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Shout out to this wonderful DBH community, you guys have pushed me into writing again. Expect gothic vampire madhel soon 🫀

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WEDNESDAY & ENID 🩷

↳ WEDNESDAY | 2.02 “The Devil You Woe”

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Character Foils: Madeline “Everyone Wants Me But Nobody Stays” Ashton, versus Helen “I Only Want One Who Will Never Be Mine” Sharp

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Helen Sharp: The metaphorical and literal bitch in the backseat to Helen and Ernest’s failing marriage

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Galinda ಠ_ಠ

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megan hilty + what is this feeling? lesbianism

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“What a fool I have been!…I curse my conceited incredulity, my despicable affection of superiority, my blindness, my obstinacy -all- too late.” Wow what a woman is capable of when she puts her mind to something (slowly draining the life out of a young unsuspecting maiden <3))

Rereading Carmilla, here lies my commentary:

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“Melancholy splendor” as a description? Now in my vocabulary

Rereading Carmilla, here lies my commentary:

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“Lay your hand along that hollow in the bed; someone DID lie there; the place is still warm” WHY WOULD YOU SAY THIS IN THE PRESENCE OF A SCARED CHILD?!

Rereading Carmilla, here lies my commentary:

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Wait totally forgot how spoiled Laura is: “my governesses had as much control as you might imagine they had over a rather spoiled girl whose father allowed her to have her own way in nearly everything.” She’s a total attention seeking diva and for that?? I see her.

Rereading Carmilla, here lies my commentary:

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Rereading Carmilla, here lies my commentary:

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Do you think when they were writing Death Becomes her, or at any point in its production, they were like: yes we are springing a trap for the frenemy yearning tragic girl kissers. Or, was it something that just happened and they caught on to the fact their audience was obsessed with the toxic glamour of their characters and amped it up to max volume?

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Obsessed with the opening of Death Becomes Her, because it’s not a typical introduction, but rather a question. Before we ever meet Madeline, Helen, or Ernest, the audience is directly asked by Viola:

What would you do for perfection? What motivation would push you to the edge of achieving the ultimate overarching language of success: beauty?

What would you sacrifice? It’s more than presented on the surface level: money or relationships. It’s also self image, respect, peace, etc. And are you still a person, truly living, after achieving perfection when humanity is hallmarked by its flaws, mistakes, and failures? Do you think you have become exempt from that if the physical slate is wiped clean?

The scenario that follows is the fallout of those beliefs, so the audience may witness Viola’s words and understand the breadth of what appears to simply be “perfection.” How it ruins and ties people together, how it can be a lonesome pursuit, and how, in the end, this warning often goes unheard. Viola has the literal and proverbial opening and final word of the entire musical, a final reminder, or caution, that this is a sense of belonging, not to oneself, but collective judgement (as the audience literally becomes the jury). Viola’s insistence that “don’t say I didn’t warn you” is the idea that once you refuse the fallibleness of being human, you have become a self inflicted anomaly who finds difficulty in satisfaction.

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dirty flirty mad ✨

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WEDNESDAY | 1.04: WOE WHAT A NIGHT

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Mad shooting Hel in the stomach, sending her flying across the Hollywood suburbs: “NOTHING BEATS A JET2 HOLIDAY”

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guess who joined a downton abbey fb group and then got kicked out after 3 days 🤙🏼