#- Jane Doe 2009

[janeya]

of the handful of 'designs' pre-2015 janes have had, which one is your favorite?

auugghhhh gotta be her. aint she just the cutest.

[ancientvamp]

six students take the path less traveled ❀

[space-jesus-stan]

the 2009 citadel theatre karnak has got to be my favourite version of him

[zefforuins]

Oh Jesus fucking Christ

[kindheartedgummybears]

J-JANE WHAT DID YOU JUST SAY-😨😨

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.

[thewintersoldier]

Horror Movies + nosebleed plot devices

Raw (2016) - dir. Julia Ducournau The Ring (2002) - dir. Gore Verbinski Firestarter (1984) - dir. Mark L. Lester The Autopsy of Jane Doe (2016) - dir. André Øvredal Fear Street Part One : 1994 (2021) - dir. Leigh Janiak Get Out (2017) - dir. Jordan Peele Let The Right One In (2008) - dir. Tomas Alfredson Drag Me To Hell (2009) - dir. Sam Raimi Scanners (1981) - dir. David Cronenberg Doctor Sleep (2019) - dir. Mike Flanagan

[thatscarletflycatcher]

Top 10 favourite portrayals in Austen adaptations?

Hi!

10. Peter Gale as John Dashwood in Sense and Sensibility 1981

John Dashwood is most often portrayed as a weak, stupid fool designed to get on everyone's nerves, which tends to shift all the blame that belongs to his character upon Fanny. It is not so with this version of the character. It is obvious that he is rather stupid, but he's also greedy, selfish and callous himself, and an all around superficial person you can laugh at and be infuriated by.

9. Joseph Mawle as captain Harville in Persuasion 2007

Another example of a minor character done well, specially meritorious in this case because this adaptation is a tv movie. It is usually a problem that Wentworth's friends come across as a bit of a blur, but in this case, between writing and acting, Harville comes across as intelligent, loyal, amiable, etc, an all around gentleman whose friendship does credit to Wentworth's character.

8. Guy Henry as John Knightley in Emma (ITV) 1996

And another one! There's several "minor character in movie adaptation" in this list, because it is really hard to make a minor character feel "alive" or nuanced when said character is given very little screen time. Guy Henry steals the scene every time he appears in this adaptation. His delivery of the famous Christmas speech is impeccable. He also comes across as a loving father and husband too.

7. Angela Pleasence as Lady Bertram in Mansfield Park 1983

Jemma Redgrave (Lady Bertram in Mansfield Park 2007) is, in my opinion, a mesmerizing actress, one of those beings that are both beautiful and have a very strong scenic presence. I love her version of Lady Bertram, but Angela Pleasence is something else in the role, and somehow specially because her vibe is the strong opposite of JR. Always sweet, delicate, and soft spoken in her roles, her Lady Bertram is hysterical; I don't think there's a scene where she gets a speaking line where I don't laugh, and laughter is so very welcome in a story that can be as heavy and as painful as Mansfield Park. She provides a characterization that fits Austen's (pliable, lazy, dim, perpetually distracted) without making her insufferable.

6. Kate Beckinsale as Emma Woodhouse in Emma (ITV) 1996

Kate Beckinsale has always had queen bee energy, but her youth in this movie softens it enough that we can see how Emma is ultimately a young woman who means well, and means to be just. I don't read Emma as having the finishing school affectations of a Caroline Bingley (something that in my opinion happens in 2020 and to some degree in the Miramax movie); she was raised at home by an indulgent governess and rarely if ever meets other ladies of her rank. But I also do see where people are coming from when they criticize 2009 Emma for being too modern and her way of carrying herself as one that would have been considered vulgar in the regency era, and I think this Emma strikes a happy compromise. Emma has good manners and a sense of rank, but she's also decidedly provincial.

