#TCM!Leon

[lilith0fthevalley]

Texas Chainsaw AU!Leon Drabble

Content Warning: This drabble contains themes of manipulation, psychological tension, and an undercurrent of unease. There are references to ominous folklore, implied family secrets, and a subtle but deliberate challenge meant to lure the protagonist into potential danger. Readers should be aware of themes involving isolated rural settings, social dynamics with an eerie undertone, and a charismatic but potentially menacing character.

In one of the few, crowded bars of Newt, Texas, Y/N takes a sip of her beer and narrows her eyes over the neck of the bottle as she lowers it. “Well, I’ll be damned... Who in the hell is that fine piece of ass right there?” She asks the two women next to her at the hightop. Claire giggles before speaking up first. “Why, Y/N! That is the newest addition to our lil' town of Newt, Texas… Says his name is Leon Kennedy.” Claire offers in a hushed whisper. She smirks and tosses her shot back, the immediate burn evident on her face as she winces. Jill speaks up next. “Ain’t no damn way he’s a Kennedy. Y’all know what folks say ‘bout that family. Disfigured, antisocial, inbred freaks.” Jill takes a sip of her whiskey and shakes her head “Violent hermits, too, if the stories’re true. People say they can’t tell a friend from a fuckin’ enemy.” Claire just rolls her eyes. “Oh, come on now, you know them’s just rumors. And besides—maybe he’s some real distant relative or somethin’… real distant.” 

Y/N's eyes rove over the newcomer and she gives a lazy, cocky smirk. “Well, Kennedy or not… sure as hell don’t look like he’s got that awkward, backwoods energy the rest of ‘em do.” She gestures subtly with the tip of her beer. “I mean, look at him—charm drippin’ right off him like honey. Ain’t even gotta try, and Ada and her little flock are eatin’ outta the palm of his hand.” She says derisively. Claire stretches and leans back, offering Y/N a coy smile. “I don’t know about you, but I think Little Miss Social Butterfly should go give him a proper Newt greetin'~” Jill snickers, crossing her arms. “Yeah, go on, butterfly. Flit on over there and make an impression.” Y/N, never one to turn down a challenge, sets her beer down and nods. “Fine. Guess I’ll go have me a sweet little chat with Mr. Kennedy.” She steps off her barstool and loops her thumbs in the belt loops of her skirt as she saunters up to the dirty, blonde haired stranger. He’s quite the looker. Hair tucked away under a whiskey colored, cowboy hat, warm, inviting cerulean eyes that observe and captivate simultaneously. He wears a light blue work shirt that has the first couple of buttons, undone–leaving little of his muscled chest up to one’s imagination. He’s clean-shaven and his smile is charming, even though it’s not directed at her at the moment. 

Y/N rocks up to the high top inhabited by Ada and her posse. She tips her hat in greeting. “Ada. Ladies. Heard y’all were givin’ our new friend here a proper Newt greetin’.” Ada offers Y/N a lazy smirk and crosses her arms. “What, that a crime now? Talkin’ to a man before you, Y/N?” She teases as she gives the other woman a once over. Eventually, she relaxes and gestures from Y/N to Leon.  “Leon Kennedy, meet Y/N L/N—Newt’s very own social butterfly. She’s friends with everyone, and everyone’s friends with her.” Leon chuckles and tips his hat in Y/N's direction. “Well it’s mighty fine to meet you, Miss L/N. Reckon I’ve heard your name floatin’ ‘round town since I got here. My aunt’s mentioned you once or twice—nothin’ but kind words, o’ course.” “Well, I would sure hope so.” Y/N says with a pearly grin. Ada raises her chin at Y/N and speaks. “We’re movin’ on to the next bar. Don’t reckon you’d mind keepin’ Mr. Kennedy company, would ya, Y/N?” She shakes her head. “Not one bit. More than happy to.” With that, Ada nods and turns on her heel leaving the bar with her group in tow. 

Y/N waves to the bartender and turns her attention back to Leon. “So Kennedy… Tell me, what brings ya all the way out here to Newt?” He braces his forearms against the high-top and glances at her from under his hat. “Same thing that brings most folks out here, I ‘spose. Needed a little peace n’ quiet. Change of scenery.” He says vaguely, keeping his eyes on her the entire time. Those big blue eyes seem to draw her in as he lowers his voice, as if sharing a secret. “And, well… I got kin here. Family I ain’t seen in a long, long time.” He smirks as he leans back resting on the back half of his forearms. Y/N's eyebrows quirk at that and she takes a sip of the beer that’s handed over her shoulder to her. “So, you are related to the Kennedys.” She pauses, then tips her head. “How’s that, exactly?” Leon clicks his tongue, smirking as he swirls his whiskey. “Ah, ah, ah. My turn for a question.” He leans in, blue eyes dancing with mischief. “If you’re willin’ to play the game, that is…” He hides his smirk behind a sip of his whiskey. Y/N just offers him an arrogant smirk “I ain’t never one to back down from a challenge.” Leon chuckles at that and nods. “Yeah, you seem like the type...” 

He balances his glass on the rim as he rolls it around on the table, his gaze flicks from the glass up to Y/N and he offers her a lopsided smile as he speaks, his southern drawl melting in her ears. “... Tell me, Darlin’... What exactly is your role in this town? Surely you ain’t just a worker millin’ about… No, no. There’s gotta be more to you almost like… You’re a queen b-” 

“Social Butterfly’s the term we like to use,” Y/N cuts in quickly. “Don’t much care for what comes along with bein’ called a Queen Bee, so I prefer Butterfly.”

Leon watches Y/N with a slow, knowing smirk, rolling his whiskey glass between his fingers. “... Alright. I’ll respect it.” He muses and allows silence to fall over the two of them before he speaks again. His voice is warm, playful even, but there’s an unmistakable weight behind his words.

