#Themes: Satan Hell Death Women Metal

[k-i-l-l-e-r-b-e-e-6-9]

Venom - Live In London At The Hammersmith Odeon [1985]

[bookwrm99]

Preferred Music- OM! Brothers

Not that anyone asked me, but I was in the mood to write and I’ve gotten back into Obey Me! after a super-long hiatus.. so these are my thoughts on what the brothers listen to in terms of music. I’ve only finished S1, so forgive me if these don’t make sense in context of the later seasons T_T

Lucifer:

It’s established in canon that Lucifer loves listening to classical music and has an extensive record collection- the more cursed the better

I headcanon though that he also likes to listen to big band music, like the Glenn Miller Orchestra

I can imagine him putting one of his vintage Glenn Miller records on his grammy and asking his s/o to dance with him one night if he was feeling especially romantic. The song he’d initiate on would be Twilight Interlude, Moonlight Serenade, or Starlit Hour.

I also headcanon that Lucifer listens to crooners, like Nat King Cole or Frank Sinatra

If MC can play an instrument, especially if it’s the piano, Lucifer might lurk in the hallway for a while if he hears them playing music by composers like Beethoven, Mozart, or Chopin. He doesn’t know how or why, but he thinks their works sound best whenever MC plays them

I think Lucifer’s guilty pleasure is 50′s/60′s decade music, but only listens to them when certain conditions are met: he’s in an exceptionally good mood, his privacy is guaranteed for at least an hour, and it’s just him in his bedroom. He feels that artists like The Beach Boys, Elvis, and The Beatles don’t fit with his polished, high-class image, hence the secrecy around listening to them

You’ll know he trusts you when he allows you into his space while one of these artists’ records is on the gramophone

Doesn’t change MC’s ringtone in his phone, because one: he’s an old man and hardly uses the thing for anything besides communication anyway, and two: he wants to be the only brother who wasn’t prompted by Mammon’s ringtone change

Probably changes their ringtone after a few weeks, when his brothers have forgotten all about it

 Mammon:

The Black Crowes. Next-

It’s canon that Mammon likes R&B music

Mammon strikes me as a classic/90′s alternative rock kind of guy too, though. Pink Floyd, Led Zeppelin, Aerosmith, U2, Deep Purple, The Black Crowes, Pearl Jam- that kind of vibe

If he’s feeling something a little more hard, he’d probably dip into Nirvana, Van Halen, AC/DC, or another band along those lines

“Money” by Pink Floyd is DEFINITELY his ringtone

If he’s trying to really focus to come up with a scheme to make Grimm, or is just in the mood for something really chill, he might pull up a lofi hip hop playlist/station to listen to in the background

If he and MC happen to be chilling in his room, though, he’d probably play whatever they’re into- not because he likes them and wants to learn more about them or anything, noooooo sir, definitely doesn’t want to know their favorite artists so he can maybe take them to a concert one day either

Probably starts listening to MC’s favorite bands and genres too as their relationship develops

I headcanon that as soon as he finds out whatever MC’s favorite song is, he sets it as their ringtone in his phone so he can distinguish them from modeling agencies and his brothers

Leviathan:

It’s canon that Levi LOVES anime music, which like- I 110% subscribe to

I think he’d also really like video game music as well. Especially if it’s a game he loves and their soundtracks are *chef’s kiss*

If the Devildom has an equivalent to K-pop, I could see him being into that too. BTS, EXO, SUPER JUNIOR, Girl’s Generation, and SEVENTEEN all give me Levi vibes

Because he used to play so many different instruments, I also headcanon that sometimes he gets in the mood to listen to some of the music he used to play

He might get started on a classical music kick for a couple hours, then be satisfied for a week or two until the craving comes up again

Like Mammon, he might try listening to MC’s favorite music to get to know them better- but if he’s too averse to it, he’ll just go back to listening to his usual music

As their relationship develops, he might change MC’s ringtone in his phone to the theme of an anime they’ve both watched together and loved, or to the theme of his favorite anime- not to be outdone by Mammon, of course

Satan:

It’s canon that Satan also enjoys classical music, especially symphonies

I headcanon though that Satan might resent this similarity to Lucifer, so listens to classical music in secret- or abstains from it until he cracks and binges for a few hours