5. Hayley Atwell as Mary Crawford in Mansfield Park 2007

Love, hate or be baffled by this adaptation of Mansfield Park, most people seem to agree that this casting choice was great, and there's reason to it. Atwell is a very talented actress, and despite the script not helping, she brings out both the best and the worst of Mary out, avoiding both the femme fatale and the pure victim we don't talk about the expose my ankle scene

4. Olivia Williams as Jane Fairfax in Emma (ITV) 1996

I feel like Jane Fairfax also suffers from a problem similar to Emma in adaptations. She's made to have these very suspicious vibes and heavy-looking aspect (against the trendy more Heroin Chic look of Palthrow) in the Miramax movie, she's a mousy creature in 2009, and a sort of severe schoolmistress in disguise in 2020 (I'm exaggerating for effect, but for a character that is traced with few, delicate strokes in the novel, she surely gets a lot of rather sharp depictions). Olivia Williams gives a Jane that is very accomplished, but also elegant, understated and reserved. She's someone we can look at with Emma and see as a glaring spotlight on our shortcomings rather than an interloping rival.

3. JJ Feild as Henry Tilney in Northanger Abbey 2007

I feel a bit silly, because rivers of electronic ink have been poured over this beloved interpretation of one of the favorite Austen heroes, so what can I say about this one that hasn't been said before? Most of the choices in this list are unusual, and while I picked them because I think they are spotlight worthy and truly are favorites at the moment, I won't deny there is an element of... isn't it boring to repeat to each other ad nauseam what has been said over and over and over again and almost everyone is already familiar with? So I'll let you all fill in the blanks here.

2. Robert Swann as Colonel Brandon in Sense and Sensibility 1981

This one is very high on the list because Sense and Sensibility is very dear to me, faultless despite all its faults, I obsess over it, and colonel Brandon is a very dear favorite of mine. So I am very picky about it all, and have grown dissatisfied with the 95 adaptation (I was never particularly keen on 2008) despite acknowledging its many merits as a movie and a period piece. One of the most interesting things about this novel to me, is the treatment of strength and power in its male characters -it's not a central theme, but it is certainly there. John Dashwood and John Willoughby are men who have power, and the power society and money give them, they use to vulnerate the women under their care or influence; and they are morally speaking, extremely weak men. By contrast, both Brandon and Edward are men rendered more or less "powerless" in the circumstances presented in the novel, in appearance "emasculated"; they are soft, unimposing, they don't demand attention or space, but underneath all that lays great moral strength, and it's said moral strength to do what is right and helpful that makes them dependable and even admirable.

That's why it is very important to me for Brandon to keep these traits -that softness, melancholy, humility, unobtrusiveness- besides his moments of high dramatic emotion that showcase his affinity to Marianne, and Robert Swann is the closest to this that we have ever gotten (I cannot call it perfect, but it is so very close), where other adaptations, to different degrees, try to "butch up" his character.

Elizabeth Garvie as Elizabeth Bennet in Pride and Prejudice 1980

We have had our good Lizzys and our bad Lizzys and it gets on my nerves every time someone says "[actor] is [character]!" even and maybe specially when I say so myself, but, boy, has it happened very few times in my life that I have seen a performance and been struck by its likeness to the experience of reading the source material, and this is one of those. She's witty and she's lively but she's also young and vulnerable at times. She makes mistakes, she rationalizes, she reflects and changes and grows. She is what Caroline Bingley would call small and brown and not a beauty, but we see with Darcy the charm of her expressive eyes. I'd say if there wasn't any other reason to watch Pride and Prejudice 1980, Elizabeth Garvie's Lizzy would be reason enough and some.

Some honorable mentions:

Felicity Jones as Catherine Morland in Northanger Abbey 2007 and Hattie Morahan as Elinor Dashwood in Sense and Sensibility 2008

I struggled a lot back and forth with the first. It is a really, really good portrayal of Cathy's ingenuity and honesty and JJ Feild's Henry wouldn't have been as good without her to play off of, but I also sincerely couldn't find a spot in between the others for her anywhere either at the top or the bottom of the list. So she remains in limbo without fault of her own, and I apologize to her for this failure.

Now, the second... there's this story Emma Thompson tells in her diary of the making of the 1995 Sense and Sensibility where she talks about sitting on at casting auditions for Elinor, and, unlike other roles, there being many candidates who gave great auditions, and her commenting "this is a country of Elinors". EDIT: it's been called to my attention in replies that it was Ang Lee calling Britain a country of Fannys, as it was Fanny's casting process. I do feel the dictum also applies to Elinors, on othe opposite end of the spectrum. That's probably the main thing keeping Hattie Morahan off the list. She's my favorite Elinor, but I don't think we ever had anything closely resembling a bad Elinor. 81 wasn't directed well, and Emma Thompson was indeed too old for the part, but characterization wise, they were good. Joanna David was really good in 71. And I felt on making this list that the "standing out significantly" was a key aspect. but she was, indeed, a really great Elinor.