“You know, Miss L/N,” he drawls, tilting his hat back just a touch. “Folks around here love to talk about my kin like we’re somethin’ out of a ghost story. And maybe we are.” His grin widens, all teeth, like a wolf playing with its food. “But I reckon most of ‘em are just too yellow-bellied to find out the truth for themselves.”

Y/N raises an eyebrow, the corners of her lips quirking. “That so?”

Leon nods, gaze steady. “Mhm. All those whispers about not steppin’ foot past our fence after sundown? Sounds an awful lot like superstition to me. But I get it. Not everybody’s got the spine to test their fears.”

Y/N scoffs, feigning disinterest as she takes a long pull from her beer. But he sees the flicker of pride in her eyes. She’s listening. Leon leans in, voice dropping to a smooth murmur. “Now, I ain’t the kind to believe in all that nonsense myself… but if you really wanna make a statement, if you really wanna prove to Newt that the Kennedys are just like everybody else…” He lets the sentence hang, waiting.

Y/N exhales a laugh, shaking her head. “What, You want me to waltz up to that old ranch and come back alive just to make a point?”

Leon grins, eyes gleaming beneath the low bar light. “Somethin’ like that.” He straightens, stretching his arms over his head, the movement making his work shirt pull against the lines of his chest. “Or maybe you’re not as brave as you let on.”

Y/N's smirk falters, just for a second, but it’s all Leon needs.

“I’m plenty brave,” she sneers, standing taller.

Leon shrugs. “Then prove it.”

The silence that follows is thick, the weight of the challenge pressing between them. Around them, the bar is still lively, music humming through the walls, but for Y/N, everything feels like it’s shifted.

Outside, the night has settled deep. The Kennedy ranch sits somewhere in that darkness, waiting.

And Leon?

Leon just watches her, his smile easy. 

Patient. 

Sharp. 

