#Just as any self respecting femme fatale needs.

[fangsforiris]

Paintings Talk

Prompt: Woman in the Painting, Ghostly Dream, Another Woman, Who is She?

Person: Beatrix [Sakamaki]

HC’s:

🫐 If Christa was known for her Forbidden Beauty, and Cordelia her Femme Fatale appeal, then Beatrix would be… Beatrix.

🫐 Beatrix was known for her stoicism and statuesque appeal.

🫐 Sometimes even being referred to as ‘Ice Queen’ or ‘Plain Woman’ for how she maintained a steady, yet un-stained reputation.

🫐 But do not let that mistake her for being ugly. She was far from it. She was a classic, vintage beauty.

🫐 As in, she was made to become a muse. Made to be a painting, a statue even. Just… something to be admired.

🫐 From the long blond tresses going all the way down to her hips, to those striking blue eyes that send shivers down spines. But it was also the way her lips were full and curled, as if she knew she was on display for the world around her.

🫐 Ever since she was a little girl, she could remember the admiration from potential suitors, remember their stares and deeply clouded eyes.

🫐 Overtime, she’d learn that she would have to play into it, lest she became unfit to be wed and bring dishonour to her family and house.

🫐 There was something intriguing about Beatrix that forced many to be pulled into her spell.

🫐 She wasn’t a femme fatale by any means, nor would she like to entertain it on purpose.

🫐 (But that didn’t mean she couldn’t pull it off, oh no, far contrary to popular belief, if she did something, the one thing she’d do is do it well.)

🫐 But she mimicked the aura of that of the old renaissance paintings.

🫐 The ones that you’d be forced to sit and stare for hours, unable to get bored of it.

🫐 She had a ghostly appeal, almost. Especially when she would go on to die.

🫐 If she was a painters muse, then what would become of her once the body’s been dead and buried?

🫐 For this reason, Karlheinz commissioned many paintings for her.

🫐 In fact, in the castle, she has the most paintings commissioned and posted about out of all the 3 wives.

🫐 Karlheinz was not immune to her bewitchery (if one could call it that,) Beatrix just had something to her that comforted the sullen, but intimidated the guilty.

🫐 Karlheinz would spend hours watching her be painted, the small details mattered. Never was he more attentive in anything when Beatrix was getting painted.

🫐 He’d even use it as an excuse to shamelessly watch her. (Not that he had any shame to begin with.)

🫐 Out of all his wives, he certainly appreciated how cordial the two could cohabitate alongside one another.

🫐 The two didn’t care for playing house, they both knew this, but they would converse as if they knew each other lifetimes ago.

🫐 Beatrix may respect Karlheinz as a superior, and as a bright mind to grace their time, but she too knew her self-worth— And Karlheinz knew that as well.

🫐 He 100% respected Beatrix the most, as he enjoyed the small company the two would share, and her willingness to listen to his rambles.

🫐 The small late nights the two would share without the need for physical activity, it was the platonic affection the two could indulge in that made it all the worth it.

🫐 They both knew they had their reasons for marriage— Beatrix for higher social standing and upholding her family name, and Karlheinz for increasing his lineage and fame as king.

🫐 They both knew they could never love each other, but it was the fact that the two held a mutual respect and understanding for one another that strengthened their bond.

🫐 Karlheinz would play with her hair when stressed, on the rare moments when his existentialism overbore his entity, Beatrix would listen and stay as a loyal ear.

🫐 Beatrix could be anything, but she was loyal until the end— even as a widow from her previous marriage before Karlheinz.

🫐 On that note— she was 100% wed to another man before Karlheinz, maybe even two husbands before the Great King.

🫐 So she was not a virgin when she laid with Karlheinz.

🫐 I suppose it was third times the charm, as she became a widow to two men, but only on the third would the husband become a partial widow.

🫐 Once she died, there… was something wrong with the paintings.

🫐 It was as if the eyes moved, apart of her soul present in each and every one of the paintings located in various locations of the castle.

🫐 There was something about Beatrix’s paintings that made the hair on your arms and neck stand up. The type of thing where you get cold feet. As if your breath was being taken away under the eyes of azure.

🫐 Some have even said that their magic was drained after passing by. Some have even felt their undead heart skip a beat, before ceasing all action.

🫐 Even a whisper or a shudder of a scream would be heard through the halls.

🫐 Like… her paintings were cursed?

🫐 It was due to these strange, paranormal occurences, that some areas within the castle were bordered down.

🫐 Karlheinz didn’t have the heart in him to take down the paintings, his attachement far too strong.

🫐 Shuu remembers walking past her painting in the hall nearing the old ballroom before being renovated. For a moment, he swears blue flashed, energy being emitted from the painting. He tripped, his gaze plastered on his shaking hands. He wouldn’t tell a soul of how he slowly turned his head, his peripheral view displaying the mouth of a woman turn into something akin to a cynical smile.

🫐 Rumour throughout the castle and higher end nobles spread of her paintings being painted with her blood. A pint for each painting, as if she wanted to live on in some form.

🫐 Perhaps it also included her magic..?

[vincent-marie]

Hot Take: "Equal Fights" Predicted Online Faketivism

In some ways "Equal Fights" hasn't aged well in its effort to teach about feminism, that the execution wasn't handled as well as it could have been & that it wound up painting the feminists as straw men stereotypes. Rumor has it that even Lauren Faust, who did storyboards on the episode, isn't a fan of it in hindsight.

However this episode feels a lot more relevant to me now in our current age of online purity culture.

We live in an age of social media where young people, who had little to no power before, now have a tool at their fingertips to signal boost for those who need help the most. Teenagers can be everyday heroes in their own right. Frankly I respect you kids for being motivated in your sense of kindness & nobility.

However the problem is that unfortunately what good that can actually be done gets drowned out by a lot of harassment & bullying in the name of social justice. Especially if these young people's sources are very dubious & self-serving.

That's basically what Femme Fatale is as a character. She's a grifter who uses a progressive movement, feminism in this case, as her means for her own gain. Namely, robbing banks.

It's understandable that every super villain has a gimmick. Two-Face has the Number 2 & duality, FF could've just been a devious collector of currency with women imprinted on them. (I myself wish they would discontinue the bulky, useless penny & bring back the Sacagawea dollar.) But beyond that, she uses it as an excuse to get out of getting arrested, to claim that what she's doing is good for society at large, & above all to manipulate & influence the young & impressionable Powerpuff Girls.

The girls, being literal children, take her words to heart & implement them in ways that do more harm than good. From bullying boys in the schoolyard to letting Femme Fatale get away with her crimes.

Reminds me an awful lot of kids & young people on Tumblr & Twitter who get riled up by the words of self-proclaimed progressives who turn out to be TERFs, grifters, or members of the Leopards Eating My Face Party. Namely, the people who use progressivism & online activism to their own end.

And it's not just the Youtubers with the large subscriber base. It's also the individuals who reblog, retweet & bully even on a small scale to make themselves look good or feel like they're making a difference. Not to mention the burner & bot accounts being used to fan the flames of discord within progressive circles.

But what I find the most telling is that FF claims to be a feminist, she collects Susan B. Anthony coins, but she doesn't even know who Susan B. even was & why she was so important to American history.

Reminds me an awful lot of certain gay or trans Youtubers who would try to have you believe that "queer" is a slur, when in reality we not only reclaimed it as an umbrella term to include bisexual, trans, intersex, asexual, etc. people, but is an important part of our very history.

The slogan chanted demanding our basic human rights:

"We're here, we're queer

Get used to it."

It makes me sick that there are multiple generations of people who don't understand our own history. That there are people within our community who would promote & capitalize on that ignorance.

That's who Femme Fatale is. Willingly ignorant herself, selfish, manipulative, & would promote such lack of values to the next generation for her own gain.

And that's why she deserves to serve time in prison, while online faketivist grifters deserve to lose followers, go broke, & disappear into obscurity so they can't do any more damage.

[hetaero]

what I mean by "no interpersonal stuff" is please don't involve me in any fantasy of yours, and especially don't try to tell me about it/initiate it with me. I'm not trying to be rude but it just straight up makes me uncomfortable 😭

there's many reasons why I have a problem with it and since some of you need it spelled out for you, here's an explanation that I don't owe, but am generous enough to bestow:

1. I don't know you. so that's weird. and you don't really know me. And I'd like to keep it that way. Just because I express what I like online doesn't mean you know who I am as a person and it's definitely not an invitation to try anything with me. The online world makes people feel like they know people and can treat them differently because it's "just on the internet" but. You wouldn't go up to a woman in public (even if you knew what she's into) and say that kind of explicit stuff out of nowhere, so please don't think it's okay to say that stuff to me.

2. It's violating to have someone refer to you like that without your consent? again, me objectively explaining what I like ≠ me wanting to do it with any of you. me explaining what I like doesn't mean I'd be into it in every or any context that you assume I would be. Me explaining what I like isn't an invitation to perceive or interact with me sexually. this blog is for me, not for anyone else, and I see it as an objective log and release of my thoughts so I don't go crazy, not really a horny outlet/hookup site

3. It's objectifying and misogynistic to assume I'd be into whatever you're saying to me, regardless of the subject matter (even if it's stuff I've said I'm into... I'm not into *you*). coming at me with random stuff like I'm a robot for you to get off to is not only a rude thing to do but it's also a serious ick/indicator that you don't actually respect dommes, let alone women and their individuality

4. It puts a lot of pressure on the domme to reply to something like that. even if I were not opposed to the subject matter... it places a heavy expectation that the domme must "fulfill" your fantasy by replying "the right way". Im not an AI. I'm not comfortable being a dom like that to random anonymous people online— that would feel degrading and demanding. I'm not looking to do that and even if you don't "expect" a sexy reply it still makes me think "well, what am I supposed to say to that?"