Dan Jeanotte as Edward Ferrars in Sense and Sensibility 2024/Bosco Hogan as Edward Ferrars in Sense and Sensibility 1981

These interpretations of Edward are dear to me, and linked by being sort of opposites that complement book!Edward. Bosco Hogan is an unfiltered portrayal of Edward's diffidence, depression, and lack of personal charm even if his manners are polite. Jeanotte's captures an undercurrent of sass and glimpses of the character's deeper feelings and active negative emotions. Each on its own is incomplete, and yet show something essential to the character that is dissimulated or erased in 95 and 08; I wish I could mush them together somehow and have an Edward portrayal I could wholeheartedly love (From Prada to Nada's Edward gets relatively close, but then that is a rather loose adaptation).

Ask me my top5/top10 anything!

[milfjagger]

horror recs 2024

categories are a little broad but take from it what you will. personal favs are in bold and a * next to the name means this movie genuinely scared me

serial killers/stalkers/home invasion the black phone (2021) the invisible man (2020) hannibal (series; 2013-2015) maniac (2012) american psycho (2000) the silence of the lambs (1991) opera (1987) tourist trap (1979) halloween (1978) deep red (1975) black christmas (1974) the texas chain saw massacre (1974) peeping tom (1960)

ghosts/hauntings talk to me (2022) the haunting of hill house (series; 2018) i am the pretty thing that lives in the house (2016) under the shadow (2016) crimson peak (2015) mama (2013) the orphanage (2007) lake mungo (2008)* dark water (2005) the ring (2002) the others (2001) the devil's backbone (2001) ring (1998)* candyman (1992) poltergeist (1982) the haunting (1963) the innocents (1961)

vampires interview with the vampire (series; 2022- ) midnight mass (series; 2021) let the right one in (2008) bram stoker's dracula (1992) near dark (1987) the lost boys (1987) fright night (1985) dracula (1958) nosferatu (1922)

werewolves dog soldiers (2002) ginger snaps (2000) & ginger snaps 2 (2004) the howling (1981) an american werewolf in london (1981)

demons/witches longlegs (2024)* smile (2022)* incantation (2022)* hereditary (2018)* suspiria (2018) veronica (2017)* terrified (2017)* pyewacket (2017)* the autopsy of jane doe (2016) the exorcist (series; 2016-2018) the blackcoat's daughter (2015) the witch (2015)* evil dead (2013) the exorcism of emily rose (2005) the blair witch project (1999) the craft (1996) hellraiser (1987) suspiria (1977) the exorcist (1973) the devil rides out (1968) rosemary's baby (1968) black sunday (1960)

survival horror yellowjackets (series; 2021 - ) the terror (series; 2017) rogue (2007) the descent (2005)* open water (2003)

sci-fi horror crimes of the future (2022) annihilation (2018)* the fly (1986) the thing (1982) alien (1979) & aliens (1986)

monster movies willow creek (2013)* troll hunter (2010) the host (2006) pumpkinhead (1988)

folk horror the ritual (2017)* wake wood (2009)* the hallow (2015) pet sematary (1989) the wicker man (1973) the blood on satan's claw (1971) night of the demon (1957)

fantasy/fairytale horror gretel and hansel (2020) red riding hood (2011) the juniper tree (1990) the company of wolves (1984) psychological horror (that doesn't fit better into another category) candyman (2021) the lighthouse (2019) us (2019) get out (2017) gerald's game (2017) a cure for wellness (2016) the invitation (2015) it follows (2014)* excision (2012) may (2002) frailty (2001) dead ringers (1988) gothic (1986) carrie (1976) cat people (1942)

indie/experimental (mileage may vary) enys men (2022) skinamarink (2022) bones and all (2022) men (2022) the house (2022) relic (2020)* saint maud (2019) mandy (2018) the wind (2018) raw (2016)