The smile of a man who already knows the outcome of this… little wager.

~~~

Texas Chainsaw Massacre AU Tag List:

Masterlist

[creepling]

˚ ༘`✦ ˑ ִֶ 𓂃⊹ KINKTOBER 2023

helloo everyone, so this will be my first go at doing kinktober!! going to be trying out some fandoms and returning to some old faves, so i hope you enjoy what is to come.

disclaimer: sadly due to work and other commitments i will only be able to post once a week, but i can promise they will be packed with absolute filth for you to enjoy.

under the cut is my lineup for the month. all is subject to change, and as always please make sure to look at the tags before reading. reblogs/replies are appreciated. MINORS DO NOT INTERACT.

fandoms include: texas chainsaw massacre game, baldur's gate iii, resident evil.

༺☆༻ 10th October: Johnny Slaughter

dad's best friend, size kink, dacryphilia, edging

༺☆༻ 25th October: Leon Kennedy

friends with benefits, squirting, soft!dom.

[dweemeister]

Murders in the Rue Morgue (1932)

For the bookworms reading this, fair warning: there have been almost no faithful film adaptations of an Edgar Allan Poe work. In the absence of any cinematic-literary faithfulness to Poe’s bibliography, there still remains a plethora of big-screen Poe adaptations that, from a cinematic standpoint, are simply mesmeric to watch. Robert Florey’s Murders in the Rue Morgue, starring Béla Lugosi one year after his career-defining role in Dracula (1931) and released by Universal, is one of the earliest such adaptations. Its atmospheric filmmaking reminiscent of the tangled geometries of German Expressionism and Lugosi’s creepy turn in a starring role may make Poe loyalists furious, but one hopes they can also see the remarkable craft of this film, too.

Though lesser known than both Dracula and Frankenstein (1931), Florey’s Murders in the Rue Morgue came about due to legacies of both those productions. Following the successful release of Dracula in February 1931, Universal considered Lugosi as their go-to star for horror films. Producer Carl Laemmle Jr. – the son of Universal’s chief executive and co-founder, Carl Laemmle – wanted Lugosi to play Frankenstein’s monster (often mistakenly called “Frankenstein”), and even had Lugosi play the monster in several minutes of test footage. That footage, now lost, is one of horror cinema’s greatest sights unseen. Sometime after that test shoot, Universal gave director James Whale a first-choice pick for his next project after the rousing critical and commercial success of Waterloo Bridge (1931). Whale chose Frankenstein, requested a screenplay rewrite, and cast the British actor Boris Karloff in the role. As consolation, Lammle Jr. gave the Hungarian American Lugosi the starring role in Murders in Rue Morgue.

In a Parisian carnival in 1845, we find ourselves in a sideshow tent. There, Dr. Mirakle (Lugosi; meer-AH-cull, not to be pronounced like “miracle”) provides a presentation that is anything but the freak show the attendees are anticipating. He unveils an ape, Erik (Charles Gemora – an actor in an ape suit; some close-up shots are of an actual ape), whom he claims he is able to understand and converse with – even though Erik is unable to speak any human language. In the audience, Mirakle spots a young lady, Camille L’Espanaye (Sidney Fox), and asks her to be his intrepid volunteer for a demonstration. The demonstration goes awry, to the ire of both Camille and her fiancé, Pierre Dupin (Leon Ames). As Camille and Pierre exit the carnival, Mirakle orders his assistant, Janos (Noble Johnson), to trail them. Thus sets in motion the film’s grisly plot.

The film also stars silent film comic actor Bert Roach as one of Camille and Pierre’s friends, Betsy Ross Clarke as Camille’s mother, character actor D’Arcy Corrigan as the morgue keeper, and Arlene Francis (best known as a regular panelist on the game show What’s My Line?) as a prostitute.

Murders in the Rue Morgue, with a screenplay by Tom Reed (1925’s The Phantom of the Opera, 1931’s Waterloo Bridge) and Dale Van Every (1937’s Captains Courageous, 1942’s The Talk of the Town), is one of the most violent pre-Code horror films from the early synchronized sound years. It was so violent, in fact, that Universal’s executives harbored trepidation throughout its entire production and demanded narrative and structural changes that ultimately harmed the film (including cutting grotesque and violent sequences, leaving behind the current 62-minute runtime). The best example of this damage comes from the film’s opening third. Unbeknownst to the carnival attendees, Mirakle has been performing horrifying experiments involving cross-species blood mixing and, through heavy implication by the filmmaking and Gemora’s performance, bestiality (hey, it’s a pre-Code movie!). Originally, Florey’s adaptation of Murders in the Rue Morgue began with Mirakle and Janos abducting Arlene Francis’ streetwalker and Mirakle’s torturing and experimentation on her. Only after that did the film transition to Mirakle’s sideshow presentation.

The reordering of these two scenes – in the final print, the sideshow opens the movie and the abduction and experimentation follows a turgid romantic scene between Camille and Pierre – makes the sideshow opening seem sillier than it should be. If the original order had been kept, Florey’s initial intention to instill dread during the sideshow only after the abduction and experimentation scene – as the audience would be well aware of what Mirakle is capable of – would have made the film’s exposition feel far less stage-bound and hokey than it does. The abduction and experimentation scene’s blood-curdling horror remains (the scene contains a boundary-pushing combination of bestial and religious allusions that some modern filmmakers might not even dare to push), but the romantic scene immediately preceding makes for a rough tonal transition. In comparison to later horror films from the Hollywood Studio System released after stricter implementation of the Hays Code in 1934, these scenes – in addition to a later investigation and the film’s finale – hold up wonderfully.