5. Even if you think it's harmless— It twists a woman's view of herself to constantly be sexualized and perceived through the lens of the male gaze. I am not this ... ultra femme-fatale mommy-dommy, I'm a human being. I'm not the made up figure in your fantasy. constantly seeing how other people objectify you, and how they only cherry pick what they see to fit their desires, warps your view of yourself and can affect your self esteem.

6. I simply don't want to. I'm sure some of you are nice and understanding and would actually want to know me and whatnot, but I am simply not interested. and when a domme expresses that, it should be enough for you to not push it. That's all it takes. I'm being generous enough to spell out for you other reasons why myself and potentially other dommes are uncomfortable with this sort of thing— but this isn't *necessary* or *required* for you to just.... not do it if someone has indicated they're not interested

Now, it's okay to talk to me as an equal and to say what you like and ask what I like and exchange intellectual ideas or thoughts about kink. treat me with respect and without involving the idea of "you and I", and it's fine. But don't push it. Thanks.

[kfanopinions]

Jooyeon Ideal Type (Astrology)

okay frist and foremost he is super cute!!!!! if i was younger i'd totally have a crush on him lol...anyway...i'll be looking into jooyeon’s moon and venus signs for this. both seem to be scorpio so this may be on the short side lol like always please take everything with a grain of salt <3

scorpio moon || scorpio venus

ummm... okay so this is with both his moon and venus signs...soo...beacase he is not 21 yet (remember his bday is in late sept.) i'll just say this...his partner may want to get used to the ole horizontal mambo...if you catch my drift *wink...wink...wink...* like they should already want it too >////<

intensity in ten cities <- sorry just being weird feeling his feelings is going to be a big thing. he needs someone who is able (not willing) but ABLE to handle the extreme ups and downs of his emotions

long-term look scorpio's vet people, okay? so if he finds someone he's shown interest in they should have it already implanted in their brain that they want a long-term relationship. this guy right here doesn't want that short fling. he wants a RELATIONSHIP

dr. jekyll and mr. hyde DO. NOT. CHEAT! this is what he needs in a person ^^

"yes your royal highness" his partner should devote themselves to him...okay not really...but physical touch and words of affirmation may be part of his love language. someone who tells him how much they appreciate him. who shows interest in him (but doesn't cross the invisible scorpio line) just someone who loves him unconditionally

in order to get YOU give opening up first and sharing their hurt, pain, joy, love, etc. will help him to open up. i will also advice for his future person not to give up all of their life's story completely. scorpio placements like a little mystery *wink*

secrets are meant to be kept this can include the relationship as a whole but someone who won't shout it out that i'm dating jooyeon would be ideal. if he wants to keep the relationship a secret or doesn't want "everyone" to know, he needs someone who respects this. or w/e he tells them they should keep it to themselves and themselves only

heat miser and snow miser a person like stated above who can handle his extremes is needed. that also means someone who can handle him being super loving and smothering them with affection one second and then making it seem like he hates them the next

(as a scorpio woman idk why we do this but it happens...i'm not saying this is what happens with him but perhaps our love batteries just need some recharging time <3)

stubborn as a mule someone who doesn't pressure him to cave in to what they want. unless there is a valid reason this guy is who he is. he feels what he feels. believes what he believes. challenging him will be like having a staring contest with a brick wall lol

leo's step aside there's a new king in town (jk) he wants to be the leader of the relationship. he needs someone who doesn't challenge that authority ^^

seducer someone who will entice him. who knows their self-worth and can make people crumble at their feet. a sort of femme fatale type...jessica rabbit? <- sorry just watched who framed roger rabbit lol ->

the hot seat a partner who can handle any and all questions that he will fling their way (even if they're weird ass questions or personal questions) scorpio placements dig deep trying to figure people out...he'll more than likely do this with a love interest whether he's aware he's doing it or not lol

the waiting game someone who can wait for him to get to the point of comfortability. scorpio placements take some time to open up to people. a patient person is ideal

passionate

intense

keep him on his toes predictability is SOOOOOOOO boring. so a partner who keeps him at attention/always guessing will be A+

sorry it's so short but with him having scorpio in both his moon and venus i didn't want to repeat myself haha still hope you enjoyed it <3

[amorne]

#This is your daily reminder that Miss Daphne Bridgerton can and [WILL] play. #She knows. #She knows she has this entire city wrapped around her finger. #She is a performer and she has perfected her craft. #I’m telling you she falls under the Obsessed Artist Trope in this essay I will- #She has spent her entire life curating her image and when it was finally her time to shine she DAZZLED #Look even the Queen is amused #Daphne dropping the fan so the Prince’s gaze falls with the fan [I.E. He sees her figure from her bosom to her feet WHILE #she is fully dressed and dignified] #Her eyes immediately looking back up from the fallen fan back to the Prince’s to evoke devotion and submission? A FEIGNED INNOCENCE? #Her small albeit noticeable opening of her mouth to evoke a sense of surprise urgency BUT ALSO seduction from her lips and EXPRESSION? #It takes a certain kind of talent to be Always sparkling and dazzling BUT #To bring a man [a Prince] to his knees all the while feigning doe dyes ingenuity and KINDNESS BEYOND COMPARE? #Oh she is THE femme fatale. #Daphne did all this in a white dress FULLY CLOTHED AND UNCOMPROMISED she is a MASTERMIND. #She said /I laid the groundwork - And then just like clockwork - The dominos cascaded in a line - #What if I told you I’m a Mastermind? - AND NOW YOU’RE MINE - It was all my design. #Me to Miss Daphne Bridgerton: 🧎🏻‍♀️🧎🏻‍♀️🧎🏻‍♀️

Taylor Alison Swift wrote this for [one] Miss Daphne Bridgerton. You know what's surreal to me that I figured out from this? Daphne has curated perfection for herself ever since she was a child. She demanded it for herself, crafted and molded herself into the idealized version of what a Lady should be. And she has been this way since she was a child. Do you understand how much pressure that is? To strive for something [unattainable]? That's fucking insane. AND YOU KNOW WHAT? This is partly why Simon expressed hesitation in having children with Daphne [Of course he has his own trauma and that's an entirely separate post], but subjective to Daphne [from Simon's point of view], her self-induced perfection is obvious, and for someone who has been labeled imperfect as a child, to try to even be a part of that must've brought up so much trauma. Simon felt like he could not live up to Daphne's curated perfection, and what if their child couldn't as well? This is pivotal for Daphne's character because through learning of Simon's story, hearing his side of it, and finally understanding him, she comes to the realization that perfection is unattainable. It's not real. The impossible burden she has placed on herself is not a burden anyone else can [or should] carry. "Just because something is not perfect, does not make it any less worthy of love." Daphne herself realizes that she does not need to be perfect in order to be loved or respected or cherished. It is precisely her loud snorty laugh, her cheeky opinions, her teasing nature, her competitive streak, her puns and love of love that makes her enough. She, her true self, is enough.

[possessionisamyth]

Reasons to Love Ada Wong:

-Outstanding Intelligence: As seen in damnation, re4, and re6, Ada knows how to remain one step ahead. She knew the BSAA lie would fall through so she could get into the facility to access what she really needed. She immediately adjusted her plan in re4 to make her helping Leon out of tight fits appear as inconsequential tasks while she went towards her goal. She immediately figured out the "Simmons" calling her wasn't Simmons at all. She's not someone you can outsmart easily.

-Excellent Self-Preservation: Gotta look out for #1 baby, and Ada is the best embodiment of that. RE is packed with enough martyrs who will give up their entire lives "fighting for the cause". This girl is there to get her paycheck and get the fuck out so she can live her life, and I respect it. I hope she charges triple for overtime and extra hassle. We should all be doing that.

-Plays The System Like A Fiddle: Ada says fuck cops. Ada says fuck the government. Ada says fuck corporations. As long as what they're doing won't pull her into a long standing cross fire, she will work for the money they offer, but she'll go where she pleases once she's done. Is that really any different than people in real life looking for a better job when leaving an old, shitty one? I don't think it is.

-Has only one weakness: Ada knows her limits. She knows when she can save someone and when she can't. She knows when to let something lie and when to go for it. Leon is her only weakness, but everyone else she can take or leave unless they prove they'll have value for her work. If Leon died, she'd retire or go back to being ultra capable, so kill him Capcom.

-Impeccable fashion: Ignoring the dragon lady take with og re4 dress, Ada's other outfits are fire. Red is a wonderful color on her because it hides the blood, and also she's so hot.

-Emotionally Unavailable: She is the only RE woman who is not seen sincerely comforting a man or comforting a child(re2/re2r doesn't count because she's acting). This is extremely refreshing. Yes, she is the sexy femme fatale, but does she comfort Leon? No. Does she baby Sherry when she saves her? No. This isn't a moral failing. She's just not that into you, and it's not a flaw. It's an underutilized character trait with women especially.

-Hookshot User: I don't know about the people younger than me, but this was the coolest tool for people to use in cartoons when I was a kid. It's the closest a normal human can get to being Spiderman, and that automatically puts a character on the Best Design list in my opinion.

-High-risk High-reward Thinker: Working with B.O.Ws in any capacity means you're somewhat of a gambler. What does Chris get from going into enemy territory to arrest some guy? Paperwork. What does Jill get from saving Chris' life? Brainwashed into a killing machine and made blonde(the worst fate bestowed upon women). Leon fights for his country. Ew. Gross. You know what Ada gets going into death ridden zones? Her bag. Her check. Her money, and it's actually worth it.