I could also see Satan listening to music very loudly in his room to piss Lucifer off if he’s in a particularly vindictive mood, especially if it’s hard rock or metal

Three Days Grace, Shinedown, Breaking Benjamin, Disturbed, The Veer Union, Gojira, Beartooth, Steel Panther- and if he’s really mad at Lu, he’d pull out the stops and listen to some death metal

Lowkey kind of likes some of it, even though he started listening to it exclusively with the intent of making the eldest tear his hair out in frustration

For casual listening, though, I headcanon that he has soft indie playlists and stations that he’s favorited/subscribed to

I could also see him as the type to have a playlist built with all his favorite songs from his favorite Broadway plays (looking at you, Les Misérables and Cats)

When he catches wind that Mammon and Levi changed their ringtones for MC, he didn’t hop on the train to outdo them- he just thought it was a good idea. He changes it to a soft indie song that reminds him of MC in some way, whether the lyrics are explicitly about someone similar to them or the sound of the song gives them MC vibes

Asmodeus:

Asmo listens to healing music in canon

But I also imagine him listening to dance/EDM music, because it gets him pumped up for The Fall and reminds him of the good times he’s had there

I headcanon that Asmo listens to healing music when he’s pampering himself or doing spa sessions with MC, and dance/EDM when he’s getting primped up to go to the club

Asmo is DEFINITELY the type to put soft music on when he’s about to get it on with somebody to set the mood, but it’s not something he listens to on his own- he feels ambivalent about romantic music in general

With MC, though, if their relationship buds into something more than friendship- you can bet your ass that he custom makes the perfect playlist for spicy situations with them, and his opinion on romantic music changes into a more positive one

I also see him listening to Queens like Ariana Grande, Rihanna, Nicki Minaj, Beyoncé- really powerful women vocalists

Asmo might have an easy listening pop playlist/station subscribed on his app of choice, but probably has to be in the mood for it to put it on

Definitely changes MC’s ringtone to something cheeky at first, like “Sexual Healing”, but trades it for a romantic song that reminds him of them later as they get closer

Beelzebub:

The RAD newspaper reports that Beel likes the song in the “Hell’s Burger” commercial

But I headcanon that when the newspaper club asked him that question, he just didn’t know how to respond because he listens to so many different genres, so he blurted out the first thing on his mind (so of course it would be food-related)

Beel doesn’t strike me as the type to like one genre in particular to the exclusion of most others- he seems more like he’d have playlists of all different genres to switch between depending on the situation and his mood

He’d definitely have a workout playlist full of songs to hype him up, like “Eye of the Tiger”, “Welcome to the Jungle”,  “Seven Nation Army”, “Thunder”, etc.

Probably has upwards of thirty playlists/stations he’s subscribed to because of his broad tastes, but the ones I see him frequently playing are pop, indie, alternative, and punk rock

Because he shares a room with Belphie, he’s grown accustomed to listening to chill, soft piano music at night when the both of them are first falling asleep- so much so, he has a hard time falling asleep without it, so he always brings earphones with him when traveling so he can still listen to it

MC’s ringtone in his phone is the “Hell’s Burger” commercial song- the only other contact that shares the ringtone is Belphie. Hearing his favorite song helps him distinguish his favorite people from everyone else calling his phone, even if hearing the song makes him hungry and drool a little bit before he picks up

Belphegor:

Belphie likes chill piano music in canon

Makes sense to me, since he’s sleeping 99.999999% of the time

But I headcanon that he also likes punk rock, like Fall Out Boy, My Chemical Romance, blink-182, Good Charlotte, All Time Low, Panic! At The Disco, Bring Me The Horizon, and more

He only listens to it if he has to stay awake for a long period of time- listening to piano music makes him sleepy, so that’s out of the question, even though he needs music to be able to focus

Belphie is another brother who will stick around if he hears MC playing the piano- he’s less covert about it than the eldest brother, though

He’ll straight up trudge into the music room, sit on the bench with them and lean his head against their shoulder as they play

Hope you weren’t planning on stopping anytime soon, MC

Belphie also seems like the type to have subscriptions to ASMR or soft storytelling podcasts/stations/playlists, for the times he finds he’s having a hard time falling asleep