Crucially, Tom Reed and Dale Van Every’s screenplay alter genres from Edgar Allan Poe’s original short story. With the introduction of hobbyist detective C. Auguste Dupin, Poe’s The Murders in the Rue Morgue is a foundational piece of early Western detective fiction. Or, in Poe’s words, Murders in the Rue Morgue is a “ratiocination tale” – a name that was never going to catch on in any century. Poe’s Dupin, a character who later influenced Sir Arthur Conan Doyle’s Sherlock Holmes and Agatha Christie’s Hercule Poirot, undergoes a name change in Reed and Van Every’s adaptation, and we do not see nearly as much deduction and investigating here as in the short story. Reed and Van Every’s screenplay, which delete all but two scenes from the Poe short story, also elevate one of their own creations – Dr. Mirakle – at the expense of Dupin. In addition, it is clear early on who is responsible for the violent acts within the narrative. And, unlike the Poe’s original short story in which Dupin and the unnamed narrator read about the violence in the newspaper, the film shows these acts explicitly or the lead-up to them. Director Robert Florey’s film is decidedly a horror film, not a mystery.

Having Béla Lugosi in the cast in his first film after Dracula is a surefire way to confirm that you are making/watching a horror film. Reed and Van Every’s clunky dialogue might not do Sidney Fox and Leon Ames any favors, but it is a gift for Lugosi. Lugosi’s heavily accented English typecast him later in his career to mad scientist and vampire roles. Nevertheless, who else could stand there – with a mangled tuft of a wig, a makeup department-applied thick unibrow that appears to barely move, menacing lighting from a low angle – and tell Fox’s Camille (after receiving a gawking from Erik, the ape), “Erik is only human, mademoiselle. He has an eye for beauty,” with incredible conviction? The opening minutes of the film at the sideshow, because of the reordering of the film, are heavily expository and contain the bumpiest writing of the entire film. But Lugosi, with his signature cadence (notice how and when Lugosi uses silence and varies the speed of his phrasing – very few native English speakers naturally speak like that) and his physical acting, presents himself perfectly as the societal outsider – remarkably intelligent, but perhaps mentally unhinged. Lugosi’s performance completely outshines all others in this film. Here, in a magnificent performance, he confirms that his acting ability on display in Dracula was no fluke.

Early Universal Horror of the late silent era and early sound era owes a sizable debt to German Expressionism – a mostly silent film-era movement in German cinema in which filmmakers used distorted and geometrically unrealistic sets to suggest mental tumult and dread. Working alongside editor Milton Carruth (1932’s The Mummy,1943’s Shadow of a Doubt) and production designer Charles D. Hall (1925’s The Phantom of the Opera, 1930’s All Quiet on the Western Front), cinematographer Karl Freund (1924’s The Last Laugh, 1927’s Metropolis) found a team of filmmakers that he could work with to set an aesthetic that could do justice to Murders in the Rue Morgue’s macabre plot.

It also helped that director Robert Florey wanted to make something that looked closer to Robert Wiene’s The Cabinet of Dr. Caligari (1919, Germany) than Dracula. Together, Freund and Florey worked with Hall to achieve a set design that created long shadows and crooked buildings and tents more likely to appear in a nightmare than in nineteenth century Europe. The final chase scene across angular and rickety rooftops used leftover sets from The Hunchback of Notre Dame (1923). All this endows Murders in the Rue Morgue with a gruesome atmosphere, oftentimes cloaked in dust and early morning mist.

For Freund and Florey, each saw in the other a kindred spirit in their appreciation of German Expressionism. If they could not achieve just the right shadow, they would instead paint it onto the set itself (painting shadows was commonplace in German Expressionism, but never in Hollywood movies). To achieve the ideal lighting for some of the rooftop or near-rooftop scenes, they shot outdoors, in chilly autumn weather, past midnight – most black-and-white Old Hollywood films, due to technical limitations at the time, shot nighttime scenes inside soundstages. In an era where cameras usually stayed frozen in one place, Freund invented the unchained camera technique, allowing cameras to creep forward into a set rather than relying on a cut to a close-up. Though the unchained camera is not as present here as in other movies involving Freund as cinematographer, it makes the viewer feel as if they are moving alongside the crowd at the carnival, as well as imbuing the audience with a terrible anticipation for what terror lurks around the corner. Freund and Florey’s collaboration was one of like-minded men, with similar influences and goals. In what was their only film together, the two achieve an artistry with few similarities across much of American film history.

Initial reception to Murders in the Rue Morgue was cold, in large part due to the film’s shocking violence and awkward acting. Despite finishing the film under budget, Robert Florey hit the apex of his career with Murders in the Rue Morgue. The disapproval from Universal executives took its toll, and given that Florey was on a one-film contract with the studio, he never returned. The French American director would bounce around studios over the next decade – from Paramount to Warner Bros. back to Paramount to Columbia and back to Warner Bros. – mostly working on inexpensive B-pictures, occasionally making a hit such as The Beast with Five Fingers (1946). Florey spent his later career with television anthologies: Alfred Hitchcock Presents, Four Star Playhouse, and The Twilight Zone.

For Lugosi, Murders in the Rue Morgue was the true first step for the horror film typecasting that he sought to avoid. Once considered by Universal’s executives to be the successor to the late Lon Chaney (The Man of a Thousand Faces passed away in 1930), the failure of Murders in the Rue Morgue among audiences and critics gave Universal pause when it came to extending Lugosi’s original contract. But the early 1930s were Lugosi’s most productive period in films, and they contained his finest, most memorable performances.

In recent decades, the reputation of Murders in the Rue Morgue continues to gradually improve, as do many films that once caused a stir due to their content during the pre-Code years. Awkward supporting actors aside, when one has Béla Lugosi cloaked in the shadows of German Expressionism and the spirit (albeit not so much intentions of the original text) of Edgar Allan Poe, what results is a foreboding work, one worthy to carry Universal’s horror legacy.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[johnny-slaughters-favorite-wife]

Needing an online bestie I can send silly art and memes to 🥺

[schlock-luster-video]