balls to the wall crazy/fun as hell evil dead rise (2023) fall of the house of usher (series; 2023) late night with the devil (2023) saw movies (2004-2023) the menu (2022) nope (2022) malignant (2021) escape room (2019) & escape room: tournament of champions (2021) run (2020) the chilling adventures of sabrina (series; 2018-2020) 31 (2016) the boy (2016) american mary (2012) repo! the genetic opera (2007) trick 'r' treat (2007) sweeney todd (2007) dead silence (2007) house of wax (2005) house of 1000 corpses (2003) final destination (2000) ravenous (1999) lair of the white worm (1988) brain damage (1988) the texas chainsaw massacre 2 (1986) re-animator (1985) & bride of re-animator (1990) evil dead movies (1981-1992) phantom of the paradise (1974)

[tic-toc-clock77]

how old is everyone n your AU just curious

As of 2024, each character is

Slenderman; 100+ (??/??/????)- Slenderman has been alive for well over 100 years, same as Zalgo

Jeff the killer; 32 years old (20/09/1992)- in dwellers, his story takes place when he is 17 in 2009

Homicidal Liu- 30 years old (06/11/1994)- In Dwellers, Liu's story takes place in 2009 a month after Jeff's

Nina the Killer- 27 years old (07/03/1995)- Nina's story takes place when she is 14 years old, 6 months after Jeff's

Jane the Killer- 40 years old (17/10/1984)- Jane's story takes place in 2009 when she was 25, a week after Jeff's.

Eyeless Jack- 35 years old (25/02/1989)-Jack's story takes place in 2010 when he was 21, a year after Jeff's

Lucile "Lulu"- 15 years old bodily/27 years mentally (31/10/1995)-Was cursed by Zalgo with immorality at age 15 in 2010, same month that Jack was sacrificed

Sally Williams- 10 years old/mentality does not change like Lulu's. (25/12/1960)-Body is found by Slenderman in 2012

BEN drowned- 14 years old (10/10/1997)-BEN was killed by the cult leader in 2011 then found by Slenderman

Natalie "Clockwork" Ouellette- 28 years old (03/11/1996)- Story takes place in 2013 when she is 17

"Ticci" Toby Rogers- 28 years old (11/04/1996)- Story takes place when he is 17 years old in 2013

Tim "Masky" Wright- Assumed 30-40s (??/??/????)- Tim suffers from amnesia, he can't recollect a lot of information

Brian "Hoodie" Thomas- Assumed 30-40s (??/??/????)- he has not disclosed this information to the Slenderman yet

[janeya]

and with that the janey posting has begun!!!

[this-machine-runs-on-coffee]

Gonna have a rap battle against himself

2008 Monique Gibeau I love this lol

She looks so mad lol

Loving the way only that guy (Corey Ross maybe?) has a mask

Woah wow

I'M SORRY BUT THIS LOOKS LIKE SHE'S DANCING AT A FUNERAL

Oh wow a candle I genuinely was not expecting that

YES THE BIRTHDAY SCENE

LET'S GO

I wonder if there was already the Savannah scene

Wow what was happening here?

Wow this is way different from what I'm used to I love this

Also hello there Virgil

COREY ROSS AND THE COOKIES, COOKIES AND SOME LEMONADE/CELEBRATION?????

Aaaand end of the 2008 pictures there were on the drive I have screenshotted (I screenshotted like 12/40 if I can count)

2009 now

Wow he looks old, he's probably the guy that in the Sumerians' myths (maybe Gilgamesh's search for immortality, that one myth?) survived the thing in the bible only Noah and his family survived with the Ark, but the booth looks so cool!

Wow so still 8 people

Cool stage!

Jane Doe hasn't gotten her head yet alright

Different hair for Jane Doe? Alright

Wow that doll is big

Did they start using the doll in 2009? Didn't see it in the 2008 pictures

The real question is, does she want to brush her dolly's hair?

WELL OKAY NOW THAT'S A PRETTY CLEAR NO

Now that's confusing what is happening

I am confusion incarnate

Now here's something I understand

Wow Noel's Lament in red light? I think I get what they were trying to reference

Wow are you okay?

"My child, are there any final words to the Lord you'd like to say?"?

