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@cafeleningrad
when the persona you made eats you; when the performance youve been putting on eats you; when the name they gave you eats you; when the image people made of you eats you; when the role you were assigned eats you; when the you that other people see or even made for you or you made for them takes over the you that you know and eats you alive.
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âMonsterâ, Episode 08 | The Fugitive
âI finally realized, after ruining three different marriages⊠the only one who ever loved me was you, Kenzo.â
a character being a perpetrator does not negate their victimhood and neither does their victimhood negate being a perpetrator. u can accept and reckon w both dimensions in ur analysis
there is nothing morally purifying about suffering or victimhood, it is not something that inculcates âgoodness.â
oneâs character has no impact on whether they were/are a victim or not, victim status is not something that is only afforded to the palatable.
it also does not = absolution.
Anything that claims that it can sort all humans into neat categories is bullshit, sorry to say. The sex binary, the gender binary, astrology, MBTI, love languages, whatever. Humans are hugely complex and unique and not a single person on this earth can be accurately described using simple terms like that.
People have made some silly alive/dead jokes on this post and I'll be the buzzkill and say that this is actually a huge source of strife in a lot of medical and health advocacy circles when it comes to things like end of life care, organ donation, and removing someone from life support. Sadly the line between life and death is not always clear cut and it creates gray areas in medical ethics, especially for the families who have loved ones on life support. Shit's complicated.
I need anyone even remotely interested in the live actionâs costuming to watch this, and even if youâre not watch it anyway and appreciate the dedication and skill that went into this show
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HELLO? HELLO? HELLO? HELLO? HELLO
and i had to wonder.......was it even possible for fictional characters to be friends and coworkers with each other? or could we only exist in a world where all dynamics are processed through the lens of the nuclear family?
every time any highly-regarded artist turns out to be a complete piece of shit a hundred people come out of the woodworks just to say they never liked them/found their work very overrated. omg bestie your sense of aesthetics has suchhhhh a good morality and prediction skills đ do you want a little kissy on you forehead.
Jan Ć vankmajerâs Castle of Otranto (1977) is an animated adaptation of Horace Walpoleâs 1764 novel of the same name. This novel is credited with the start of the genre of gothic fiction, and was heavily influential on the horror genre as a whole.
i think i have finally pinned down what i find disappointing about a lot of what bills itself as âgothicâ these days, and that is that it forgets to concern itself with the mundane as well as the weird. without a sense of conventionality or normalcy in which some character is entrenched, then the whole frisson of disturbance is lost. it becomes merely surrealist, strangeness that is either beautiful or horrific, but not so specifically unsettling because there is no status quo to disarrange.
jane eyre and wild rochester is incomplete without the cold logic and incorrect assessments of jane in st. john rivers. wuthering heights loses its shocking vividity if we arenât viewing it through the eyes of lockwood or with heathcliff the othered outsider as our focal point. dracula loses its impact as soon as we erase jonathan and jonathanâs love from minaâs story.
even in more modern stories, rebecca is about a heroine who carries weirdness inside herself and crashes up against the haute "normalcy" of the manderley fairy tale; the haunting of hill house devolves utterly once the spectres and ghosts come up against the brashly pragmatic and annoying doctor's wife.
now, whatâs interesting is that in these classic cases, adaptations looooove to cut out the normal element and focus on the bizarre, the baroque, the Romantic. but then it becomes flattened, one-note, and loses the exquisite tension that the gothic mode gives, which is that we are understanding the baroque and Romantic against a backdrop that is recognizable and supposedly sane, until we are forced to reconsider what is "normal" in this world and what isn't.
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The abuse of the Aono brothers is morbidly fascinating. All of it stems from their mother being a unfathomably immature person. She has high demands towards everyone around her, yet is incapable to provide anything herself.
Ryuhei receives affection not because him being a calm, attentive child makes him more easy to love. In fact he was molded to be alert to his mother's emotional distress. Reacting in worry, and taking care of her first got him praise and her affection. Only... the compliment of him being like his father was a double edged sword... as in most recounting about his father was about what he provided to his wife. Therein lay her adoration for him. (Which bordered on parental incest comparing the son to his father in both providing the same services to the mother's needs.) In that sense, her affection is conditional to the comfort and care someone brings to Mrs. Aono first.