On April 29, 1982, Death Force (also released as Fighting Mad) debuted in West Germany.

[cheemken]

Hey Knight, with Halloween coming up soon I got a question about the champions

What do they do on Halloween?

Do they watch Horror movies? Walk around the Neighbourhoods looking at decorations? Start putting up the Christmas lights already? Go to Haunted houses? Or do any of them go Trick or Treating?

Actually about that last one, what would the Champions dress as?

This could be directed towards either Gen of Champions, you decide which group to answer with :)

Ohhh that's fun! But do spare me bc I have no experience w Halloween as in my country we only have the Four Months of Christmas™ hahaha so like yeah I'm gonna base all this on the shows I watch lmao

Anyways going w the first gen champs

My guy, Geeta is absolutely fucking vibing, the biggest horror fan and the one who goes all out during Halloween, Diantha's vibing too in a different way, like fr, once October hits, Geeta's there waking Diantha up all "mi ángel, it's Halloween soon, we need to set up the traps"

"yes I know, dar— what do you mean traps—"

"for the horror house. I'm sure people would love it this year."

"darling, please, you went overboard last time, you traumatized someone."

"Last time wasn't even that terrifying."

"Geeta, no—"

It's Leon she scared lmfao

Cynthia and Lance would go around the neighbourhood tho judging their decorations. Going on how that guy didn't even bother, that lady is trying too hard, they're sure as hell some of their decorations are just their ghost pokemon. These two then tell Geeta all the decorations the other peeps in the neighbourhood has and she plans to outdo them, this is honestly the only time of the year these three get along well lmfao like they're that competitive they want their house and their decorations to be the very best like no one ever was hahaha

Wallace and Diantha do go all out on costumes fr, Lance and Steven has to deal w them, they have to be matching, for the aesthetic. Diantha and Wallace also really competitive, wanting to outdo others' costumes. Dia and Lance do supervise Iris and Hau when they go trick or treating back then when they were younger, it's always nice to see the kids having fun and making new friends, tho Dia did have to limit their sweets during those nights bc the first time they celebrated Halloween together, Hau and Iris and even Cynthia did not sleep the entire night bc of the sugar rush, Dia now knows better lmao. Also doesn't let Cynthia watch over the kids when out trick or treating, Cyn taught them how to actually trick people to get more candy.

Leon would celebrate the Four Months of Christmas™ fr, even gets the kids to join him. Look, he's not like Diantha who indulges Geeta in her grotesque horror filled interests, he just wants presents and snow and having the fam together and presents okay, homeboy would put up the Christmas lights as soon as September hits lmfao like their house would be halved w Geeta's Halloween decorations and Leon's Christmas decorations. Geeta, out of spite, placed spiders and witches hats on Leon's Christmas decorations; Leon, in revenge, also put Christmas hats and reindeer headbands on Geeta's Halloween decorations. It's always a war zone in there home once September or October hits hahaha

Idk what they'd wear tho fr, I just know Wallace and Diantha would have the most aesthetic costumes out of all of them lmfao, Geeta would have like,, idk, she gives off the vibes she'd have a costume of Leatherface from Texas Chainsaw Massacre, her mask is so detailed that it scared everyone. Y'know Leon's Christmas get up in PokeMas? Yeah, I know he'd wear that during Halloween just to spite Geeta lmfaooo homeboy would defend himself saying it's still a costume hahaha

[fleurgrden]

୨୧ Masterlist ୨୧

types: {🌸} romantic {🕊} horror {🎀} kinky

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

♡ Dead by Daylight:

THE DOCTOR~

in the works

THE TRAPPER~

will be added!

THE HILLBILLY~

will be added!

THE CANNIBAL~

will be added!

THE LEGION~

will be added!

THE GHOSTFACE~

will be added!

THE ONI~

will be added!

THE DEATHSLINGER~

will be added!

♡ Boyfriend to Death:

STRADE~

will be added!

SANO~

will be added!

LAWRENCE~

will be added!

Request characters!

♡ The Boy:

Will be added!

♡ Texas Chainsaw Massacre:

BUBBA SAWYER~

will be added!

THOMAS HEWITT~

will be added!

♡ The Walking Dead:

Request characters! (m only)

♡ Resident Evil:

ETHAN WINTERS~

will be added!

LEON S. KENNEDY~

"for you" {🌸} ~ Leon's getting some healing from his gf

Request characters! (m only)

♡ Original Characters:

will be added!

request other killers & series!!

[rapturously]

✠⠀༷ ゜𝐏𝐎𝐑𝐓𝐑𝐀𝐘𝐀𝐋𝐒 & 𝐌𝐔𝐒𝐄𝐒.

regarding character muses and fandoms.

⠀˹ 𝐩𝐨𝐫𝐭𝐫𝐚𝐲𝐚𝐥𝐬 & 𝐦𝐮𝐬𝐞𝐬 ⠀ཾ༵࿇ ˼

all characters listed here are able to be requested for one-shots & drabbles. all are grouped according to that specific fandom.

✠⠀༷ ゜ 𝐚 𝐛𝐥𝐨𝐨𝐝𝐭𝐡𝐢𝐫𝐬𝐭𝐲 𝐚𝐬𝐬𝐨𝐫𝐭𝐦𝐞𝐧𝐭.

michael myers — (rob zombie & 2018)

jason voorhees

thomas b. hewitt — (tcm remake)

brahms heelshire

eric newlon / john carver — (thanksgiving)

the sinclair brothers — (bo, vincent, & lester)

billy loomis

stu macher

mickey altieri

richie kirsch

ethan landry

amber freeman

tiffany valentine

brendan kemp / steve — (fresh 2022)

jackson rippner — (red eye)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐭𝐡𝐞 𝐦𝐨𝐧𝐬𝐭𝐞𝐫𝐬 𝐠𝐚𝐥𝐥𝐞𝐫𝐲.

hellboy — (all movies)

abe sapien — (del toro verse)

prince nuada — (hellboy films)

the lost boys (david, dwayne, marko, paul & michael)

the yautja — (predator)

count dracula — (van helsing 2004)

gabriel van helsing — (van helsing 2004)

pyramid head — (silent hill)

count orlok — (nosferatu 2024)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐭𝐡𝐞 𝐬𝐭𝐫𝐞𝐞𝐭𝐬 𝐨𝐟 𝐠𝐨𝐭𝐡𝐚𝐦.

bruce wayne — (the batman 2022)

edward nash / the riddler — (the batman 2022)

oswald cobb / penguin — (the batman 2022)

julian rush / the scarecrow — (the batman 2022)

selina kyle / catwoman — (the batman 2022)

sofia falcone — (the batman 2022)

jonathan crane / scarecrow — (bale batman verse)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐭𝐡𝐞 𝐮𝐩𝐬𝐢𝐝𝐞-𝐝𝐨𝐰𝐧.

jim hopper

steve harrington

edward ‘eddie’ munson

henry creel / vecna

jonathan byers

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐡𝐞𝐚𝐯𝐞𝐧, 𝐡𝐞𝐥𝐥, 𝐚𝐧𝐝 𝐢𝐧-𝐛𝐞𝐭𝐰𝐞𝐞𝐧.

dean winchester

sam winchester

castiel

lucifer

gabriel

gadreel

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

✠⠀༷ ゜ 𝐦𝐚𝐜𝐚𝐛𝐫𝐞 𝐚𝐦𝐚𝐥𝐠𝐚𝐦𝐚𝐭𝐢𝐨𝐧.

father paul hill — (midnight mass)

arvin eugene russell — (the devil all the time)