-Espionage S-Rank: The international arrest warrant is going to make things a little more difficult, but Ada's made her career around going under the radar to get in and out of high security areas. She gets the gear, the guns, and plays her role with finesse. Her intel gathering skills must be impeccable to achieve this.

Quick Bullet Points:

Not a eugenicist. (Wesker is.)

Doesn't experiment on corpses. (Heisenberg does this.)

No god-complex. (Wesker has this.)

Against child labor? (Heisenberg wants a baby gun.)

Doesn't make viruses that kill people. Only gets paid to move them around. (Unlike some people.)

Thinks Leon is pathetic, but likes him anyway even if he's a lil ugly. Which is so nice of her. (❤️)

So there's my comprehensive list I said I'd make weeks ago but am just now getting to. If anyone has anything else to add feel free to do so in the replies. If you're here to be an Ada hater, you'll get blocked.

[scham-wcan]

CinWin

2, 8, 18, 32, 37

XD

Your wish is my command, CinWin coming up

2. Any sleep habits either had to get used to? I feel as though, especially early on both of them are insanely light sleepers for very different reasons. Winter still has the high strung soldier mentality where she' sleep anywhere but pop up fighting ready, while Cinder is just haunted by memories and nightmares constantly. It takes effort but gradually Winter gets used to waking up to Cinder cursing herself out and Cinder gets used to sleuthing around to try and avoid waking her up. While Winter's Schnee sleep phase kicks in later and she finally gets the whole 'sleeping in' thing Cinder's light sleeping doesn't go away as much as she can contend with it--lotta nightmares still but she's able to rationalise them now.

8. What’s one way their personalities compliment one another? The most obvious way I think is Cinder is snarky and rather crude in how she acts and behaves while Winter very much still tries to restrain herself in a lot of manners so she comes across as blunt or passive aggressive. All of which come across easily whenever they are less than pleased with something, its almost like being analytically dispatched by the mean girls at a party for not wearing pink. Also they're both very intelligent and combat oriented, so organisation and anything involving planning they are both already planning/scheming a way to get things done.

18. What song fits them perfectly? I have like eight Kiss Me You Animal - Burn the Ballroom Spillways - Ghost Rapture - Ok Goodnight Demons - Hayley Kiyoko Glitter & Gold - Barns Courtney Femme Fatale - Coyote Kid Supermassive Black Hole - Muse Vultures - Vigil of War

32. How do they resolve their arguments? So my gut says that at the start of their relationship they were really difficult to deal with arguments. Winter really restrains herself just as much as Cinder because there is some shock horror that "what if I say the wrong thing and then I lose them forever?" so a lot of what really could cause arguments is dismissed in really unhealthy ways. But as time goes on and eventually they on a more secure ground their arguments turn either into heated debates where both of them get their whole point in, though from the outside everyone thinks they are about to break up, while eventually just finding a bridge between the two of them. Other than that I mean sparring for it seems on the table in a lot of respects if their emotions are that high.

37. What do they like the least about each other? See this is the difficult one with otps cause obviously the answer you want it to be is nothing but Cinder and Winter probably still have so much baggage. Cinder I think despises how needing Winter is for approval still, from Ironwood, Atlas, and from whoever the next allegiant Winter devotes herself to it just seems like Winter is never allowed to really express herself because of that need to be a good solider. The worst being that if it is Cinder and the strong warrior Schnee starts treating her like someone who can do no wrong, when Cinder would be so bitter about it to the point of an argument probably. Otherwise Winter is too work oriented, she needs to be doing something and is incapable of enjoying the wealth they've earned to be where they are now. Sort of parallel to Cinder, Winter almost finds Cinder's self devotion nauseating, not like she's repulsed by it, but it is an ideological thing of who is Cinder going to be fighting for whenever something happens. The answer naturally is what she has earned and what she values, which Cinder knows is Winter but its difficult to tell her that while she's pissy. But more than that what Cinder hates Winter for in her idle hands Winter just as much sees that in Cinder, she's still so skittish and restless, a handover of the time where she had nothing. But as much as they dislike those parts of the other it still seems that they're things which the other finds endearing about their partner. Like Cinder's anxiety about loss speaks to how much she values Winter even though Winter knows she isn't going anywhere. Just like how Winter's need to be dutifully loyal has transitioned to being about Cinder and their family, even as much as Cinder disdains being hailed as the steerer of that ship, Winter would run through fire for her.

[jojo-hut-jrs]

because i love these types of questions, what are the qualities fake tennille, devo and steely dan would look for in a s/o vs the qualities they'd actually need in a s/o (ofc some can overlap). assuming these walking shells of human beings can ever be in a romantic relationship but i mean if dario brando did it anyone can

Everyone deserves love….

Impostor captain tennille:

-So, given his sparse villainous character (and the one, singular fanfic I was able to find on him), I tend to view him as a bit of a prideful dickhead but more matured and subtle then some of the other, more openly obnoxious stand users (cough rubber soul cough). I think he’s the type of person that likes a partner that’s a bit…weaker? Smaller in height and build, little more reversed and meek in personality. Hate to say it but he has a bit of a daddy thing going on, probably would be an ok sugar daddy ngl. He just likes the dynamic for its appeal, so he tends to gravitate towards it for flings and doesn’t end up forming deeper relationships.

-What he needs is…actually exactly what he already has, he just needs to stick around long enough for the relationship to develop into something more mutually respectable. I think he does well having someone to take care of and protect, and over time it can change his bevhaior to be a bit more responsible and compassionate. I think a partner that is willingly to not give in right away and be a little defensive or hardheaded might be good for him as well.

Devo:

-He’s a simplistic man with simplistic tastes. He likes ‘em hot, ready, and agreeable. Most of his action is one night stands found at a bar and then never spoken to again. Is rarely the type of person to seek out a persons company continuously, though if prompted he often gives the same response. He’s self centered and fun loving, his ideal partner would be a mix between a best friend a trophy girlfriend, both his pleasure and a sign of his pride.

-What he NEEDS is a goddamn reality check, but someone keen on playing mind games works as well. I’ll admit, I do not see any relationship with him starting off on good grounds, but eventually, if you play your cards right, it can settle into something a bit more normal. The key is to not give in or back down, play the defense instead of the offense, and let him think that he’s making all the moves. He needs a partner that is willing to put in the time to learn him and work with him instead of against him.

Steely Dan:

-Once again, very much a shallow man in terms of what he looks for in a partner, though he also holds himself to higher standards and is very unwilling to be met in the middle. Aside from the obvious looks, he seeks out intelligence and cleanliness, and he will not falter if someone does not meet the criteria. He likes to think he’s looking for someone exactly like himself, so cunningness and a similar outlook on life often grabs his attention. A femme fatale most likely?

-What he needs most is honesty. He thinks he’s fine playing the game for as long as he needs, constantly going back and forth with a partner on slickness and quips, but at that rate their little playful competitiveness can turn into open hostility. What he needs is a partner that is not playing along with his game, and while he might try to goad them on and off, over time it will force him to relax and he will be grateful for the opportunity to have a safe space and someone he can actually trust in full.

[thewolfisawake]

Ceilidh, what is your relation with the other gentry? What do you think of the other fae belonging to the Empress?

"The condensed version, I can work for them but many do not find my job necessary," she prefaced, "as for my thoughts, I feel the Court is bloated wit those of self-importance with far too few that do anything of benefit to the Seelie itself or their fellow fae. But no, that isn't what you mean, correct? Fine, I will tell but it is rather dull."

"The one I know the longest by virtue of how aging is would be young Lord Allanach, Ruaidhri. We are of differing attitudes with people. As in he loves and is invigorated by them. I am not. I believe so long as it is of interest to him, the young lord very much proves the lineage he is from. There is reason that farce of a sparring session is well-remembered. I believe if anyone dared to challenge him, the young lore could and would rise to the occasion. And his pride (or is it perfectionism?) would not allow it be half done. But he's built such a reputation that is both a boon and a detriment in that he cannot so easily escape it. Not that he likely wants to."

"Then there is the young Lady Deòireach, Eilidh. She has always been regarded as 'strange' even within the Court. But she has raw charisma that is unmatched. by anyone within our age that makes anyone swoon or be disarmed. Couple with her wiles, the lady would be a femme fatale. I envy her and avoid her company as a result. I may be the background sort but I do still maintain a pride to veil my misery."

"Let's see...there is young Lord Murdoc, Aodh. I dare believe he is one the only ones besides myself that has little qualm with his future role. Which is alarming when you consider how many there are. Strange of me to say but I feel I understand his circumstances the most. I pity him to some extent though that is tempered with dealing with his disrespect. So I await whenever he returns to Court. If he ever does."

"I believe Lord Mèinnearach needs no introductions. He is whom I have seen more often in a professional capacity, ironically enough. We are polar opposites in every respect and I maintain pleasantry. I have a respect for him to unabashedly act for himself regardless of consequences. Good and bad. I just wish he would find better locales for his conquests."

"I don't have much to say about Lord Oireachtaigh. He shows up and he does what he must and leaves. We're similar in that respect. Although I do worry about what he must have seen to make him as reclusive as he is. I remember him before and he used to be much more like Lord Mèinnearach. But also seems to so much more serious about his position and has actually gotten my name down? He is odd but mainly in reconciling who I remember and who he is."

"And while she is royalty than nobility, there is Princess Tara. I have observed her much the same as His Majesty. She was one of the times I attempted reaching out a bit more. Usually in the form of dropping books off with different bookmarks I made or, if the guards or minders minded, treats I made. Admittedly, it was probably a bit naive or vague but loss is not quite common and I...don't know what to do in this situation. But I just wanted to try because it is lonely. Her Highness has moved on as best as she is able."