Only problem is, her boys still were children. They need to be taken care of first as they're deeply vulnerable. Whereas I see Teppei's behavior as rather normal and typical behavior of a kid his age, expressing comfort physically, having strong reactions to distressing feelings like anger or fear, disliking to get scolded testing his limits with his parent, playing silly games, it is so telling to me that his mother deeply despises him for that behavior. Because Teppei's behavior is typical for his age, all that he does is what she does too. Only... it's a developmental stage for Teppei. For Mrs. Aono it's childish behavior which is not appropriate to a grown woman who has the responsibility of raising two kids. She puts her feelings first, is more scared of getting (eventually) reprimanded by her family in law for her messy life situation, finds fighting back at pushy clients to hard, is easily scared by even small challenges, is rather passive, rarely if never proactive. Even though she screams at Teppei for hating weaklings, she herself never was a strong person. Her dislike of Teppei's childlike behavior is projection of her own childishness. As well as her inability and unwillingness to overcome her severe limits. In so it's fascinating how she takes Teppei's behavior as indicator of a deeply malcious and mal-adjusted personality - of course without an ounce of self-reflection. And yet, despite being the despised child who follows his child-typical instincts more than Ryuhei, Teppei finds the freedom to actually retort at his mother what burdens both of them.
Just the juxtaposition of both boys who're more alert and perceptive than their mother against her mother who's a grown adult but absolutely not capable of adulting.
With a grown body and status as mother she also wields a scaring power over her boys. She's like a tyrannical child in how she exerts her power. She wants to receive comfort first, everyone should obey her when she demands it, and hates getting asked to make an effort first. Her strong emotional reactions to distress are absolutely disproportionate. An obvious sign is her physical abuse of Teppei anytime he plays around like the energetic kid he is, or tries to receive physical contact because she's still his mom. He becomes overwhelming for her? She needs to beat him back proportional to her flaring up anger. But with Ruyhei, she reacts more perfidious. Still childish but with him she exerts emotional control. Ruyhei asks her to be nicer to Teppei whom she depises? She really doesn't like Teppei but Ryuhei asked her to do something she doesn't want to. So she makes Ruyhei pay by playacting favourites.
In that psychological power she holds over him, Ryuhei caves into her demands in order to not loose her affection. In so he learns the he needs to be useful and dependent on. It's the only way he can receive affection. So he follows a script to receive love. So in the logic of a child only experiencing love as conditional, he follows his mother's logic who of the two boys "earn" love or are "rightfully" denied love based on what they provide for the parent.
grabbing the ao3 authors by their plump rosy little cheeks⊠being sexually submissive⊠does not make a person literally anything. not more or less powerful, or more or less competent, or more or less gendered, or more or less capable of abuse, or more or less innocent, or more or less mature, or more or less adult, or more or less violent, or more or less intelligent, or more or less responsible, or more or less any single thing on the planet. there is no correlation. please. please. for the love of god.
Convenience isn't bad because of some inherent value in toil or it rots your soul. Convenience is bad because it often comes at the cost of an exploited underclass. I don't care if someone wants to taxi their meal to their house instead of making it themselves or even driving to the restaurant themselves. I care that meal delivery apps underpay their workers (they don't even consider them their workers), provide no workplace protections, and prey on their desperation.
The desire for convenience is a morally neutral thing (no matter how many capitalists want their workers to see unproductivity or aversion to the "grind" as a moral failing). Companies that sell you only convenience by making it worse for yourself and for others are not.
Pray on my spine, it's a rosary.
âMonsterâ, Episode 07 | Mansion of Tragedy
âMany people died. My brother and I walked there. It seemed like we were the only ones in the world. We crossed the border. The old man and woman encouraged us, they were kind to us. My brother said âI have a good plan.â
Soon, the old couple died.â
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beating on the deadest of all horses... STILL! Everyone is harping on Flannagan, Fennel, and del Toro delluted, if not turned their entire back to the spirit of the original gothic books. But the trend actually started with Nosferatu (2024). Just this was the gothic aesthetic people wanted. I was dearly missing any interest in people actually investigating the original 1922. How Orlock was a monster about the shock of social collapse. So many jokes how Nosferatu was "a Dracula rip-off" yet never investigated how this vampire was actually distinct enough to not be Dracula, and not only in name and creature design. Everyone complains how obtuse Frankenstein (2025) and "Wuthering Heights" (2026) are about topics, and sexuality, yet none complained at a story about social collapse and surviving a pandemic turned these visuals just as extensions of a single woman's trauma because weirdly Eggers absolutely missed the timing and spirit of the original story, and Hollywood can only imagine horror on the most personal, physical level. And only if easily digestible, without moral ambiguity. No too many or even interwoven topics at once.
It might be totally unrelated to the fact that the original story is not from the UK, or the North Americas that none is eager to dig into the 1922 material, hmm.... Almost as if anglospheric lit suddenly turns out to be limited, and not so vast and the only trend maker...