v — (v for vendetta)

eric draven — (the crow)

jesse pinkman — (breaking bad)

ellen ripley — (alien franchise)

david 8 — (alien franchise)

william afton — (fnaf movie)

michael schmidt — (fnaf movie)

eddie gluskin — (outlast)

leon kennedy — (resident evil)

lady alcina dimitrescu — (resident evil)

karl heisenberg — (resident evil)

joel miller — (the last of us)

rick grimes — (the walking dead)

daryl dixon — (the walking dead)

joshua washington — (until dawn)

mike munroe — (until dawn)

jim — (28 days later)

─┄┄┄┄┄┄┄┄┄─ ─┄┄┄┄┄┄┄┄┄─

[filmnoirfoundation]

Noir Alley returns March 8 with THE VELVET TOUCH, hosted by Eddie Muller. Check out our TV listings page, to see all the noirs playing this month on Turner Classic Movies: TCM: https://www.filmnoirfoundation.org/news-tv.html NOIR ALLEY Saturday, March 8, 9:30 PM & Sunday, March 9, 7:00 AM FNF Prez Eddie Muller presents THE VELVET TOUCH (1948): Prominent Broadway actress Valerie Stanton (Rosalind Russell) accidentally kills her producer and ex-lover (Leon Ames) during an argument. She manages to slip away from the crime scene but finds she can’t run away from her conscience. Noir icon Sidney Greenstreet plays the detective investigating the case. Noir stalwart Claire Trevor plays Stanton’s theatrical rival who’s arrested for the crime. Dir. John Gage

[lilith0fthevalley]

AU For Leon Kennedy

Let’s talk about a new funny little idea I had…

You know the game The Texas Chainsaw Massacre? 

You know Johnny?

Y'know... This guy?

{Yum, btw}

What if, after the circumstances of Raccoon City, he decided to just...

Disappear.

Choosing to retreat back to the decaying property of some distant relatives who persist. {Sorry cannon :( }

What if, Leon just can't shake the implicit nature of his family and descends into the same madness as a sort of twisted coping mechanism.

The idea of him using charm to disarm his targets, lulling them into a false sense of security before revealing his true nature, could make for some really chilling moments. Maybe he could start with a soft, reassuring demeanor, even giving a friendly smile while hiding the darker, predatory side beneath. As the fic progresses, those cracks in his persona could grow wider—maybe when he gets frustrated or when his facade starts to unravel in the heat of the chase.

And the family? Oh, don't get me started! {Do it :3}

Maybe reader and the group she was brought in with are freed for a family hunt at the hands of Leon and the rest of the Kennedy’s.

The concept of a “family hunt” really deepens the horror and intensity, especially when it ties into the twisted dynamic of the Kennedys, with Leon being the charming yet lethal figure maybe even leading the pack.

Leon could maintain his sweet, almost affectionate demeanor when they’re freed, maybe playing the role of a protector or a guide, luring them into a false sense of safety.

But as the hunt begins, his true nature comes out. The more desperate or defiant the group gets, the more he starts to lose that charming mask. Maybe he starts to toy with them, slowly picking off members of the group, one by one, enjoying the fear that builds with each loss.

The family aspect could also amplify the horror—imagine the rest of the Kennedys, all equally twisted, playing roles in the hunt.

Idk. Maybe it's just a fleeting thought of mine. :)

XOXO, Lilith

... Fic coming soon

[sh1mmer-add1ct]

Happy Birthday @leons-puppygirl :3!!!

Sorry I kinda did this when we first played TCM so

[dweemeister]

The Robe (1953)

Henry Koster’s The Robe, distributed by 20th Century Fox, appeared near the beginning of an era where religious epics and sword-and-sandal films became massive box office draws worldwide. Cecil B. DeMille’s Samson and Delilah (1949) and Mervyn LeRoy’s Quo Vadis (1951) had already laid the foundation on which Koster’s film, adapting Lloyd C. Douglas’ novel of the same name, would find its success. Despite The Robe being highly influential in Hollywood and becoming the highest-grossing film of 1953, the likes of DeMille’s The Ten Commandments (1956) and William Wyler’s Ben-Hur (1959) overtook it artistically and financially – no shame there, as those are two far superior films.

So what is The Robe’s claim to movie history beyond its initial theatrical earnings? When The Robe first came to theaters, 20th Century Fox advertised it as the first film ever made in CinemaScope. Created by Fox’s president, Spyros P. Skouras, CinemaScope was a format in which a widescreen camera lens contracted its widescreen shots onto regular 35mm film and, during theatrical projection, another lens would de-contract the image from the 35mm film in order to project a widescreen format. Theaters would only need to make minor, inexpensive modifications to their projectors in order to show a film in true CinemaScope, a 2:55:1 widescreen aspect ratio. Almost all other films were shot in the Academy ratio at the time (1.37:1, close to the 4:3 ratio – think: black bars on the left- and right-hand sides of a widescreen monitor – seen on many older standard computer monitors and televisions). With increasing competition from television, Fox executives believed CinemaScope could be a way to lure audiences back into theaters. Despite this overreaction from Fox’s executives (as well as the other major Hollywood studios), the legacy of CinemaScope’s innovation is still apparent today. Seven decades later, widescreen formats, not the Academy ratio, are the default in film and television.

Walking through the markets of Rome, returning Roman Empire tribune Marcellus Gallio (Richard Burton) reunites with his childhood sweetheart, Diana (Jean Simmons), who is now promised to Marcellus’ rival, Caligula (an always-sneering Jay Robison). Not long after, Marcellus – out of pettiness rather than financial sense – outbids Caligula for the Greek slave, Demetrius (Victor Mature). Marcellus immediately frees Demetrius, but Demetrius thinks of himself as honor-bound to stay by Marcellus. Elsewhere, an incensed Caligula reassigns Marcellus to Palestine – which, to the film’s Roman characters, might as well be the armpit of the Roman Empire. Marcellus and Demetrius go to Jerusalem, where they witness a man named Jesus enter the city, heralded by crowds of Jews greeting him with palms. Several days later, Judean Governor Pontius Pilate (Richard Boone) orders Marcellus to crucify Jesus on Calvary. Marcellus executes the order but, during and after the crucifixion, witnesses and experiences supernatural events. Demetrius, who has become a follower of Jesus during that week, obeys Marcellus when he asks him to fetch Jesus’ robe. The moment Marcellus dons the robe, he suffers something like a seizure. He falls out with Demetrius, and spends the rest of the film reckoning with his conscience over his role in Jesus’ crucifixion.