"Phew, now when it comes to the court of the Novian Empire...well, I am far less familiar with their workings. Although I am to be acquainted with them soon. From what I can tell though...the Empress and her advisors are quite like His Majesty and his Court. They seem quite different from the air that their Empress gives off. Some for the better. Some for the worse."

"However...from my outside perspective, there is a...lack of camaraderie between them? Of course things would be different in every land but considering how long and how intimately they work, I was expecting something else. Of course not that there isn't anyone that has any concern? Care? I did notice that for Commander Ardell. And of course towards the Empress herself. I would say they are more organized and of course, quite beautiful. I cannot say much more than my observations for now since I did end up occupied during the revel and could not meet most personally."

[femmefatalevibe]

Femme Fatale Guide: How To Cultivate Self-Love & Boost Self-Esteem

Acknowledging these two truths is essential: 

You have inherent worth. No one can deprive or deplete you of this value – except yourself. 

Only you can be the hero of your own life. It's no one's obligation to be your personal cheerleader – except you. 

Understanding that only you are responsible and able to generate your sense of happiness and fulfillment sets you free. 

How To Practice Self-Love: 

Discover and live by your values: Unapologetically! Some of the best advice I ever got when I was in high school (the OG Tumblr era lol) was this sentiment that I still live by: It’s important to live your life with respect and consideration for others but to never live for others. Your life is for YOU, not THEM. Remember: Self-neglect has a domino effect. You don't know how to provide others with the proper emotional space and validation until you first give it yourself. 

Find what gives you energy: What activities, habits, and people in your life help you feel alive and most connected? Lean into these routines. Make it a priority to spend time with these valuable people who earned a place in your inner circle. Give yourself the gift of ease whenever possible. Life is hard enough just by virtue of existing and having to engage with society daily. 

How To Build Self-Esteem: 

Gain confidence in your areas of mastery: Affirm your strengths. These can be character traits, skillsets, accomplishments, etc. Any truths about your personality and achievements that you can use to hype yourself up. While being delusional has its place when setting goals, I’ve found it easier to internalize naturally healthy levels of confidence and self-esteem when I can back it up with facts or experiences grounded in reality. 

Perceive your past mistakes as life lessons: Understand that every decision can serve as a data point. Every action has a certain outcome – whether that’s positive or negative. Seek to understand how your behavior, actions, and reactions shaped either outcome. Lean into the patterns that created positive results and adjust those that led to negative results when encountering similar situations in the future. 

Release the desire for revenge: Stop giving away your power to others. Stay in your own lane, unbothered. The ultimate revenge is personal success and fulfillment. 

Acknowledge what’s outside of your control: Don’t internalize outcomes that occurred due to external factors outside of your control. Other people’s actions, reactions, mannerisms, criticisms, and praise are most often (if not always) a reflection of how they perceive themselves. Detach yourself from the outcome or approval of others. Once you gain an understanding of yourself, your values, how you want to show up in the world, and ways to feel secure in your own skin, it's easier to stay objective when dealing with a high-stakes situation, conversation, or conflict. Once you cultivate a sense of self-respect and integrity, you can be objective and have the energy to listen to and validate others as needed. 

Focus on your goals and priorities: Remain laser focused on achieving your career, personal growth, health, relational, and other life goals. Make your fundamental habits and most valuable relationships in your life your utmost priority. Everything else is an outside indulgence or distraction. Choose to give into your temptations wisely. Prioritize your life to ensure you make room for pleasure, love, abundance, and joy. You have the ability to give to others freely once you’ve already filled up your own cup. 

Remember everything takes time and experience: No one has it all figured out. It’s okay if you’re not where you expected to be or desire to be at this stage of your life. Stop comparing yourself – we all have our own paths. Choose to do one small thing every day to make your life better – either a step towards reaching a goal or indulging in a deep desire. Ensure there's a healthy (not necessarily equal) balance between the two. Leave your future self better than you found your past self. Express compassion towards yourself and acknowledge that you’re doing your best. Everything starts to make considerably more sense in hindsight. 

[kirain]

I started playing rdr2 but stopped because like idk but I can't seem to get over the fact that all the women are prostitutes and they don't really have any important roles. Like what's Abigail do? Ooh she's a mother who's always mad? What do the other women do? Oooh they sleep with the gang. What's Sadie do? Oooh she becomes a badly written femme fetale who suddenly becomes a flawless killer. The women are just so badly represented.

I get the feeling you didn't play the game naturally or see any random encounters, because none of what you said is true. There's a lot to unpack here, so let's start with the "all the women are prostitutes" comment.

First of all, none of the women are prostitutes, a fact that deeply irritates Micah. During a coach robbery where he rides with Arthur and Bill, he even says, “Why the hell do we need a gaggle of girls who won’t even fuck you if you put a gun to their head? Is it too much to ask considering they get a piece of every damn dollar I bring in?” Poor baby. He even tries to proposition all of the women (Grimshaw included), but they all insult him and send him running with his tail between his legs. It’s hilarious and I love it. Arthur also responds to Micah with, “Everyone does their share. I don’t see you lifting a finger around camp.”

Now a bit about the girls:

Mary-Beth was a skilled pickpocket, but she ended up being caught by a group of her victims. She mentions this during a conversation with Arthur, where she points out how hard it was for women who came from nothing, and the inequality of it all. RDR2 actually regularly highlights how difficult frontier/outlaw life was for women back then, often pulling zero punches. While fleeing her pursuers, Mary-Beth luckily ran into Hosea, who helped her escape and welcomed her to the gang. You can see Dutch lusting after her a few times, because he's an old pervert, but she always shuns his advances. She was never a prostitute and she was actually underage when she joined.

Tilly was a child outlaw and a member of the Forman gang from the age of twelve. She ended up killing the leader's cousin because he [as is heavily implied] tried to rape her. She was around sixteen at the time and tried to return to her mother after the ordeal, but she unfortunately passed away while Tilly was running with the Formans. Out of options, she eventually joined the van der Linde gang after Dutch saved her from some unspecified trouble. You can find most of this out during one of my favourite side missions, where she gets kidnapped by Anthony Foreman in retaliation for killing his cousin. With Grimshaw’s help, you can rescue Tilly and put an end to it once and for all. She was never a prostitute and was also underage when taken in.

Susan Grimshaw was one of the original members of the gang and one of Dutch's first lovers. They parted amicably and both fell in love with other people (Dutch with Annabelle, and Susan with a doctor who sadly ended up dying), but she stayed with the gang because of their mutual respect for each other. She later became the arbiter of the camp and a kind of surrogate mother to Arthur, John, and the other girls. She was never a prostitute, but rather a rough-and-tumble outlaw.

Karen is a little more complicated. Overall, she was a scam artist (Hosea even called her an “actress”) who sometimes lured men into brothels, then stole from them or picked their brains for leads. That doesn't necessarily mean she was a prostitute; however, it just means she used sex as a manipulation tactic. Out of all the women in the group, she was the freest and most unconventional. She also stood on guard duty and participated in heists. The only man she ever slept with in game was Sean, and his death absolutely devastated her. If you talk to her or observe her interactions, you also discover she’s a raging alcoholic suffering from some very deep-seated issues. She likely did have to do things she wasn’t proud of in order to survive, but in my opinion that makes her one of the most realistic members of the group. She was never described as a prostitute.

Molly was an aristocrat who left her family to be with Dutch. His abusive treatment eventually led her to suffer an identity crisis, where she ended up hysterical and heartbroken. Her story is sad, but she was never a prostitute. If anything, Molly is the best example we have that Dutch views people as items, not human beings.

Abigail is the only prostitute in the game, but by the events of RDR2 she's an ex-prostitute. To say she's nothing more than "a mother who's always mad", I feel, does her character a great disservice. First of all, she left that profession behind to raise her son, to give him a decent chance in life. Unlike John, she stepped up immediately to become a responsible adult. I don't think people realise how impressive that is because, one, she could've easily abandoned Jack at the roadside (which was common back then), two, she could've induced an abortion, and three, she was quite young when she had him; around nineteen years old.

You say the women are "poorly represented", but they're stronger, smarter, and more mature than most of the men. A few of them even become self-sufficient in the turn of the century, something dear old Dutch couldn't even do/accept. Abigail in particular helps Sadie mourn her husband and the two grow very close. Their interactions are both grounded and heartwarming, with Abigail telling Sadie she’ll suffer the loss of her husband, but that it’ll get better if she keeps on living. She takes care of her, and Sadie later returns that kindness. These women are so full of quirks and humour and personality, I don’t know how you missed it.

As for Sadie ... where do I even begin? Badly written? Femme fatale? Flawless killer? Sadie is one of the best written characters. She's not flawless, she's exceptionally flawed, temperamental, and traumatised. It's never expressly stated, but it's implied at several points throughout the game that she was repeatedly assaulted while the O'Driscolls kept her captive. At first, she's petrified and miserable, to the point that all she does is cry and express suicidal ideation. Then, she gets angry. Very angry. Having nothing left to live for, her home and husband torn from her grasp, she throws herself headfirst into danger, which almost gets her killed on a number of occasions.

She's not a "flawless killer", she's a messy killer. She's not an expert death-dealer, and that's made evident from the start -- but she was a hunter who shared the workload with her husband, so it's not as if her skills just magically appeared. You do see how much it weighs on her, however, near the end of chapter six. If you help her kill the rest of the O'Driscolls, she laments what she's become because she thinks her husband would be horrified. She’s extremely complex and struggles between mourning and moving on.