Would that be Astrid? I've never seen Astrid before

[haveyouseenthishorrormovie]

Stats from Movies 101-200

Top 10 Movies - Highest Number of Votes

The Thing (1982) had the most votes with 2,313 votes.

The 10 Most Watched Films by Percentage

Shaun of the Dead (2004) was the most watched film with 69.30% of voters saying they had seen it.

The 10 Least Watched Films by Percentage

The Wicker Man (2006) was the least watched film with 67.02% of voters saying they hadn't seen it.

The 10 Most Known Films by Percentage

Friday the 13th (1980) was the best known film with only 1.04% of voters saying they'd never heard of it.

The 10 Least Known Films by Percentage

The Doll Master (2004) was the least known film with 88.49% of voters saying they'd never heard of it.

The movies part of the statistic count and their polls below the cut.

The Faculty (1998) You're Next (2011) Matriarch (2022) May (2002) Black Christmas (1974) Behind the Mask: The Rise of Leslie Vernon (2006) Friday the 13th (1980) Jason X (2001) The Autopsy of Jane Doe (2016) The Tunnel (2011)

Scream 2 (1997) Climax (2018) Raw (2016) Tusk (2014) A Serbian Film (2010) Waxwork (1988) American Mary (2012) In the Mouth of Madness (1994) The Fog (1980) The Mist (2007)

Ginger Snaps (2000) Scream 3 (2000) House of Wax (1953) Shaun of the Dead (2004) Night of the Living Dead (1968) Basket Case (1982) Malignant (2021) Attack the Block (2011) Insidious (2010) Trick 'r Treat (2007)

The Wolf Man (1941) The Invisible Man (1933) The Invisible Man (2020) Mystery of the Wax Museum (1933) Scream 4 (2011) The Last Broadcast (1998) Dark Water (2002) Dog Soldiers (2002) One Missed Call (2003) V/H/S (2012)

The Houses October Built (2014) Occult (2009) Willow Creek (2013) Savageland (2015) The McPherson Tape (1989) Waxworks (1924) Scream (2022) Possum (2018) Cemetery Man (1994) The Slumber Party Massacre (1982)

The Thing (1982) Count Yorga, Vampire (1970) Night of the Lepus (1972) Puppet Master (1989) Gargoyles (1972) From Dusk Till Dawn (1996) The Fourth Kind (2009) Dead Silence (2007) The Legend of Boggy Creek (1972) American Gothic (1987)

Netherworld (1992) The Bad Seed (1956) Satan’s Triangle (1975) The Creeping Terror (1964) The House That Would Not Die (1970) The Wicker Man (2006) Scream VI (2023) From Beyond (1986) Castle Freak (1995) Beyond the Gates (2016)

The Phantom Empire (1987) The Evil Clergyman (1988) Would You Rather (2012) Chopping Mall (1986) The Texas Chainsaw Massacre 2 (1986) [REC] (2007) The Bay (2012) Happy Death Day (2017) Happy Death Day 2U (2019) Mayhem (2017)

Child's Play (2019) Freaky (2020) X (2022) Pearl (2022) Possession (1981) Possessor (2020) Hush (2016) Us (2019) Creep (2014) Creep 2 (2017)

The Witch (2015) Eyes Without a Face (1960) The Void (2016) Annihilation (2018) Color Out of Space (2019) The Thing (2011) The Relic (1997) The Doll Master (2004) Hellhole (2022) The Howling (1981)

[rmbunnie]

Another little inconsequential red hood thing and I'll admit that I'm decently biased but it irks me to see the whole "Jason can't shut up about his death/he makes his death everyone else's problem" take really frequently because he simply does not do that enough for it to be a thing in like any actual Red Hood story.

