covered USA look like a huge construction site or something deliberately concealed. The mood is bleak, industrial and satirical. See: Kennedy Center.
A zoomed-in blue-hour view across still water at Porthmadog, with the dark peak of Yr Wyddfa (Snowdon) visible towards the left among layered mountain silhouettes. Deep blue clouds hang low over the valley, and the calm water reflects the sky in bands of cobalt and pale blue. A small cluster of lights glows on the far shore, contrasting with the shadowed hills and the quiet, almost unreal dusk atmosphere.
A blue-hour view across calm water in Porthmadog, framed by dark trees on both banks. The still surface reflects the deep blue evening sky and layered clouds, while distant hills and mountains fade into the dusk. A small light glows on the far shore, emphasising the quiet, moody atmosphere.
Two brown direction signs in the UK. Brown signs in UK are for places of interest (eg tourism attractions). The top one reads "Nuclear Power Plant" (presumably with a visitor centre). The bottom one reads "Spider Farm". They both point in the same direction. The viewer is left to draw their own scary conclusions...
A modified image from the original "Puddle Portrait New Orleans". The original depicts a street in New Orleans at night with a perfect reflection of the buildings, sky, and a silhouetted distant person in a puddle in the street. This version is modified, a la Reflecting Pool vandalised by the trumpster, to show how the reflection might look were the road under the puddle similarly painted. It is an abomination and an Offence Against God And Nature. Same as the Reflecting Pool vandalism.
Original book cover: Six Days of tge Condor by James Grady. Blue background, white title lettering. A silhouette type outline of a condor is perched on the last O in Condor, with an American Stars & Stripes flag in its beak
A wide photo of the beach & sea at Colwyn Bay. At the top is a strip of blue sky with around 40 wind turbines sticking out of the emerald blue sea below the sky. At the bottom is the sandy beach. There is a group of young people with a Pride flag and a kite in pride colours.
The Terry Jones statue looks on as the Colwyn Bay Pride party warms up further along the promenade. The sun is low in the sky, Main events tomorrow, Sunday 2026-05-10