I also can't help but laugh at the "femme fatale" accusation, because Sadie actually defeminises herself, which is understandable considering the hell she’s suffered. She even wears men's clothing, which wasn't illegal [anymore] back then, but it was openly frowned upon. Femme fatales use their beauty and sexuality to their advantage, ensnaring men with their feminine wiles. Sadie never does that and fights side-by-side with the boys. Interestingly enough, that's partially why Calamity Jane, an actual historical figure, garnered so much attention, because of how she behaved/dressed. It’s pretty clear to me that Rockstar might’ve used her as inspiration for Sadie. This was a real woman who lived from 1852 to 1903.

In addition, Sadie plays one of the most important roles, yet she does so without falling into the category of a Mary-Sue. She saves the gang and moves them to a new location when the Pinkertons attack Shady Belle. She hatches the plan that frees John from prison. She helps Arthur rescue Abigail after she gets kidnapped. She tracks down Micah and puts an end to his reign of terror. But most of what she does she accomplishes with a partner--Arthur or John--both of whom she respects immensely. No one, not even Arthur, does everything alone, and when they do there’s usually negative consequences. It's the camaraderie and shared experiences that make these characters successful, and aside from Charles and Hosea, I’d even argue that the women are more well-rounded and fleshed out than the men.

I gather from for comments that you didn't finish the game, so I hate to spoil it, but I kind of have to if you walked away with this mindset. The women of RDR2 are a force to be reckoned with.

[drakulateeth]

As a femme fatale, you must have mastered the art of always saying less than necessary. I'm also trying to master that, because I often feel like I say a bit more than I should and tend to regret it afterwards, so I was wondering if you had any advice on how to avoid saying too much both in general and in a specific situation (like how do I stop myself in the situation from that kind of behavior).

Hi dear,

Thank you for your ask <3

To be honest with you, my brand doesn’t align much with mystery. But I have gone through an oversharing phase that made me view life differently and last March I set out a goal for myself that I would not say more than necessary at all times, so I will share with you what has been working for me so far.

Starting point

First off all you need to know when you tend to overshare and when you tend to not talk at all. Then you can decide on what causes you to react like that, and what you think the appropriate reaction should be. And then you can create a war map on predictable situations.

I actually like talking to people and bonding like that, so it isn’t necessarily something I want to change, but I have decided that I do not want everyone’s feedback on everything, and that I don’t want to prove myself for the sake of proving that I am doing x, meeting with y, working on z. So I do think it is necessary for you to have some degree of awareness as to when and why you overshare. Being aware of the situation is the first step into improving it.

What to do when the situation arises!

Speak slower. Learned that trick from the days that my teachers would ask me something I wasn’t very sure about, speak slowly with a low tone. It appears like you’re in full control while also giving yourself some room to think. Take some deep breaths while talking if you tend to overshare and speak fast, not only do you exhaust yourself but other people as well. Just slow down.

Do a quick estimation of the situation, do you not know what to do with yourself so you just drown the other person in words? Do you feel awkward? Why? You need to know on what topics do you not want to give your input and on which ones you would not mind elaborating on. This is the most difficult part to manage, but give yourself some time, say 3 weeks of data gathering, do you can understand where you stand on.

And finally, keep the topics light. I know small talk isn’t that appealing and that people online hate it, but it isn’t the devil they make it, if you know how to socialize adequately it will not be that challenging (if not, acknowledging the situation is the first step in improvement) Maybe I am too busy and self centered because I don’t care to get really deep on all discussions, but that’s a part of myself I’ve made peace with (I don’t particularly enjoy being vulnerable in front of other people, so when someone shows all their vulnerabilities and insecurities unprovoked, it makes me respect them less and also adds them to my can take advantage of category) Discuss about things you have in common, movies, weekend plans, work, commute, weather, history, politics, whatever doesn’t leave you feeling bad after talking someone’s ear off.

As I mentioned previously this is a work in progress for me too, but I hope this could help. You will have to strategize according to your own needs and environment, but you can start by taking my opinion into consideration. If there was a one size fits all solution, believe me I would have found it by now.

For now speak slowly on a lower pitch and keep your topics light.

Happy hunting my maneaters,

💋

snowblack

[agentmonet1]

@yeehawwrites​

location: an ancestral home forty minutes from New York City

Within the Pantheon, there are missions and their are classified assignments. Ones put under such a tight lock and key, that not even Hercules’ are clued in on the sensitive mission. In her six years as an Apollo, this would only be the third assignment of this nature. But the weight of the envelope, combined with the Hestia’s stoic eye, says all it needs to. It’s the first, true lead to the brains behind the attack on Peru. A man linked to the darkest, most depraved depths of criminal activity - Edward Cordero Junior is as lethal as he is key to unraveling the mystery itself. The Hestia’s pose it as more than an architectural retrieval. It could mean the difference between the agency’s safety, or its extinction. Within the days of their return from the Swiss Alps, she receives her assignment; go undercover, beguile the known womanizer, and entrench herself into the Italian mafia’s ranks. The span of the mission, obscured somewhere between a few weeks to a few months.

Like any good Apollo, she does as she’s told. Jack is abandoned for Jackie, a French “super model” with a proclivity for heavy cologne and guns. The beautiful, respectful, and alluring sort of femme fatale that is just a touch outside of her usual guises. But she pulls it off, despite Edward’s temperament. It manages to go well, at first. They grow closer, with Jack toted on his arm like an accessory. And though she is subtle, his paranoia grows - as well as his temper. Their relationship grows more tenuous, as they exchange blows and bruises begin to litter her arms. If not for the mission, Jack would make her escape. She knows the way out, of course. But the window of opportunity closes, once Edward starts digging around her past. Fortunately, she has time to send a single message from her cell phone (now only at 20%) - sos. le combat de nos vies. stapleton house, nyc. asap. She sends it to West, the only person she can imagine breaking rules and protocol. The Hestia’s were clear - either Jack collects the intel, or she’s collateral to the bigger mission. But what is she, if not just a bit self-serving?

There’s an obscure party in full swing, in the dated house outside of New York. Except this time, it’s only a slew of Edward’s capos and hired lovers for the evening. In the privacy of the master bedroom, she earns her “boyfriend’s” cruel tirade. “You fucking slut.” Edward yells, obscured through the loud noise. “What the fuck are you hiding?” His hand is tight around her arm, fingers digging into the skin. There have been many close calls, and a handful of dead bodies left in her wake. But never has she imagined it would be her, to be on the brink of certain death. “Answer me,” he insists, hand now clasped around her neck. “It’s just me, Eddie.” Jack attempts to coo, but there is alcohol on his breathe and rage in his eyes. Amidst the noise of the party, and the distraction of Edward’s friends, she sees West from the small gap between the door and its hinge. She remains steady, allowing Edward to slowly unclasp her neck and throw her back onto the bed. He turns his heel, making a beeline for the door, ready to join his friends - and lock her in the room, in the process.

[ahalal-uralma]

1H

3H

7H

8H

9H

?

1H ⇢ describe your style

It depends on my mood, but it alternates in between femme fatale who doesn’t like people, victorian vampire w/ vague ethics, gothic witch w/ obscure morality, the god of hell’s mistress and fairy/goblin with accompanying Paleolithic art and Sumerian poetry translated poorly into German—looks like I committed crimes against humanity—modern historians and mythologists will claim it is about the card game—but, it is a blurry image of me stealing cookies out of a jar and flying off, because I’m a tiny gnat.

On a casual dress day I am *drum rolls* that chick in the band shirts.

3H ⇢ what are some of the topics you like to talk about the most?

Spirituality, Religion, Philosophy, Literature, Music, Films, Nature, Writing, Art…all of those. Anything that’s inspiring to creativity.

I don’t like to talk about politics or sports. I do not like talking about makeup or clothes, unless you’re someone whose feedback on those I can trust and respect highly. I do not like idle gossip that involves people’s weight loss, or who they are dating or what income they make. If it does not involve protecting myself or someone else, I do not see what it has to do with me and I do not care about it. Let people live.

7H ⇢ what do you consider green flags in a relationship?

Someone who treats me the way they would want to be treated—not necessarily with the expectation I should like what they like, but in the sense that they can respect me and not violate my boundaries expecting me to tolerate things they wouldn’t tolerate themselves.

I adore a person whose physical actions match their words. Consistent. Who is tender and not violent. Gentle and not passive.

Someone who validates and appreciates my interests, even though they are not necessarily required to relate with or enjoy everything. Just being supportive and excited for me when I am happy or excited about something I like/love. It’s what I would do for someone I care for.

I don’t want a fake “yes to everything” person who doesn’t care if I might be doing something to hurt myself, however. I want someone who can handle difficult topics and discussions, too. Someone who wants to see my growth and not stagnate me. I want someone who elevates my existence and not just my moods.

I enjoy transparency, honesty and loyalty. I do not demand monogamy if there’s a romantic involvement, but if it’s promised then it needs to be kept. If there are polyamorous feelings, then I need awareness about it. I need to be able to give consent.

8H ⇢ what do you consider red flags in a relationship?

I am not the jealous type, I do not crave what other people have, but I will not enable casual immaturity regarding sexual activity or relations—sex brings consequences and can hurt when it is irresponsible and self-centered.

A person could be hurting an invested partner. If they marry someone they are legally bound. They could have invested time, energy, health, personal space, finances, work, children all into the relationship. All of these things matter. And I am not going to be the one who gets legally bound one day to chaos. And I don’t want to find out they did that to a stranger, either.

That affects the partner and not just themself. Assuming they won’t or shouldn’t care is being short-sighted. Aside from all that, it can mean transmitting diseases from partner to partner; how can their partner protect themself if they are denied vital information about an illness, because it takes knowing about the other person to prevent the spread?

People need consent on who they’re involved with—even, if it’s someone else involved with their mate. It should be fair, too. If you can not be dedicated to just one mate, then why try to deceive them into that dynamic?