It's a thing you see sometimes in modern annuals/comics with large casts, particularly if a writer doesn't seem super confident with writing all of the characters that they're working with or if he's just a background character in this one, because with comics it's quicker to reduce a character to recognizable landmarks than to try and work out a whole new complex voice if you don't really need to, so it's tire iron, Jane Austen, Joker, and death, and it's all written out in dialogue because every character in a group event can't have their own internal monologue, but like. That's pretty much it. UTRH is the establishing event for Jason Todd post death so of course a lot of it is about his death, although it's arguably about the lack of response to his death more than his death itself, and he certainly makes it Bruce's issue but one beef doesn't make a trend. Plus if his death is anyone's issue beyond his own Bruce and Joker are like the number one guys whose issue it is. He THINKS about his death a ton in Lost Days, but it doesn't really reflect externally on any of his interactions besides with Joker, which again, that's justified and relevant beef. Teen Titans 29 is more about his place in the hero community/feeling like he was an outsider even before the bomb/Tim being the new robin than about his death, and side note, that being counted as an attempt on Tim's life also bugs me. He beat him up and then left of his own volition. That's not an assassination attempt its called a fight, albeit a sneaky and unfair one. But anyways. I can't speak on Battle for the Cowl because i haven't read it, both that and Batman and Robin 2009 don't really compel me, but it's entirely possible that's an outlier to my point seeing as I kinda sorta haven't read it and don't care to lmao. Even New 52 (although HIGHLY unpopular) and Rebirth/Dawn of DC/Whatever we're doing now Red Hood content don't really have him talking to people about it besides the occasional little quips. He might make stances that were developed because of his death other people's problem, like in the Mia Dearden Green Arrow situation with the "getting involved in other people's business" issue, but acting like he makes specifically his death everyone else's problem is ignoring all of the perfectly valid actually canon things he makes other people's problem. Most of the unpleasant traits he brings to the table are a result of his death and the sense of abandonment and betrayal that came with it, but that doesn't mean he's bringing his death into it when he acts unpleasantly any more than he's bringing his birth into it when he shows up in the first place. The consequences do not equal the event. All this to say it's irritating when people say the character is grating because he doesn't stop whining about his death when that kinda just indicates to me that they're working off fanon based on fanon based on kinda mid batman annual.

[gothimp]

Creepy Winter Recs ❄️🔪💀

note: not all necessarily take place in winter but just give a general cold feeling

Books

What Moves the Dead: retelling of poe’s the fall of the house of usher with a nb narrator. The whole book feels cold and dreamlike.

Juniper & Thorn: folklore inspired gothic horror with beautiful imagery, good commentary on trauma. Amazing characters.

Stolen Tongues: modern paranormal horror about a couple in a snowy cabin. Quick and captivating read, but it did start as a reddit nosleep, which is still noticeable in the published book.

Hex: small town horror/paranormal horror about a small town haunted by a witch the town tortured in the 1600s. The way they go about keeping their town’s curse a secret is interesting.

The Only Good Indians: modern horror, four native men haunted by a shared event of their past. Visceral and emotional.

Films

House of the Devil: a 2009 film made to feel like a classic 80s horror. A college student answers a flyer to watch after an elderly woman for a night.

Antlers: modern folk horror set in the PNW involving native folklore and generational trauma.

Incident in a Ghostland: psychological horror about two sisters and what happened to them when they were teens.

Autopsy of Jane Doe: a father and son experience weird phenomena while working on the body of an unknown woman. Lots of cold lighting.

The Ritual: european modern folk horror, a group of friends go hiking in sweden.

The Cursed: folk horror in 1800s france about a village plagued by nightmares.

Last Voyage of the Demeter: an imagining of Dracula’s voyage to America. Lots of cold lighting, takes place at sea.

Paranormal Activity: Next of Kin : found footage horror set in a small amish community in winter.

And more well known ones:

The Thing

30 Days of Night

Ju-on / The Grudge

The Company of Wolves

Gremlins

Let the Right One In

[april-is]

April 5, 2024: May 5, 2020, John Okrent

May 5, 2020 John Okrent

It is beautiful to be glad to see a person every time you see them, as I was to see Juan, the maintenance man, with whom it was always the same brotherly greeting—each of us thumping a fist over his heart and grinning, as though we shared a joke, or bread. I barely knew him. Evenings in clinic, me finishing my work, him beginning his— fluorescence softening in the early dark. He wasn't even fifty, had four grandchildren, fixed what was broken, cleaned for us, caught the virus, and died on his couch last weekend. And what right have I to write this poem, who will not see him in his uniform of ashes, only remember him, in his Seahawks cap, and far from sick, locking up after me, turning up his music.

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