Like Lucifer, is one of the last to hop on the ringtone train, and honestly didn’t really give a shit about it until he really thought about it. What if MC was in trouble and tried to call him while he was asleep? His normal ringtone wouldn’t wake him up in that scenario, which could end up being really bad

Changes it to something really loud and obnoxious at first, like “What Is Love” (the animal cover)

Eventually changes it to something more romantic as he and MC get closer in their relationship, like “Check Yes, Juliet”

~~

Thanks for reading! Hope you enjoyed reading them as much as I enjoyed writing them. <3

BTW, this is the ringtone I HC’d for Belphie lmfao: https://www.youtube.com/watch?v=mx5-aOGphII&t=53s

It’s my morning alarm and my family hates it, but I’m an extremely heavy sleeper sooooooo guess I’ll just keep being a menace to society

[bubblesandgutz]

Every Record I Own - Day 287: Daughters Hell Songs

Very few “heavy” bands truly live up to the misanthropy they project through their music. But Daughters were different. Over the course of a U.S. tour together, I got to know the guys in the band pretty well, and they were a rare instance where their personalities were as fucked up as their music. Don’t get me wrong---they were all great people. But there was something inherently damaged in their chemistry. They were barely functional as a unit, but that made their music seem all the more dangerous.

A year or two after that tour, Continuum Books announced open submissions for their 33 1/3 book series, wherein authors analyze classic albums and assess their cultural impact. I knew I didn’t stand a chance, but I pitched a book on Hell Songs. My thesis was pretty basic: heavy music is typically just theater, but Daughters was real life drama, and that made their music that much more intense. As per their submission guidelines, I wrote an opening chapter. The pitch was rejected, but I wound up posting the chapter online, where it caught the attention of Robotic Empire, the label that put out Daughters’ debut LP. They offered to print the book. And so for the next year-and-a-half I dedicated all my spare time to questioning the individual band members, chasing down old tour mates, stitching together the chronology of their history, reading old interviews, and writing the damn thing. I submitted a first draft to the band and waited two weeks to hear back from them.

They eventually asked to cancel the project. There were disagreements within their camp as to how shit actually went down. And, understandably, there were a lot of grimy details that they weren’t too excited to share publicly. It was disappointing, but understandable. I figured a certain amount of rejection is inevitable as a writer, and this one at least had a valid excuse, so there wasn’t much of a sting.

Anyhow, I’ve posted the first chapter after the jump. The writing seems a little corny now, so maybe I ultimately dodged a bullet.

“Yeah, I’ve been called a sinner...”

And so begins Daughter’s 2006 sophomore album Hell Songs--with a declaration of degradation. Vocalist Alexis S.F. Marshall, or Lex for short, wears the insult proudly, announcing it with the kind of defiant pride of Hester Prynne and her scarlet letter. And then a cascade of noise descends upon the final syllable. The song, “Daughters Spelled Wrong”, is one minute and 42 seconds of Lex’s self-flagellations delivered in a slurred Southern Baptist preacher’s drawl. In that short parcel of time, Lex lists off every slanderous label he’s endured.

“…wrong-doer, evil-doer…”

As the front man for Daughters, Lex was the human element to the band. And while his performance on Hell Songsis unnerving enough in its own right, his tirades became exponentially more menacing live. With his stringy waist-long hair, his tall and gangly frame, his wiry handle-bar mustache, his hopelessly tattered black pants (apparently his only pair), and his ill-fitting stained white dress shirt, he gave off an aura of someone who didn’t give a fuck about the pageantry of rock music. He wasn’t even fashionably unfashionable. Grooming, hygiene, and composure were neglected. He looked disheveled, poverty-stricken, strung out. Most Daughters sets found Lex in less attire, usually just a pair of briefs. Far from the display of muscle and machismo seen in chiseled frontmen like Henry Rollins, Anthony Kiedis, and Chris Cornell, there was nothing erotic about near-nude Lex. Sexual? Certainly, but only in the most degrading, animalistic sense of the word. Lex’s stage presence only served to make the audience as uncomfortable as possible. He would claw red lines into his belly, cram his entire fist into his mouth, fellate the microphone, and drool on himself while fondling his genitals. In moments where audience members chose to interact with him on stage, the results were equally filthy. People vied for his spit. Women pulled at his briefs. Fans fondled and licked his exposed cock. A confessed “sex addict”, Lex would swap spit with both men and women mid-set and fuck fans in venue bathrooms. His tally of sexual conquests was startling, given his disturbing stage behavior and lack of sociability. Claiming a bad acid trip as the root of his social anxiety, Lex was nearly bipolar in his daily interactions. He was relatively friendly and talkative one moment, withdrawn and angry the next. A ninth-grade drop out and former homeless teenager, his bleak world-view was legitimate.