People are entitled to say “no” to any kind of romantic or sexual engagement. Or platonic relationship even. Stop lying to force a “yes” in actions to questions they didn’t get asked.

I need empathy, not pity. I need affection, not blind worship. True reverence comes with work. I do not want someone that is a coward in the face of adversity and will stab me in the back to get themselves ahead, or who will shift loyalties and sides when they think I am compromised, because they’re insecure about themselves and want to project out.

I do not like wild card morality and ethics. Someone who has fragile convictions. I need someone whose kind to me behind my back as well as to my face. If someone claims to love me to my face and they’re acting hateful or dishonest behind my back, then that’s a red flag and deal breaker all together.

9H ⇢ what languages ​​would you like to learn?

As many as time will permit. I’m working on strengthening my Hungarian and German at the moment. French and Portuguese come next in priorities.

Then, it will be Latin, Greek, Spanish, Russian, Italian, Chinese, Korean, Japanese and several others in no particular order yet.

[hekatepoetryxxwriting]

How is the transgression of boundaries explored in ‘The Bloody Chambers & Other Stories’ by Angela Carter and ‘Carmilla’ by J. Sheridan Le Fanu?

In ‘Carmilla’ by J. Sheridan Le Fanu and ‘The Bloody Chambers & Other Stories’ by Angela Carter, the idea of female oppression being thwarted by the women’s self-awareness of their sexuality and their ability to use it as a form of power is explored through various boundary transgressions in both novels. ‘Carmilla’ be Le Fanu was influenced by real life Countess Elizabeth Bathory and was the predecessor to Bram Stoker’s ‘Dracula’. ‘Carmilla’ is also referenced in Angela Carter’s short story ‘The Bloody Chambers’ (it is the name given to one of the Marquis’ previous wives), thus linking the two novels together.

In another one of Carter’s stories, ‘The Company of Wolves’, there is a transgression of gender roles regarding the girl in the story. In the Gothic genre, women usually fall into three types: The Trembling Victim, The Femme Fatale, and The Crone. However, the child in this story is none of these, and displays strength that defies the stereotypes in her confrontation with the werewolf as seen when she ‘burst out laughing; she knew she was nobody’s meat’[1], which is itself is sexual symbolism that makes the ‘meat’ a metaphor for the sexual objectification of women’s bodies, which she rejects by laughing. Her laughter is also a mockery of the patriarchal expectation of submissiveness that men believe all women possess. It suggests that the girl is aware of the power her sexuality carries, much like a femme fatale. The same could also be said for ‘Carmilla’, where Laura’s father ‘won’t consent to you leaving us’[2]even though he has no familial ties to Carmilla. In both stories, the fathers seem to be in a superior position within the family, and evidence of this can be found not only in that quote from ‘Carmilla’, but also from the line ‘Her father might forbid her’[3]in ‘The Company of Wolves’. The verb ‘forbid’suggests that he hold powers over his daughter and is able to control her actions. This is a reflection of the patriarchal family systems which were in place up until the late 1970s, when men were considered the breadwinners. Angela Carter, a feminist, was part of the movement that broke down those family systems; Carroll Davids referred to this in her review of Angela Carter; “Angela Carter’s portrayal of husbands and fathers not only reflects the ideals of her time, but also contradicts them on occasion with the femininity of the men.”[4]

There is also a transgression of gender through the empowerment of female characters in ‘Carmilla’ and ‘The Werewolf’. In both of these texts, the female character succeeds through her own means, rather than relying on a man to support her. In ‘Carmilla’, it is through death that Carmilla is able to gain power. This idea is strengthened through Laura’s speech to Carmilla in Chapter 4, where she asserts that ‘Girls are caterpillars while they live in the world, to be finally butterflies when the summer comes’[5]. The use of this metaphor suggests that girls are only free of the constraints that surround women when they have died, a suggestion that is supported by Colleen Damman’s analysis of the novel “as a woman, Carmilla can only claim her sexuality after death. Thus, vampirism is the only way she can express her own carnal desires. Besides marriage, becoming a vampire is one of the only ways that female sexuality is licensed in the Victorian era”[6]. Meanwhile, in ‘The Werewolf’, the child represents the New Woman and is pitted against her grandmother, who represents the generation of women who have fallen under the thumb of a patriarchal society. The final line states ‘Now the child lived in her grandmother’s house; she prospered.’[7]which implies that the child benefits from the downfall of the previous generation and is able to live happily without a husband or children. This conclusion suggests that women can live complete and fulfilled lives without needing to be married. Angela Carter’s feminist views on empowerment were controversial during her lifetime, including negative reviews for her book ‘The Sadeian Woman’ due to its defence of the Marquis de Sade, who wrote violent erotic novels that many consider sexist and inspired the word ‘sadism’. In regards to the empowerment in ‘Carmilla’, Elizabeth Signorotti states that “Le Fanu allows Laura and Carmilla to usurp male authority and to bestow themselves on whom they please, completely excluding male participation in the exchange of women”[8].

The inclusion of the female ‘Monster’ in ‘The Lady of the House of Love’ and ‘Carmilla’ also transgresses the boundaries placed around gender and the roles women play in society. The Countess is a vampire, much like Carmilla, and bears similarities to Elizabeth Bathory, the acclaimed ‘Blood Countess' who was rumoured to be a relation of Vlad the Impaler. The Countess in Carter’s tale embodies the idea of a Gothic Femme Fatale through the description ‘Everything about this beautiful and ghastly lady is as it should be, queen of night, queen of terror’[9]- the repetition of ‘queen’ places emphasis upon her position within the story. She is the highest authority within the text, being the queen, and is not subject to male dominance. In ‘Carmilla’, the monster is humanised at its death by Laura ‘a sharp stake was driven through the heart of the vampire, who uttered a piercing shriek at the moment, in all respects such as might escape from a living person in the last agony.’[10]and a simile is used to liken the monster’s pain to that of a human’s, implying that Carmilla is not actually that different from human beings. It seems that Le Fanu, like Carter, is suggesting that women who are free from male dominated societies are not monsters but are in fact just as human as everyone else. Le Fanu’s decision to focus on a female vampire may have been influenced by the legends he would have known growing up, namely the stories of the Leanan Sidhe and the Dearg-Due. These myths revolved around female vampiric creatures that preyed upon Irish youths and left a lasting effect on the victims even after the creature’s death (Laura never fully recovers from the effect of Carmilla, and often imagines she will return.). A connection between Le Fanu and the myths of the Leanan Sidhe and the Dearg-Due can be made as his mother read Irish folk tales to him when he was a child.

The continued transgression of gender moves onto the reversal of gender roles in ‘The Erl King’ and ‘Carmilla’. In ‘The Erl King’, the titular character defies the stereotypical role of men in literature as it states that ‘He is an excellent housewife.’ -[11]Carter ironically using the feminine spousal term for him. Aside from this, he has long hair he frequently combs and he takes part in activities that were frequently considered feminine, such as cooking, basket weaving and collecting flowers. Carter may have taken elements from the traditional Pagan god ‘The Green Man’ and his myth; he completed a loop in which he would conceive a child with ‘The Goddess’, die, and then be reborn as the child he created. Certainly, the Erl King is similar in appearance, as well as the narrator of the story stating ‘I would lodge inside your body and you would bear me’[12]. This is a metaphorical reference to birth, something only females are capable of, which juxtaposes the idea of the Erl King birthing the narrator. ‘Carmilla’ does the opposite, as Le Fanu gives Carmilla masculine qualities, the most obvious being her inhuman strength ‘and unscathed, caught him in her tiny grasp by the wrist.’[13]The use of the adjective ‘tiny’juxtaposes the power Carmilla is able to demonstrate. Moreover, a less obvious trait of masculinity is Carmilla’s lesbianism which was , in Le Fanu’s time, sinful in Ireland, and sexual desire for women would have only been acceptable from men. The inclusion of homoerotic features in ‘Carmilla’ points towards Le Fanu’s possibly relaxed view of homosexuality, as pointed out by Christy Byks, who states “Le Fanu, one of the godfathers of Gothic, appears to draw upon features that women would not have been given during his era, and his writing of Carmilla and her inability to fit in with most female Gothic characters would likely have been a topic of controversy within Ireland, a country ruled by religion.”[14]. This idea is supported by the introduction of Bram Stoker’s ‘Dracula’, which takes many ideas from ‘Carmilla’. Many literary theorists suggest that Bram Stoker wrote ‘Dracula’ as an answer to the female centric ‘Carmilla’, choosing to re-focus the story upon men, with women being forced back into smaller, weaker roles.

Further transgressions of boundaries, including the transgression of religious boundaries, can be viewed in ‘The Company of Wolves’. This story mocks religion through an intrusive narrator who informs you ‘you can hurl your Bible at him and your apron after, granny… and all the angels in heaven to protect you but it won’t do you any good.’[15]This is the intruding narrator mocking the two key aspects that Carter believed held women back, that being the ‘Bible’and the ‘apron’, which is a not just a symbol of stereotypical femininity; a feminist literary study showed that almost every female character in a fairy-tale wears an apron, referencing their roles as the housewife. seems to be Carter herself, who openly stated that she thinks “Mother Goddesses are just as silly a notion as father gods. If a revival of the myths of these cults gives women emotional satisfaction, it does so at the price of obscuring the real conditions of life. This is why they were invented in the first place.”[16]Rather similarly, in ‘Carmilla’, Le Fanu presents Carmilla’s aversion to religion, and portrays a fight between Carmilla and Laura’s father, which could represent an argument about nature versus God. Carmilla speaks against Christianity ‘”Creator! _Nature! _” said the young lady in answer to my gentle father. “And this disease that invades the country… and under the earth, act and live as Nature ordains? I think so”’[17]. The caesura used between the words ‘creator’and ‘nature’ not only symbolises her anger, but in placing a caesura here, Le Fanu separates God from Nature, and therefore denies religion the claim of creating everything. This scene contrasts with Le Fanu’s own background, whose father brought up the entire household with strong Catholic beliefs.

