#What does it mean what does it represent? | Explore Tumblr posts and blogs

uncle-fruity · 3 days ago

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I appreciate everything OP said here, and so much of it rings true. And while we're on this topic, I wanna bring up something I've been mulling over that I think is related.

We have got to stop thinking of marginalized people as a monolith -- even when that homogenized version in our heads is mostly positive. What I mean is that not every trans person is a good person. Just like not every cis person is a bad person. There will be trans people who are uninformed, willfully ignorant, rude, mean, abusive, manipulative, misogynistic, hypocritical, and honestly pretty bad allies to anyone who they don't understand or don't like or who challenges their worldview. There will be cis people who are extremely well-read on the issues, understanding, supportive, encouraging, open-minded, willing to listen & learn, kind, respectful, dedicated transfeminists, and honestly some of the best allies you'll ever have.

There is this sort of underlying assumption that trans people will always understand each other better than anyone else, that we are safer with our own, but that's not always the case. It is fair to assume that trans people are more likely to connect with and understand each other, but it is (clearly, as demonstrated) not guaranteed.

That's because we are humans! Humans are messy, complex, often hypocritical, nuanced beings. We all have different experiences, surroundings, relationships, beliefs, and priorities that make us who we are. Gender is just one facet of the many many things that come together to make us wholly human. Being trans doesn't make you a good person; it makes you trans. And while being trans may give you valuable insight on gender dynamics and trans oppression via direct exposure, it does not automatically make you a scholar or expert on all trans experiences or the historical context that feminism & transfeminism is built on. That kind of information must be actively pursued if you want a fuller picture.

This is why I've been going off about critical thinking so much -- because if you aren't being critical about this, it gets very very easy to fall into a reactive and/or bigoted and/or narrow mindset, and that can be genuinely harmful to yourself and others if you're not careful. Especially on Tumblr, where someone could very easily misrepresent their identity to stir up shit and push transphobic rhetoric behind the mask of an assumed ally. Thinking critically is a vital tool to help us avoid being manipulated by a false or disingenuous narrative.

When we say, "Listen to trans people," we mean that you need to pay attention to a wide variety of trans people and what we're talking about -- because we will and do agree AND disagree with each other on a number of issues all the time. But the more of us you listen to and consider, the more likely you are to see patterns of oppression and common trans experiences that will broaden your worldview and help you make a better informed decision about what to believe or what to look further into or how to spot common anti-trans sentiments/dogwhistles. "Listen to trans people" is not followed by the secret phrase, "and thoughtlessly accept everything they say about trans issues." Anyone who demands that you agree with them without room for question or comment or criticism is trying to control the narrative. Even if there is good reason to believe someone knows their shit, it never hurts to dig deeper into the worldview someone is trying to get you to internalize before you do so.

So, with that in mind, I encourage everyone to really take stock of their priorities & values within activism and judge people on their actual behaviors & impact & quality of information they present, NOT just their stated identities. If something a fellow activist said feels uncomfortable or rubs up against your values, it's okay to examine that feeling and ask questions to figure out what's at the root of it. The trans women who act the way OP described are not representative of all trans women, nor are they necessarily our allies. The same goes for misogynistic & transmisogynistic trans men. Or trans people of any sort who subscribe to any flavor of gender/bioessentalist ideology. That isn't to say that we don't fight for their rights or support them when they fall victim to systemic violence or ignore their issues or give up on trying to educate & elevate where we can -- we are still fighting the patriarchy for everyone's benefit. But, critically, we also don't have to accept hateful rhetoric into our communities and theories just because the fuckos spouting it off are trans.

honestly, as a trans woman who's running a fairly 'popular' or whatever queer blog, i've noticed so much shit in the past 2 years and i'm just gonna lay it out for y'all. it's a new year. it's 2025. i do NOT wanna carry any more of this bullshit forward. i'm calling everything for what it is. if this pisses you off, unfollow or block and move on.

as someone else put it in the tags on one of my other posts:

i am sick and tired of not talking about extremely important queer conversation topics for the sake of "keeping the peace".

this is not giving trans women and transfemmes a better quality of life to attack literally every every and all trans men for being trans men. it's making people fucking scared shitless of us. i hope people realize this isn't helping improve the opinion other people have on trans women and transfemmes. it's making people absolutely fucking terrified to even exist around us, because we've gotten to the point where we're attacking literally everyone and anyone who says something we don't like. people are fucking terrified of talking around transfemmes and trans women and it's time we broke the silence on that.

other transfemmes and trans women: do you seriously, really want other trans people to be scared to death of you? do you really want other trans people to be absolutely fucking terrified to speak around you because they're scared of getting fucking yelled at? do you really want other trans people to be utterly terrified to speak up about their own trans issues for fear of being told they hate you? do you really want other people around you to feel utterly terrified to talk about anything queer related at all for fear of being corrected, looked down upon, or verbally harassed?

i am just completely done with this environment we've fostered where basically everyone is on pins and goddamn needles holding themselves back from having real, genuine, impactful, substantial conversations about gender because they're absolutely scared shitless of being called transmisogynistic and publicly cancelled and harassed at all times for saying something as simple as "trans men don't have it easy" or talking about how AFAB people can also be trans. it really does not take much at all to set people off on this website and start accusing people of being transmisogynists left right and center.

i'm not participating in this weird mind game anymore. i do not like how this is being used to control the narrative on transness and trans experiences.

i am done with having to walk on eggshells in every. single. conversation. we have about gender.

