#It's not a lost case

[candyje11yfish]

nacho ahhahaha (i hope this looks cool)

[give-soup-please]

raise a glass to the posts you love that end up deleted. to the fanart and fanfics you lose track of and can't locate. to the blogs you used to look through that ended up unexpectedly disappearing. to the things you didn't archive because you always assumed they'd be there.

[canisalbus]

✦ Freshly ordained ✦

[ruporas]

dragon meat, you, and me

[wordwings]

*kicks down your door* It might seem like a plot hole that no one thought about the possibility of Dracula being invited into the asylum by Renfield (or any other patient) but actually it speaks to the way Renfield’s personhood is being denied mainly by Jack Seward, but also the rest of the crew in part through their reliance on Seward’s expertise. Which also ties into the way they have decided to shut out Mina at the very same time. It literally just did not occur to them that the patients living in the same building as them would have any claim to the residency that allows someone to grant the permission a vampire needs to enter a home. But of course the asylum is the patients’ home just as much as it is Jack’s! They live there! In short this fatal blow dealt to the heroes at this crucial juncture comes about through both their sexism and their ableism. Good night. *puts your door back on its hinges again and leaves*

[gunstellations]

rival battle ⚔️

[goryhorroor]

“horror movies of the 1980s exist at the glorious watershed when special visual effects finally catch up with the gory imaginings of horror fans and movie makers. technical advances in special effects (animatronics, liquid and foam latex) meant the human frame could be distorted to grotesque new dimensions on screen. 1980s horror movies delivered the full colour close-up, look-no-strings-attached, special effect in a way that previous practitioners of the art could only dream about. everything lurking in the shadows in older horror movies was now dragged into the garish light of day. the monsters were finally out of the closet.”

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[attyrocious]

Cornerstone (2009) - Arctic Monkeys

thank u for coming to my "law is an arctic monkeys fan" ted talk

[egophiliac]

Hello ! I positively adore the running joke of Idia unknowingly finding Lilia to be the coolest guy ever whenever he doesn't know it's him, like when Silver described his father, or obviously with muscle red. I can't say what'd be funnier, Idia finding out his online best friend is actually Lilia, resident spooky hyper fairy; or them both never finding out, and it'd become even more ridiculous as time goes on. How do you think it'll play out ? You're always so on point

(Also, though it makes sense, I'm still devastated bat boy didn't get a ticket for the Halloween skeleton train : ( does anyone mentions him at some point ? Like how he'd have fit right in with all those Halloween town little freaks, and how he'd have impressed them with his spooks and scared techniques; after all he's been every Briar Valley's children worst fear on Halloween for centuries. I'm on the eng server and I didn't wanna spoil myself by watching the whole thing on youtube)

Have a nice day !

you and me both, Idia and Lilia being oblivious online BFFs (+ Idia being incredibly intimidated any time Silver brings up his jock gamer dad) is my favorite running joke/subplot. 🤝 it's SO good, to the point where I also am unsure if I actually want it to ever be resolved or not...maybe, like, as a post-canon stinger or something? everyone's standing around covered in overblot ink, and Idia and Lilia's phones go off at the same time...

(legit I do think this is part of why Idia couldn't be present for Lilia's dream, because for some reason Lilia decided he was going to just. embody his past self online. he probably quotes his own battle strategies or whatever in the middle of boss fights. Idia didn't pick up on the whole "oh how weird that we both live on a super remote island" thing, but he would spend thirty seconds listening to General Lilia describing siege warfare and be like "w-wait")

all that aside, however it does end up happening, I do see Lilia being very blasé and all "oh! cool!" about it. y'know, taking it very much in stride! and Idia...very much not.

(can't tell if tumblr is going to chew this into illegibility or not, this will be a fun surprise ᕕ( ᐛ )ᕗ)

as for Lilia sadly missing out on Halloweentown shenanigans...he does get one little mention as part of an offhand reference to the light music club, but so far no one has brought up how this basically is just Lost In the Book of Liliatown (Sebek's been too busy yelling about not getting to be in the same group as Malleus). 😔 honestly though, it's probably for the best that he got left out, because he would just settle right in and refuse to ever leave. canon would shatter. we would miss out on all the delightful angst of episode 7 because Lilia is too busy eating poisonous shrubbery inbetween practicing his very best screams, and no one can pull him away from it.

(I can hope for a sequel next year though...)

[casualavocados]

"Tell him, he knows everything he needs to know and feels everything he needs to feel. And when the day comes, and those two pull together, he will be an unstoppable force for good."

[mellific]

FASCINATE, a new minicomic that i will have at SF ZINE FEST this sunday (9/3)! come to table 38 and pick it up along with uhh slkfjsd books that will hopefully have arrived at my house before friday! i guess!!

[magpiesketchins]

It's midnight so I'm posting bi/pansexual men

I have a lot of feelings about Logan with an ownership kink please someone give me an excuse to talk about Logan with an ownership kink I'm dying

[flawlessflesh]

thistle tourist tyrant

[chthonic-cassandra]

Corollary to the important Dracula movies post, here's a more general recommended and/or representative vampire movie curriculum; there's some overlap between the two lists, of course.

This list does include my personal favorite vampire movies and sometimes it's skewed a little to my taste rather than to what's most important in the genre, but I also think it's 25 movies that would make a pretty interesting education in vampire film.

1922-1964 (fundamental, genre-defining)

Nosferatu (dir. F.W. Murnau, 1922)

Dracula (dir. Tod Browning, 1931)

Vampyr (dir. Carl Th. Dreyer, 1932)

Dracula's Daughter (dir. Lambert Hillyer, 1936)

Dracula/Horror of Dracula (dir. Terrence Fisher, 1958)

The Last Man on Earth (dir. Sidney Salkow, 1964)

1970-1982 (experimentation in multiple directions)

The Nude Vampire (dir. Jean Rollin, 1970)

The Vampire Lovers (dir. Roy Ward Baker, 1970)

Valerie and Her Week of Wonders (dir. Jaromil Jires, 1970)

Daughters of Darkness (dir. Harry Kumel, 1971)

The Velvet Vampire (dir. Stephanie Rothman, 1971)

Dracula A.D. 1972 (dir. Alan Gibson, 1972)

Ganja & Hess (dir. Bill Gunn, 1973)

Blood for Dracula (dir. Paul Morissey, 1974)

Dracula (dir. John Badham, 1979)

Nosferatu (dir. Werner Herzog, 1979)

Fascination (dir. Jean Rollin, 1979)

The Living Dead Girl (dir. Jean Rollin, 1982)

1983-present (the contemporary vampire film, of various types)

The Hunger (dir. Tony Scott, 1983)

Near Dark (dir. Kathryn Bigelow, 1987)

Bram Stoker’s Dracula (dir. Francis Ford Coppola, 1992)

Interview with the Vampire (dir. Neil Jordan, 1994)

Shadow of the Vampire (dir. E. Elias Merhige, 2000)

Let the Right One In (dir. Thomas Alfredson, 2008)

Thirst (dir. Park Chan-Wook, 2009)

Byzantium (dir. Neil Jordan, 2012)