This questioning of religion perhaps suggests why there is also a transgression of moral boundaries in both texts. The ‘Trembling Victims’ within ‘Carmilla’ and ‘The Lady of the House of Love’ are Laura and the Soldier. Both texts include a similar juxtaposition of feelings towards the ‘monster’. In ‘Carmilla’, Laura portrays the Gothic feature of ‘The Uncanny, in people’s reaction to her; “but there was also something of repulsion. In this ambiguous feeling, however, the sense of attraction immensely prevailed.’[18]This shows that Laura subconsciously knows that something is wrong with Carmilla, because like most Victorians of the time, she reflects the belief that the appearance of a person was an indicator of their moral standing. Carter’s ‘The Lady of the House of Love’ has a similar scene in which ‘Her huge dark eyes almost broke his heart with their waiflike, lost look; yet he was disturbed, almost repelled, by her extraordinarily fleshy mouth’[19]The descriptive imagery and modified noun phrases work to emphasise the Countess’ appearance and how the soldier is affected by this, and it also represents the notion of the ‘Male Gaze’, the theory presented by Laura Mulvey, that women are either sexual objects there to satisfy men, or the housewife. The two notions are represented in the Gothic genre as the Femme Fatale and the Trembling Victim, and the Countess in ‘The Lady of the House of Love’ has facial features that are stereotypical of both women. Her ‘huge dark eyes’ and ‘waiflike, lost look’ are used often in the description of innocence, whilst her ‘extraordinarily fleshy mouth’ is a sign of sexualisation. Freud’s theory of ‘The Madonna and the Whore’ also comes into play here, as the Countess and Carmilla both bear qualities (both physically and metaphorically) of innocence and sexuality. The presentation of the soldier as a Trembling Victim links with Angela Carter’s view that not only should women become more masculine, but that men should also embrace femininity.

Laura in ‘Carmilla’ transgresses the sexual boundaries placed around her by choosing to refuse medical treatment from her father and the doctor. In doing so, she rejects the idea of curing her illness, which is a metaphor for lesbianism, and becomes free to make her own decisions in regards to her body. She takes on the dominant role in saying ‘I would not admit that I was ill, I would not consent to tell my papa, or to have the doctor sent for’[20]by making her own decisions regarding her wellbeing. The first-person pronoun ‘I’ is used so that the readers understand that Laura is the sole maker of these decisions. Through this illness, she has been able to gain freedom from her father. According to Christy Byks, Laura’s illness is a visualisation of what Victorian’s believed homosexuality was: a disease that needed to be cured. Byks says “Two ideas are at work in this passage. First is Laura’s father’s attempt to control the women who are becoming “ill” and dying; the men want to “cure” her (Laura) by making her well and keeping her among the living, for it is in death that the women break free… By making these interactions with Carmilla a medical problem, the situation can be contained and defined, thus still under the control of men”[21]. Angela Carter also provides transgressions of sexuality when placing women in the dominant position. In ‘The Company of Wolves’, it is the girl who makes the first move towards sexual intercourse, as suggested by the removal of her clothes in the extract ‘The thin muslin went flaring up the chimney like a magic bird and now came off her skirt, her woollen stockings, her shoes, and on to the fire they went, too, and were gone for good[22]’. A simile is used to present the girl’s clothes as a ‘magic bird’, and this personification of her clothing suggests that by removing her clothing, the girl, like a bird, is free to go wherever she wants to. The use of listing used within this quote also suggests that layers are being removed, eventually revealing the girl’s real desires beneath. Angela Carter herself believed that women were not given an equal role in sex, as stated in her book ‘The Sadeian Woman: The Ideology of Pornography’. In her comparison of Justine and Juliette, she states “Women do not normally fuck in the active sense. They are fucked in the passive tense and hence automatically fucked-up, done over, undone.”[23]and it is clear that this idea of a preference of submissive women over dominant ones had a large influence on how Angela Carter shaped her female protagonists and their attitudes to sexual desire, especially in regards to ‘Wolf-Alice’, who’s title character, like the Marquis De Sade’s Justine and Juliette, was originally housed in a convent after being found with the wolves.

The portrayal of the convent in ‘Wolf-Alice’ itself does not conform to the traditional view of religion, and instead transgresses religious boundaries by presenting the nuns not as kind, helpful religious figures, but instead as oppressive matriarchs; the nuns’ only purpose in the story is to attempt to integrate Wolf-Alice into the human society they live in, evidenced when ‘The nuns poured water over her, poked her with sticks to rouse her’[24]and ‘Therefore, without a qualm, this nine days’ wonder and continuing embarrassment of a child was delivered over to the bereft and unsanctified household of the Duke’[25]. When they find they are unable to manipulate her into becoming like everyone else, their choice is to pass her off to a male figure instead, whose house is described as ‘bereft and unsanctified[26]’, which is ironic, as it means the nuns, extremely religious beings, abandon their ward in a house that is considered unholy. This irony serves the purpose of being a metaphor for how society treats outcasts as whole, by isolating them from those considered normal. Angela Carter herself believed religion to be mythical, and stated “I’m interested in myths because they are extraordinary lies designed to make people unfree”.[27]The second transgression of religious boundaries in ‘Carmilla’ is during the funeral scene where Carmilla states ‘Besides, how can you tell your religion and mine are the same… everyone_must die; and all are happier when they do.’[28]and uses a caesura, perhaps to indicate the way she views life. The use of ‘Why you must die--_everyone_must die’[29]indicates how short life is, and the suddenness of death is reflected in the caesuras. Furthermore, the use of ‘your religion and mine’ seperates the two, and conflicts with Victorian ideas of religion. Christianity was considered the one true religion, and therefore Carmilla suggesting she followed another religion would have been heresy. As well as this, her pain at hearing religious hymns in the line ‘”There! That comes of strangling people with hymns!”’[30]presents the idea of a supernatural aversion to religion and foreshadows the reveal of Carmilla’s vampiric nature.

In conclusion, the varied transgressions presented within the two novels provide solid evidence of both authors’ awareness of the problems that are faced by females within traditional literary roles, and both Carter and Le Fanu are able to present their arguments using a variation of language features and characters whilst managing to keep a strong theme of female sexuality at the forefront of their stories.

[1]‘The Bloody Chambers & Other Stories’ by Angela Carter [2]‘Carmilla’ by Joseph Sheridan Le Fanu [3]‘The Bloody Chambers & Other Stories’ by Angela Carter [4]Carroll Davids on: How Does Angela Carter Deconstruct Conventional And Repressive Gender Identities In The Bloody Chamber [5]‘Carmilla’ by Joseph Sheridan Le Fanu [6]Colleen Damman on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [7]‘The Bloody Chambers & Other Stories’ by Angela Carter [8]Elizabeth Signorotti on: Repossessing the Body: Transgressive Desire in Carmilla and Dracula [9]‘The Bloody Chambers & Other Stories’ by Angela Carter [10]‘Carmilla’ by Joseph Sheridan Le Fanu [11]‘The Bloody Chambers & Other Stories’ by Angela Carter [12]‘The Bloody Chambers & Other Stories’ by Angela Carter [13]‘Carmilla’ by Joseph Sheridan Le Fanu [14]Christy Byks on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [15]‘The Bloody Chambers & Other Stories’ by Angela Carter [16]‘The Sadeian Woman: The Ideology of Pornography’ by Angela Carter [17]‘Carmilla’ by Joseph Sheridan Le Fanu [18]‘Carmilla’ by Joseph Sheridan Le Fanu [19]‘The Bloody Chambers & Other Stories’ by Angela Carter [20]‘Carmilla’ by Joseph Sheridan Le Fanu [21]Christy Byks on: Women's sexual liberation from Victorian patriarchy in Sheridan Le Fanu's Carmilla [22]‘The Bloody Chambers & Other Stories’ by Angela Carter [23] ‘The Sadeian Woman: The Ideology of Pornography’ by Angela Carter [24]‘The Bloody Chambers & Other Stories’ by Angela Carter [25]‘The Bloody Chambers & Other Stories’ by Angela Carter [26]‘The Bloody Chambers & Other Stories’ by Angela Carter [27]Angela Carter on: Religion by SlideShare [28]‘Carmilla’ by Joseph Sheridan Le Fanu [29]‘Carmilla’ by Joseph Sheridan Le Fanu [30]‘Carmilla’ by Joseph Sheridan Le Fanu

[cherry-interlude]

Lana Del Rey Unreleased Ranked (2)

This is a re-ranking of Lana's unreleased songs, after making a first a few years ago. This is all my opinion, which I don't mind anyone disagreeing with but don't come for me for it - honestly, I like every song, despite any criticism, and this ranking is very vague. It's based on objective and subjective opinion.

This is the second of five posts, going past my least favourites.

Money Hunny

Lana details the downside of money, detailing the ways it ruins lives and causes more problems that good for some. However, it’s simplicity isn’t what makes Money Hunny fall short – it doesn’t resonate at all compared to Lana’s countless songs where she is either rich and famous or she is desperate for money (or men with money). As thought-provoking as Money Hunny is, it feels too twee and out of place in her money-adoring music to really hit hard. If Lana has spoken on the topic of how money can literally damage lives more, it would perhaps gel better with me, but with songs like Money Power Glory, National Anthem and Off To The Races (among many, many others), it doesn’t hit the mark as a Lana Del Rey (alternate names included) song.