Actually, the movie deserves the bashing current "betrayal of the original" adaptations get.
A reason why I might be so hung on this movie, or more so it's reception by audiences is the double standart.
The entire "le gothique" crowd might have their legitimate gripe about their favourite gothic novels getting spiritually defaced in recent for-screen-adaptations - but no outcry how Egger's remake is at best an in-visuals-only while disregarding everything that elevated the movie so far above being "just a dracula rip-off".
Guess clamouring the sanctity of "le gothique" is so vitally important but inverting a unique horror is fine, actually. :))) Got my gothic aesthetic, nothing matters more.
"Historical accuracy" might not be an argument holding much water in regards to a movie adaptation of a myth retelling written centuries after the collapse of the bronze age.
However, I interpret the annoyance at black armor as costume choice as aesthetic exhaustion over the visual, omnipresent terror of de-saturated palettes in Hollywood movie ushered in by the hype over Fincher's and Nolan's movie making.
idk why photography and movie palettes are on my mind these days but I recently watched "Lamb". In spite of taking place in the most desolate area of the short Icelandic summer, pronouncing the claustrophobia of a secluded family, it was still such a visual feast. Nolan is shooting a story about venturing the Mediterranean sea, and the material looks my seasonal depression in Northern Europe - on a bad day.
It can't be that I'm watching a Vinterberg/Jensen movie, produced with the tiniest fraction of a Hollywood production, financed with the budget of the movie fund of at least two Scandinavian movies, taking place under the default overcast Danish sky, and I yet I still watch gradients and colour palettes much more lush and striking than these flat, kardashian appartment decoration, dentist office aesthetics costing triple million dollars.
Aesthetic preferences are subjective. Fincher and Noland are perhaps movie makers I can't get behind because when it comes to pacing, striking visuals, directing, and editing, I haven't really seen anything a non-Hollywood movie couldn't rival or even outpace them.
It's even odder to watch this "Odyseey" trailer, and not a single Mediterranean actor is in sight. I mean, I know, I get it big known names are there to pull in audiences but... idk, it feels so off... I mean compromising between well-known names and Mediterraneans, many Spanish, Italian, and French actors can speak English, actually. Some even without accent. (Just saying, CrĂčz, Banderas, and Bardem speak great English if one aims for known names in Hollywood). Heck I watch a lot of Australian shows where actors of Greek decent are starring in, acting in stories about Greek immigration struggle. Compromise between English native speakers and Greek descent. Idk, he might be a small name but George Houvardas, in my opinion has a lot of good timing and some sex appeal to become a new discovery for audiences.
I think "historical in-accuracy" as argument tries to actually capture the on-going problem in the anglosphere of using Greek myth as brand recognition with little interest in the actual fabric of it as religion circularly feeding and getting shaped by a culture of an ethnicity that still exist, but also had a remarkable influence on the Mediterranean area, and well, even Europe's writing system. These aren't just funny stories but a cosmology with history and culture behind it that are worth looking into beyond aesthetics but understanding them as tales from a time and culture that isn't like ours anymore. And that a lot of this cultural legacy has been bastardized and warped by Northern European nationalistic projects on the back of Greek people. Actively stealing relics, or passing over Greek sources, imposing a monarchy over people who just fought for their liberation. The casting of majority anglosaxon actors, more indicative of Nolan's own aesthetics proclivities than an exploration of a different vision comes at a time in which anglospheric media production uses Greek myth as brand recognition first and only. Like, as much as Cassandra's motive can be re-visioned as "woman unheard" to wallow literariy'ish in the state of sexist malaise of contemporary gender struggle, reducing Apollo's curse to "men be offended at getting told "no"" ignores how Cassandra's motive of ignored omens is woven into the tragedy of the fall of Troy as this ignorance towards her words is more related to human limitation towards the grander forces of fate. Just as one example.
In that sense I think the visuals of this movie like these armors in black, helmets that look more flexible craft material than any metal a cosplay could make look better, Robert Pattinson's face looking like tourist lost in Santorini trip than a believable suitor from the area, make visible a much bigger problem with how the anglosphere handled and still uses folklore and myth that isn't theirs.
Also, again preferences are subjective, I just think this rubber costume material, the depression colour palette, and those anglosaxon faces trying to pretend to be totally from the area are jarring to look at. Like, if Nolan totally bought into the hellinistic blonde Greek pseudo-myth, there're totally naturally blondes in the area too. I bet any Norman decent left-over from the local theater would still make a better Odiseo than Matt Damon - who started out his career playing a visibly stnading out US tourist in an Italian costal village.