The film also stars Michael Rennie as Peter, Dean Jagger as Justus, Torin Thatcher as Senator Gallio, and Ernest Thesiger as Emperor Tiberius. Michael Ansara and Donald C. Klune are both uncredited as Judas Iscariot and Jesus, respectively.

The Robe has the misfortune of peaking in the first half. The adapted screenplay from Gina Kaus (1949’s The Red Danube), Albert Maltz (one of the blacklisted Hollywood Ten; 1950’s Broken Arrow), and Philip Dunne (1941’s How Green Was My Valley) is at its most interesting whenever Marcellus and Demetrius find themselves at odds with the other. In the scenes they share together, that happens often. But when Demetrius disappears after their disagreement over Jesus’ robe midway through, the film begins to sag with no foil for Burton to play off of.

For the entirety of this film, Richard Burton’s acting is overwrought. Burton, who had just arrived in Hollywood the year before to star in My Cousin Rachel (1952), is leaning too deeply into his theatrical roots here. His grandiose exclamations, stiff facial acting, and inconsistent line delivery result in a performance that is easily the weakest part of this film (Jean Simmons is also guilty, to a far lesser degree, of these same flaws in her performance). The Robe requires Burton’s Marcellus to undergo a spiritual conversion – becoming an adherent of Jesus despite following orders to crucify him, a developmental arc more dramatic than any other character’s in this film. Burton’s inability to convincingly sell this conversion (the stoic masculine tension, which some will interpret as coded homosexuality, between Burton’s Marcellus and Mature’s Demetrius does not help) weakens the film’s spiritual power.

Instead, it is Mature who is The Robe’s reliable scene-stealer. Mature, at one time likened to a “miniature Johnny Weissmuller”, has the classical Greek physique that, frankly, Burton does not. And in contrast to Burton at this time in their careers, Mature was more capable of a nuanced performance, as evidenced in his roles as Doc Holliday in My Darling Clementine (1946) and Nick Bianco in Kiss of Death (1947). As Demetrius, his soul hardened through his enslavement, there remains hope for a life free from the yoke of the Roman Empire and its callous slave masters. One sees it in his face during Holy Week, culminating with seeing Jesus dying on the cross. His faith is there, too, during a torture scene upon his return to Rome and an encounter with Peter. Amid miracles and cruelties, Mature’s Demetrius is simply the most compelling character of The Robe and the viewer – through Mature’s performance, especially in contrast to those of Jean Simmons and Richard Burton’s – can discern his genuine turn of faith. The Robe’s failure to showcase this inner awakening more believably is the fault of its two central actors and its screenplay; Mature’s performance and Demetrius’ characterization are all that saves the narrative.

One aspect of Christianity that The Robe captures confusingly (and oxymoronically) is the insignificance of Judea and the prominence of early Christianity in Rome in the time immediately following Jesus’ crucifixion. Oftentimes in Biblical epics, Judea is a centerpiece of the Roman Empire when, in truth (and in The Robe), it was a relative backwater. By Caligula’s reign between 37 and 41 CE, Christianity almost certainly would not have had a substantial presence in Rome at that time. So while Caligula would probably see Christianity as a threat, the film’s decision to treat the early Christians as a clear and present danger to his rule and the Roman state religion is the film’s glaring historical inaccuracy. The Robe – the book and the film – muddies the timeline from Jesus’ crucifixion to the film’s final scene in Caligula’s court. The relative suddenness of the Roman Empire seeing the early Christians as a very minor cult into becoming an Empire-wide menace is difficult to reconcile.

With few other post-silent film era Biblical epics as a guide, The Robe helps set the aesthetic of its fellow Biblical epics and sword-and-sandals movies going forward through its costumes and production design. The work of costume designers Charles LeMaire (1950’s All About Eve, 1956’s Carousel) and Emile Santiago (1952’s Androcles and the Lion, 1958’s The Big Country) is resplendent, regardless of either the Roman or Judean setting. Art directors Lyle R. Wheeler (1939’s Gone with the Wind, 1956’s The King and I) and George Davis (All About Eve, 1963’s How the West Was Won) and set decorators Walter M. Scott (All About Eve, 1965’s The Sound of Music) and Paul S. Fox (The King and I, 1963’s Cleopatra) all make full use of the CinemaScope format and color to enliven the scenery – a sumptuous visual treat for the viewer, and, to reiterate, setting a standard that the crew of The Ten Commandments and Ben-Hur both would study and surpass.

Of all of 20th Century Fox contracted stalwarts behind the camera, composer Alfred Newman was the studio’s most important figure. If Fox’s executives needed a composer to craft a score for what they would consider would be their prestige motion picture of the year, Newman – who composed the original 20th Century Fox fanfare and its CinemaScope extension (the extension, which is now inextricable from the fanfare, was first introduced in 1954’s River of No Return) – was almost always their first choice.

In one of Newman’s finest scores of his career, it is his choral compositions, with incredible help from his longtime choral supervisor Ken Darby, that form the score’s emotive spine. Jesus’ motif, shared between wordless choir and strings, appears almost immediately, in the opening seconds of the “Prelude”. During the many invocations of a Messiah before Jesus’ first physical appearance in The Robe, his motif shifts, changes form, and modulates – imparting not spiritual comfort or devotion, but a mysteriousness and otherworldliness. When Jesus (whose face we never see) first appears in Jerusalem on Palm Sunday, the cue “Passover/Palm Sunday” represents one of the rare juxtapositions of the brass-heavy martial music representing the Roman presence in Judea and Jesus himself. The modulation to a major key at 1:22 in this cue, with festive percussion, also includes one of the only instances of celebratory choral music in the score. Jesus’ motif in “Passover/Palm Sunday”, appears at 2:26 – cementing his (and Christianity’s) association with the cue, and appearing as the only instance in which one might consider this motif triumphant.