Strangelove

Strangelove is hypnotising, from Lana’s mesmerising voice that gives her the impression of a Las Vegas desert temptress, seducing strangers and wishing for the simple pleasures of Christmas lights and mint juleps. It hits best for the first opening chorus.

Stoplight Delite

Opening with a tuneful mechanical whir, Lana’s song wouldn’t be amiss in a teen romance film. I’m not convinced by the mishmash of music – the more classical band instruments with unrelenting whirring begins to overwhelm the song. Lana’s at her sweetest in this however.

Daddy Issues

The music is a bit too harsh but it’s a nice enough song, referencing Baby Blue Love among others. It isn’t Lana’s best by far, messy with lyrics that go all over the place, but (yet again), it would be more promising if it was completely remade and produced properly. The demo, I Was In A Bad Way, is a lot more maudlin and less enthusiastic, so it does fall behind Daddy Issues.

Catch and Release

It’s another song that’s kind of creepy, with an eerie vibe thanks to the relentless, whining music and Lana’s razor-edged warnings in her lyrics. Lana is practically a megalomaniac in this song, completely selfish and unafraid to ask for – and get – what she wants. Yet it’s quite a hypnotising track that, with further production, could be more cohesive and dramatic.

Marilyn

One of her old live performances, Marilyn is too simple in its lyrics but is a strangely erotic tribute to Lana’s icon. Lana owns the stage in this performance, a more carnal honouring than some of her other outputs.

Noir

Lana really goes for it in this furious song of crushed self-esteem and badly treated lover. Lana lets her vocals rip and tear as she growls about her “papi”, her being merely his dolly to do as he pleases. It's not her most perfect song but she doesn’t hold back from letting her hurt and frustration spill over.

Bellevue

Lana utilises haunting harmonising in Bellevue and though she seems hung up on her lover not wanting her around (she repeats it, as if she can’t let go, throughout the song) she still convinces herself she could go back to the old days of drinking and not being hurt. It helps – her chanting – to bring out the emotion of the lyrics, and maintain that broken feeling she is so good at conveying whilst saying how happy she is.

Put Your Lips Together

Taking on the character of a femme fatale who can hold her own, Lana seduces the listener on top of a chilled instrumental. Her lyrics are little bit dirtier as much as her vocals aren’t their best in the choruses (of course, it being a rough demo might have something to do with that). It’s definitely a song that, if completed, could rank alongside Beautiful Player and Ooh Baby in her seduction library.

Starry Eyed

Starry Eyed is a romantic enough song, with a gentle plinking intro that leads to a rumbling, Born To Die-esque track – complete with Lana’s pretty vocals. However, it does tend to drag, a slow song that I find majorly skippable. The dragged-out choruses get tiring after a while of listening so I don’t frequently listen to this song.

Breaking My Heart

Lana is fully materialistic in this song, referencing multiple designer companies as well as her desire to be loved and party. It’s not too imaginative in its lyrics, instead pure pop with a mixture of lyrics that never quite come through with a particular meaning, but it’s a good enough bop.

Butterflies Part 1

A little love song about a tumultuous teen romance, Lana plays off the lovestruck teen ultimately in love with a guy not good for her perfectly. It’s heady and full of the rushes of love, emotive enough to get the feeling of a girl going mad from her relationship.

Ben

Lana, using the rain to her advantages, moodily comforts her executive love in the full femme fatale façade, quietly passionate. Lana, as much as she loves him, is still her own woman, insisting she will smoke if she wants and playing with her voice to showcase such control.

All Smiles

Lana puts on a happy smile as she mopes over Jimmy in this small-town, fifties-painted tale of a girl who wants a man she can’t have. She mostly hits the mark in this acoustic track and has the right foundations for a decent country ballad.

My Best Days

My Best Days is a short song of cleverly utilised trap beats, autotune and slowly layering instrumental in which Lana isn’t happy without her lover. The organ outro is gorgeous, and it’s a track that can perk you up or calm you down.

Get Drunk

Restless pace, whispered mocking and an overall darkly seductive tone – it’s unembellished and, in some ways, could play as Lana dealing with her past alcoholism (demanding whomever the song is directed to should get drunk). It’s a vibe Lana should explore more over a decade since Get Drunk and the like were made.

Let My Hair Down

A simple and spooky track, Lana has an acoustic jam session consisting of unsettled guitar, bongos and her voice. It’s rather repetitive but it’s something different that works well. It shows Lana doesn’t need too many fusses and frills on her tracks to make something captivating, much like her Sirens album.

Every Man Gets His Wish

The intro of upbeat whistling climbs into a lowkey track that goes from sensual stuttering and a sad chorus that still sounds like Lana has a smile on her face. The mood shifts along with the tune but it is altogether cohesive.

Dance For Money

As stripped as the pole dancer Lana plays, Lana gently teases and cajoles in her ode to older men, lemonade and motorcycles with little else.

Back To Tha Basics

Much like the title, this track is a little bit basic but it’s still zesty with a wonderful instrumental and some pop-inspired vocals.

Butterflies Part 2

Production isn’t perfect on this track but Lana has such promise in this song in which she compares to lured in girls to butterflies pinned to a wall, all at once melancholy, knowing and cheeky. It’s unfortunate that the lyrics are so hidden beneath the dominating instrumental, but with tweaking this stormer could be even better.

Children of the Bad Revolution

The kind of song that would be found on one of her albums, Children of the Bad Revolution is a pacy dedication to Lana’s life as a delinquent a la the 1950s starlets. It’s good but it’s not anything too impressive, instead a chilled track that is simply about being free.

Beautiful Player

Lana mopes in the track about a somewhat disliked girl (perhaps they’re all jealous of her) who is in love with one of her players, giving the feel of a villain club performer smiling with red lipstick on and black mascara staining her cheeks.

Lift Your Eyes

Lana takes control in this song, instructing her lover to lift his eyes, rise above his demons and join her in self-respect. It’s a fine alternative to her gushing and moping characters, and with machine-like music running under the song, Lana sounds stronger than ever.

Valley of the Dolls

In this compact track Lana is once again frustrated by her lover. It’s pained but pretty with her vocals once again taking the forefront.

C U L8r Alligator

Just an acapella demo, C U L8r Alligator is simply Lana’s voice with her beating a rhythm in time. However, I really do like this song. I think it would sound even better polished and complete, but for a rough demo it’s promising. The Kristijan Majic remix is the version I most listen to, which makes it sound even more eerie (and if anyone remembers the D1ETPUSSY video that went with it, you’ll get why this song doubly haunts me). It’s not Lana’s finest but it’s a song I would have loved to see developed.

In The Sun

In The Sun is so hot it burns, more heatwave than refreshing sunshine, as she scorns her ex-lover. It’s not the finest instrumental but Lana sticks her fingers up with incredulous shock that someone could betray her so. She keeps the vibe great paired with blue skies and swimming pools with the upbeat music.

Hot Hot Hot

Big Bad Wolf, a slightly different demo track, is what I favour – stripped back, sexily uneasy, the lyrics letting the vivid imagery of red skirts, red cars and devilish men shine. Yet Hot Hot Hot is a decent, if not cheesier, song too, the chanting great for singing along.

Trees

Lana and The Rich Whores strike out with this kickass band-driven track that showcases Lana’s feistier vocals strongly. The lyrics are sparse but the overall feel of Lana going nineties-rock-chick keeps me wanting more of her in this style.

Push Me Down

Rather than being like the controversial Ultraviolence, Lana keeps the ‘violence’ fun in this pacy song, demanding her bad boy treats her badly in the best way possible. With a mildly rock edge, it’s still distinctively party-Lana, reminding of a pop-ier True Love On The Side.

She’s Not Me

It isn’t particularly imaginative pop but Lana lets the guitars do the talking as she whispers her warnings to her ex-lover. Lana owns this track, and though it feels a bit amateur in comparison to her discography and some of her stronger unreleased music, it shows she would have been great even if she went for the noughties chart pop scene. Fun and punchy, it’s a song to play on repeat.

I Don’t Wanna Go

The tentative and tight intro gives me the vibe that Lana wants to avoid going home rather than simply wanting to hang out with her lover, and her pain-tinted vocals in the chorus only add to the theory. She compliments her fascinating guy throughout the verses, a little more restrained but ultimately tense in delivery, before confessing how much she wants to stay out.

St Tropez

This is a great track for dancing and a celebration of being a party girl with plenty of attention. Best played when you want to imagine yourself as the main character.

Summer of Sam

Lana has yet another song of being a cutesy bad girl, comparable to the likes of Dangerous Girl and Playground, but it’s still fairly generic, standard pop fare. Summer of Sam is still quite fun however, drenched in pop and even with a hint of rap-talking keeping the song lively.

I Talk To Jesus

Lana returns to her religious roots in a less blasphemous way (Body Electric, for example) and instead sings a sad ditty about wishing she could have her old life. Solemnly it remembers her past (as seen in her older music) where she had the trailer parks, Christmas lights and her equally holy boyfriend.

Axl Rose Husband

The imagery is rich and gorgeous, not to mention the reference to one of Lana’s idols, but Axl Rose Husband doesn’t always do it for me – despite her strained, desperate vocals that perfectly exemplify her emotion.

Ooh Baby

Sampling Sexual Healing, Lana ramps up the sex appeal as she lets the listener know how much they want her, all while keeping it a little but more upbeat than the original song.

Other Woman

Lana’s tired of being the other woman in this track, and I like the way the lyrics flesh out the story a bit more rather. However, the chorus does get a bit tiresome sometimes.

Girl That Got Away

Lana shows you exactly what you’re missing as she mopes for her ex-lover with a smile on her face, taking the reins and knowing she has something he misses in a bubble-gum pop song about being the it girl you’ll regret letting go of.