“…worker of iniquities…”

There’s no verse. No chorus. No rhyming scheme. No melody. It’s just one musical phrase repeating for the entire duration of the song. The instrumental accompaniment sounds like a broken machine filtered through the ears of someone simultaneously shuddering through a panic attack and immersed in vertigo. The sound underneath Lex’s litany is a study in all things wrong and counter-intuitive. The band—comprised of entirely capable and talented players—sounds like they’re deliberately unlearning their instruments. Cymbals crash without a kick drum to punctuate them. The bass guitar dives and climbs with little regard for actual notes. One guitar avoids the lower octaves completely and opts instead for atonal high-end screeching and skronky discord. The other guitar remains stuck on one warbled, seasick riff through the whole song, sounding off-balance and broken even when the whole band locks in around it. It’s confounding, ugly music.

“…transgressor, bad example, scoundrel, villain, knave…”

The annals of rock music have no shortage of bands showcasing the darker side of human nature. Ever since Robert Johnson sold his soul to the devil, ever since Jerry Lee Lewis set his piano on fire, ever since Iggy Pop rolled in broken glass, there has existed a certain sector of the rock community dedicated to exorcising its demons on stage. It’s the reason that concerned parents and church groups still argue that rock music is evil. This flagrant display of bad behavior, self-destruction, and reckless abandon is at the very root of rock music. And perpetuating rock’s legacy of danger requires raising the bar of rebellion. As rock music nears the age of retirement, its old tricks no longer impress young audiences. Chuck Berry and Little Richard carry none of the threat they did in their heyday. KISS terrified puritanical parents with the widespread rumors of their name serving as an acronym for Kids In Satan’s Service, but now they seem downright Christian in comparison to the blasphemous content of black metal bands like Gorgoroth. So prevalent is the anti-social contingent of music in today’s market that it’s hardly noteworthy for a band to parade its malice for an audience. The harder edged realms of rock music—metal and punk, for example—depend on that kind of antagonism. Daughters looked for one of those last few buttons to push, one of those last few taboos to break, one the last few ways to make people cringe. Perry Farrell noted well over two decades ago “nothing’s shocking.” Daughters challenged that statement.

“…miscreant, viper, wretch, the devil incarnate…”

It takes a certain brand of individuals to make nihilism translate into music, and it requires their contempt to be believable. Words like “genuine”, “sincerity”, and “honesty” get thrown around by critics and fans as signifiers of good music. How do those qualities apply to antagonistic musicians? Do the artists have to be genuinely miserable people to make convincingly ugly music? The artists who are typically the most successful at channeling this kind of dark art manage to convey that wrath and misery in both content and form. It’s not just a matter of singing about the pasty underbelly of the human psyche or throwing a few skulls on an album cover; it’s about the thoroughness of pessimism. It’s about creating a genuine sense of danger. And it requires a misanthropic honesty that carries itself both on and off-stage. It used to be that the entirety of the public’s perception of an artist stemmed from image they set forth on stage and on record. In the age of the internet, this is no longer the case. Even more so for a band of Daughter’s stature—a band that rarely had a backstage to slink off to, a band that still had to unload their own gear off stage, a band that still had to run back to the merch booth after their set to sling t-shirts for gas money, a band with no place to hide and sustain a fabricated mystique.