Choruses, which Western viewers so often associate in religious movies as angelic musical devices, become mournful in “The Crucifixion” – arguably the standout cue of Newman’s score. Even though one might be well aware of Jesus’ death and can anticipate a turn in the music (starting moments earlier in “The Carriage of the Cross”), it is startling to hear Newman’s composition change so rapidly. But it is in these several minutes depicting Jesus’ final moments that Newman, with modifications to his harmonies and orchestration, transforms Jesus’ motif to evoke its tragic dimensions. It is magnificent scoring from Newman, and this is not even mentioning his wonderful demarcation of Roman and Judean identities through his score.

In a film about faith – how it comforts, destroys, heals, and vexes – one wishes that the characterization of The Robe’s supposed lead characters in Marcellus and Diana could feel more plausible. The film’s final scene, possibly allegorizing of screenwriter Albert Maltz’s travails as a blacklisted figure in Hollywood, is decently powerful, but it needs far more storytelling support from numerous scenes preceding it.

As it is, the film’s expressive power lies within Demetrius and Victor Mature’s performance. So how fortunate that, because Fox also wanted to make a sequel to The Robe even before it finished production, Mature also signed a contract to appear in a sequel. Nine months after The Robe made its theatrical debut, Victor Mature starred in Demetrius and the Gladiators, directed by Delmer Daves and also seeing Michael Rennie and Jay Robinson reprise their roles as Peter and Caligula, respectively. Though it did not top the box office for that year like The Robe did, Demetrius and the Gladiators was a financial boon for Fox.

With Hollywood’s major studios always ready to respond to the box office successes of their rivals, The Robe helped make possible the decade of Biblical and sword-and-sandals epics to come – and the required viewings for many a Sunday School student in the years hence. These films were Studio System Hollywood in full maximalism, adopting human and tactile scales seldom seen today.

Yet outside of churchgoers, The Robe – for its CinemaScope and genre-specific innovations – has seen its standing slip gradually over the years, no thanks to the reputations of better movies of this tradition and, regrettably, decisions to keep 20th Century Fox’s valuable past under lock and key. 20th Century Fox’s refusal to distribute their classic films more often and more widely – before and after the studio’s 2019 takeover by the Walt Disney Company (and post-takeover, I believe the situation is now worse) – is resulting in films like The Robe slip through the proverbial cracks of film history, sights unseen for younger film buffs. That is unfortunate, especially as The Robe, almost incidentally (and no matter my aforementioned criticisms of the work itself), continues to quietly wield, by virtue of being the first CinemaScope film, a remarkable influence over cinema worldwide.

My rating: 6/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[citizenscreen]

#TCM is airing one if my favorite documentaries tonight, Leon Gast’s Oscar-winning WHEN WE WERE KINGS (1996) as part of the network’s #BlackHistoryMonth tribute. Don’t miss this!

[selfless-desires]

UPDATED CHARACTER LIST ,

decided to make a seperate post for all the character I write / would be interested in writing from different fandoms since there are a LOT and updating carrds take some time ... this document will be updated whenever needed . always open to new prompts being sent my way , and my DMs are open for questions or further discussions when it comes to threads / replies / characters ! some of these characters may be used as crossovers, such as the Stranger Things / Texas Chainsaw Massacre appearing in the realms of Dead by Daylight (ask if interested) . COLOR / SYMBOL MEANINGS , red : primary muse (experienced) blue : secondary muse (have some experience) black : new (never wrote them before) ★ : eager to write / in the mood ☆ : kinda in the mood / willing

STRANGER THINGS , ➳ Steve Harrington - ★ ➳ Eddie Munson - ☆ ➳ Billy Hargrove - ★ ➳ Jonathan Byers ➳ Nancy Wheeler ➳ Tommy Hagan ➳ Jason Carver - ☆ ➳ Demogorgon ➳ Henry Creel (Vecna)

TEXAS CHAINSAW MASSACRE , ➳ Leland (River) McKinney - ☆ ➳ Johnny Slaughter - ★ ➳ Connie Taylor - ☆ ➳ Sonny Williams ➳ Danny Gaines ➳ Sissy Slaughter ➳ Bubba Sawyer

DEAD BY DAYLIGHT , ➳ Frank Morrison (Legion) - ★ ➳ Danny Johnson (Ghostface) - ★ ➳ Ji-woon Hak (Trickster) ➳ Evan MacMillan (Trapper) - ☆ ➳ Philip Ojomo (Wraith) ➳ Feng Min ➳ Jake Park - ☆ ➳ Renato Lyra - ☆

OVERWATCH , ➳ Lúcio Correia dos Santos - ★ ➳ Ramattra - ★ ➳ Hana Song (D.Va) - ★ ➳ John Francis "Jack" Morrison (Soldier 76) ➳ Sloan Cameron (Venture) - ☆ ➳ Jean-Baptiste Augustin (Baptiste) - ★ ➳ Niran PruksaManee (Lifeweaver) - ☆ ➳ Mauga Malosi - ☆ ➳ Kiriko Kamori ➳ Hanzo Shimada ➳ Genji Shimada ➳ Cole Cassidy ➳ Bastion

RESIDENT EVIL , ➳ Leon Scott Kennedy - ☆ ➳ Carlos Oliveira ➳ HUNK

DETROIT BECOME HUMAN , ➳ Connor RK800 ➳ Hank Anderson ➳ Marcus RK200 ➳ Gavin Reed ➳ Elijah Kamski ➳ 'Nines' RK900

OTHER FANDOMS , ➳ Michael Munroe (Until Dawn) ➳ Matthew Taylor (Until Dawn) ➳ Montgomery Gator (FNAF) ➳ Foxy (FNAF) ➳ Crewmate (Lethal Company) - ☆ ➳ Bracken (Lethal Company)

ORIGINAL CHARACTERS , ➳ Richard Collins (TCM/ST/DBD) ➳ Nathaniel Brooke Collins (TCM/ST/DBD) ➳ Tyler Moore (ST/DBD) ➳ Finley (Flynn) Cooper (TCM/ST/DBD)

. . .

[schlock-luster-video]

On April 4, 1980 Penitentiary debuted in New York City.

[creepling]

SCOUT…. HAI… omg I do not interact enough.. every time I see u im like.. need 2 play tcm game.. need 2 play it.. BC . all ur tags on ur fics look soo good everything I dream of n I love the 70s film if that even has anything to do w it.. BUT TRUST. when I get my hands on that game… however this is u btw

HELLO CHERRY this is such a surprise, ty for the gift!! i can say the same for you but i got leon fanfic burnout bc i read sooo much last year but like... your gilf!leon tags tempt me to come back. honestly if u like the movie the game will be up your alley, got the og's + characters made for the game!! it's a small, manic community but we cool<33 u gotta let me know when you play it i'd love to hear your thoughts aa