“…monster, demon, fallen angel, murderer, and thief…”

The Catch-22 is that being in a successful band—a band that can write music together, play shows, tour, record, maybe even make a little money—requires unity, solidarity, positivity, compromise, and sociability. In other words, a band that’s genuinely driven by angst and hostility is doomed for failure. Proof of the unsustainable nature of these kinds of acts is most evident in the dearth of popular nihilistic bands. Even the somewhat well-known misery peddlers tend to be tragically stunted. Notorious shock rock icon GG Allin made a career out of anti-social behavior and bilious lyrical themes. He was known to take the stage naked, ready to fight the audience and fling his feces at the crowd. He wrote songs with titles like “Last In Line For The Gang Bang” and “Fuckin’ The Dog”. He famously promised to kill himself on stage, which would have been the ultimate display of the self-destructive nature of negative music, but a heroin overdose beat him to it. Glen Benton, the vocalist and bassist for seminal death metal band Deicide similarly promised to off himself at the age of 33 as a mockery of Jesus Christ’s year of death. Benton failed to live up to his word. And while he will always be remembered for the controversy he created in his early career by branding an inverted cross into his forehead and advocating animal sacrifice, he tempered out in his later years when he became a family man with a wife and kids. Not surprisingly, the quality of Deicide’s albums declined, as did their album sales. Allin went too close to the edge and fell into the abyss. Benton mellowed out. Neither managed to sustain the malice of their classic records over a protracted career. Daughter’s brand of ugliness had none of Allin’s overt misogyny and violence, none of Deicide’s Christian-baiting Satanism. Instead, they specialized in a kind of implied depravity. Lex wouldn’t attack the venue patrons, but he’d do everything else in his power to make the audience take a squeamish step back. Even though their album title references Hell, there was no trumpeting of a contrarian religion in their lyrics, no acknowledgement of moral consequence. Instead, Lex sang about emotional voids. It somehow made Lex scarier than GG or Glen. He seemed smarter. Colder. Less confrontational, but also less vested in cheap stunts and outlandish behavior for the sake of winning over anyone’s approval. He wasn’t interested in violence. He was interested in degrading himself on stage, forcing the audience into an unnerving kind of voyeurism.

“…lost sheep, black sheep, black guard, loafer, and sneak…”

Even the millionaire “bad boys of rock”—artists like Alice Cooper, Guns N’ Roses, and Motley Crue—aren’t exempt from the imbalance of nihilism and authenticity. For one thing, these cultural giants never tread so far into the blackness that you feared them as people. Their worst crimes were their hedonistic appetites. They still came across as people that would be fun to party with. Marilyn Manson managed to up the ante of anti-social behavior in the ‘90s, but the controversy was calculated. Manson always knew how to articulate his more vitriolic statements in a calm, well-spoken, intellectual manner. It was obviously theater. Daughters didn’t come across as the life of the party. They didn’t come across as having any sort of deeper, thoughtful meaning to their art. They came across as genuinely bitter, crass, resentful individuals.

“…good-for-nothing ass-fucking son of a bitch.”

Daughters were a band that tried to find that balance between thorough, real ugliness and some kind of self-sustaining functionality. They wanted to be successful; they wanted to tour the world and make money. But they also wanted to make something truly hideous and uncomfortable. Their debut album, Canada Songs, was an 11-minute surge of hyper-paced noise-driven hardcore. Occupying the kind of punk/metal hybrid territory instigated by bands like The Locust and Dillinger Escape Plan, Daughters found an immediate audience among fans of frenzied, technical music. It was well-received, but not entirely unconventional for that particular style. But Hell Songs was different. The band ditched their lightning-speed tempos, metal-steeped instrumentation, and shrieking, indecipherable vocals for disjointed mid-tempo lurches and Lex’s drunken oratory. They weeded their old material out of their performances. The fans felt betrayed. They had gone from sounding like the arty descendents of the powerviolence and grindcore scenes into a tightly wound meth-fed version of The Birthday Party. There was a much stronger adversarial vibe to their new approach. Their sound was less tethered to any particular scene. It alienated a fan base that was already built on embracing disenfranchisement and being at odds with everything.

But deservedly, the record found an audience, albeit a small one. For as caustic and abrasive of an album as it is, there’s a surprising catchiness to the material. The low end groans; the high end piercingly buzzes like a swarm of insects; the drums flit from spasms of hyperkinetic pulverizations to deconstructed thuds and clatter; and Lex moans and howls over all of it. Yet somehow, Hell Songs is rife with hooks. There was a discipline to what they did. It could’ve easily devolved into white noise, but there was always a clarity and separation to the instruments. They were a tight band. And for the three years that followed the release of Hell Songs before the group imploded, Daughters came about as close as any band can get to being a total train wreck without rattling apart at the seams. There was fighting, a rotating cast of guitar players, drugs, infidelities, van accidents, hospital trips, lost money, rivalries with tourmates, promoters pulling guns on the band, and an never-ending list of lewd stage behavior. They were a fascinating, glorious mess, and they perfectly captured it over the course of ten songs.

“I’ve been called a sinner.”

[nightmareonfilmstreet]

Better Together: 10 Unlikely Horror Duos

When it comes to horror and all the subgenres within it, unlikely situations are ironically expected to occur. Most of the time we’re given characters that are blatantly different for the sake of representing  opposites: good and bad, funny and serious, logical and insane. Audiences don’t anticipate these representations to get along, let alone band together to make it to the end. When it comes to the following list of films, no matter how crazy the situation these characters find themselves in, the biggest shock is who winds up teaming up with who.

There really is nothing sweeter than two unlikely characters finding each other in the face of menace and evil. Sometimes those characters are the faces of menace and evil, but that still counts. From catfights and bromances to villainous allies, nothing says ‘I love you’ quite like ‘I hate you’ first. Here’s the Top 10 Unlikely Horror Duos:

  10. Ellen Ripley and Jones the Cat in Alien

In space no one can hear you scream, except the feral starship cat. After a terrifying unknown alien being destroys all of her fellow crew members, Ripley finds solace in the Ginger Tom cat, Jones. She’s not much of a cat person at first, but when you’re left alone in space with a big, slimy, lethal monster of an alien and the harmless feline, you’re gonna choose the cat to keep you company.

  9. Charley Brewster and Peter Vincent in Fright Night

An adolescent boy-who-cried-wolf and a washed-up, geriatric late night star don’t exactly scream ‘power couple’, however Charley and Peter are able to bond over their knowledge of one thing: the realm of horror. The two reluctantly pair up to stop the evil vampire, Jerry, who’s just moved into Charley’s quaint suburban neighborhood. They’re both misunderstood, underestimated men on opposite sides of the age spectrum, but in the end Vincent’s wisdom, Charley’s bravery, and their combined courage puts Jerry to sleep for good

    8. Madeline Ashton and Helen Sharp in Death Becomes Her

It’s no secret that women tend to view one another as enemies, especially when it comes to a man. Madeline and Helen are two women obsessed with two things: eternal beauty and Ernest. These leading ladies will stop at nothing to declare themselves as the only woman in Ernest’s life, even if that literally means physically destroying one another in the process. However, when they realize who the real enemy is (hint, it’s always the adulterer) and join beautiful, flawless girl power forces they are able to serve up a lethal dose of justice. Madeline and Helen’s relationship proves that two heads are better than one and women can coexist is peaceful harmony happily ever after… forever.

  7. Sidney Prescott and Gale Weathers in Scream

No one really likes exploitative, nosy, meddlesome news reporters, especially Sidney. However, we see her relationship with the woman broadcasting her mother’s dirty laundry, Gale Weathers, Top Story and author of the Woodsboro Murders, go from punches (sorry, Gale, people don’t forget) to final female survivor stardom. The unlikely duo are able to team up for four installments of the Scream franchise, each time bringing down the man or woman behind Ghost Face respectively.

  6. Arnie Cunningham and Christine in Christine

He was a boy. She was a car. If Stephen King’s Christine taught us anything it’s that love is love. Arnie is the quintessential nerd, totally unfit to be riding around in the red hot 1958 Plymouth Fury he’s lovingly named Christine. However, through a lot of tantrums and a Grease-worthy new look, Arnie overcomes the loser archetype and turns into a full-on villain. A perfect fit for the sleek, devilish ride. No shitter could ever understand the bond between a man and his metal, even if it drives away all of his loved ones or drives over them (oh, the puns). Arnie + Christine 4 Ever.

  5. Dr. Hannibal Lecter and Agent Clarice Starling in The Silence of the Lambs

Classic love story: Good girl meets bad boy. I know the relationship between the intelligent, yet sadistic cannibal Dr. Lecter and earnest rookie FBI agent Clarice Starling isn’t exactly love, but there is something there between them and the plexiglass. Starling must find it in herself to resist Lecter’s invasive psychotherapy all the while coaxing information out of him to catch another murderer at large. A man like him is the epitome of evil to her in the beginning, but over time, and a lot of indirect therapy sessions, Starling begins to soften to the doctor’s odd charm. Lecter begins to trust the young agent, feeding her more and more information on how to catch the real (other) bad guy. Able agent and educated psychopath: a force to be reckoned with.

  4. Freddy Krueger and Jason Voorhees in Freddy Vs. Jason

Bad guys need love too! What better horror frenemy-slash-bromance (another pun) example could there be? Freddy haunts his victims in their sleep, Jason stalks them while they’re awake. Teenagers of Elm Street and Camp Crystal Lake beware! Here things get kind of messy what with dimensional lines being crossed and a penalty flag thrown here and there. Friendly competition eventually turns into a testosterone-fueled battle royale. What starts out as a carnage war between the two heavyweight champs of horror turns into a fleeting on-screen bromance. Freddy and Jason figure out that teamwork will ultimately take care of those pesky teenagers once and for all, but then it’s back to their respective corners again until the referee calls them back to the field.

  3. Thomasin and Black Phillip in The Witch

The strong-willed, final girl will surely triumph over Satan and his imps by the end of this new-age, witchy tale, right? Wrong. Thomasin and her family are cast out to live in the New England woods where witches and their familiars run amok. Mounting paranoia and evil eventually turn the family inside out leaving Thomasin with the most prominent familiar of all: an ebony billy goat appropriately named Black Phillip aka Satan incarnate. The animal and its evil eye torment Thomasin up through the end of the film. However, like any bad influence, Black Phillip is able to completely isolate Thomasin and coax her inner-witch to prevail. She, in turn, is unable to turn down the devil’s temptation and gives in. It winds up being a match made in Heaven… well, in this case it’s a match made in Hell.

  2. Lydia Deetz and Adam and Barbara Maitland in Beetlejuice

A typical ghost story usually involves the dead antagonizing the living and that does happen in this story, but not in the way you think. Simple couple Adam and Barbara Maitland are new members the afterlife and find themselves at odds with the eccentric nouveau riche family that has moved into their house. Despite their best efforts and befriending the family’s strange daughter, Lydia, Adam and Barbara recruit help from a wild, zany, sinister spirit (I won’t state his name here). When things get out of hand (with the spirit whose name I won’t state) and the family is put in jeopardy, the dead protect the living girl they have grown fond of and ultimately bring down the baddest of baddies (again, it’s best not to state his name).

  1. Tallahassee and Columbus in Zombieland

Tallahassee is edgy, quick, rough, and brave. Columbus is quiet, reserved, cautious, and a “bit of a bitch” as Tallahassee would say. Both are not exactly social, easy-to-get-along-with types of people. When a zombie virus brings about the end of civilization, these two guys are left Twinky-less and dependent on one another for survival. All bets are unexpectedly off, especially when they meet the clever and independent Wichita and Little Rock. Of course the (anything but) damsels find themselves in zombified distress calling on the two opposites for help. Brains and brawn combine to rescue the girls and show that bromance is the real deal. Together they learn that isolation from the world is meaningless whether it’s populated with people or the undead.

  The horror genre can teach us all a lot of things, but one of it’s more light-hearted themes is that in the end together is always better, no matter how unlikely the duo.

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[k-i-l-l-e-r-b-e-e-6-9]

𝔙𝔢𝔫𝔬𝔪 -  𝔇𝔬𝔫’𝔱 𝔅𝔲𝔯𝔫 𝔱𝔥𝔢 𝔚𝔦𝔱𝔠𝔥

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -  Countess Bathory

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -  Buried Alive

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -  Raise the Dead

[k-i-l-l-e-r-b-e-e-6-9]

Venom

[k-i-l-l-e-r-b-e-e-6-9]

Venom  - To Hell And Back

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -  Satanachist

[k-i-l-l-e-r-b-e-e-6-9]

Venom -   Heaven's on Fire

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -   Sacrifice

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -  Genocide

[k-i-l-l-e-r-b-e-e-6-9]

Venom  - Leave Me In Hell

[k-i-l-l-e-r-b-e-e-6-9]

Venom  -   Leave Me in Hell