i am done with acting like talking about transmasculinity and transmanhood is somehow magically attacking and silencing trans women and transfemmes.

i am done with people having to tack on massive disclaimers saying that they're not attacking trans women and transfemmes just for talking about their experiences on just about every post people write about gender.

i feel like every conversation about gender on here has to be so fucking sterile and calculated and meticulously planned out and stripped of most of its contents in order to not immediately get slammed with a "oh so you hate trans women" or a "oh so you're transmisogynstic." it's fine to point out genuine transmisogyny, i'm not gonna say you have to put up with it when it's real, but can we acknowledge that people are leveraging the fear other people have of being called transmisogynistic to shut people up?

at this point it's being used as a scare tactic and i'm so over it. i loathe how accusing people of being transmisogynistic is a default insult. trans men can't make a post about transmasculinity without someone getting pissed off and calling them transmisogynistic. trans men can't talk about a goddamn thing without being told to shut up, for some reason? why is this happening? like literally why are you doing this? trans men can't talk about ANYTHING at this point. like they needed to be able to coin words for the specific types of oppression they face so they could talk about it, and instead they just get fucking yelled at and told they're being copycats and that the violence they faced wasn't real? what the actual hell is this accomplishing?

why are we acting like we own oppression and no one else can even come close to understanding what its like? come on now, we don't own the goddamn concept of oppression. we also don't own transness. i am sick to death of this idea that transfemininity and trans womanhood are the only "real" ways to be trans. we do not own the concept of transness. it's not just about us. "trans rights" applies to more than just us. it can't be about us all the time. WE are the ones being self centered right now. WE are the ones who are forcing the conversation to be about us in situations where it's completely and totally inappropriate.

we need to say it for what it is: we're fostering an environment where, at this point, only trans women and transfemmes are allowed to talk about anything queer related at this point. like can we call it for what it is? for some reason, trans men and transmascs aren't allowed to talk about trans manhood or transmasculinity at all. ever. they're not allowed to say a fucking peep. they have to shut up and listen to a trans woman explain it to them, because for some reason, the trans woman knows trans manhood better than the trans man. this is out of fucking control, we should not have trans women explaining trans manhood to other people unless they are also a trans man. this is just unacceptable. transfems attack transmascs who speak for transfems, and yet this is seen as good and the norm?

you are not cool if you hate trans men and misgender them on purpose. this isn't feminist. this isn't progressive. you're not getting back at the patriarchy- most trans men do not benefit from patriarchy and never will- you would understand this if you listened to them. instead of talking over and for trans men, and listening to people who talk over and for trans men, if you listened to trans men, the source, you'd understand that no, transmasculine lives are NOT easy and no, trans men do not instantly benefit from patriarchal society if at all, ever. if you listened you'd understand that T doesn't make people aggressive and hostile and evil. if you listened you'd understand that there are a lot of wonderful, loving trans men out there are who are not transmisogynistic just by virtue of existing.

nobody is saying that we want to you prioritize men over trans women when we talk about trans men's rights. we're not saying that we need to talk about men all the time and never talk about women, and that men are the only ones allowed to talk, now. we really have to let multiple people participate in conversations. we can't keep doing this thing where One Gender Has To Be Superior Over another. that's gender essentialism. why must you keep yourself trapped inside the binary like that? why are you so desperate to stay stuck inside of the machine that's trying to destroy you?

challenging someone else's transphobia is not being transphobic. challenging someone else's behavior is not hating them or their gender. criticism is not an attack on trans womanhood and transfemininity. transfemmes are trans women are not immune to criticism and we need to stop acting like we are. we're not. we've created an echo chamber where only trans women and transfemmes are allowed to talk right now and it's not transmisogynistic to point that out, because it's literally happening before our eyes.

if we're demanding that other people treat us better, why are we treating other people like shit in the process to get it?

stop silencing other people talking about other trans experiences. transfemininity and trans womanhood are not the only ways to be trans. stop forcing yourself into conversations you don't belong in. if you don't want trans men do that, don't do it as a trans woman. don't barge into conversations you have literally 0 stock in just to be rude and mean and make the conversation about trans women instead. let other people talk. this has gone on for way too long.

let. other. trans. people. talk. we shouldn't have let it get this bad. but i'm not letting it stay this bad. if you want to accuse people having genuine conversations about transness of being transmisogynistic just because they're not a trans woman, then feel free, i'm not gonna stop you, but i'm not listening to you. i don't care anymore. i'm sick to death of not being able to have REAL conversations on here because some people don't like being reminded that they are not the only people who suffer under cisheteronormative patriarchy. if you can't accept that you are not the only one who suffers under patriarchy and that men need to be liberated from patriarchy as well, then i'm not interested in having a conversation with you to begin with.

seriously, if any of this bothers you, please just block me. i'm not participating in these dumb ass little mind games anymore. i do not give a singular shit about offending people who think this behavior is okay. i spent way too long being afraid to speak up about real world issues because of shitty internet trolls. i don't give a fuck if someone you don't like speaking about their experiences hurts your feelings- you are the problem here.

this is affecting real people in real time and i care about that. i care about people, not stupid ideologies and fighting over who is or isn't "really trans". i care about people, not fighting over labels. open your mind and understand that is is about real ass people, and not just ideologies. trans men and mascs are real ass people. they're not antagonists made specifically to attack and piss off transfemmes and trans women. enough of this.

#important #psa #transfeminism #feminism #transandrophobia #queer #transgender #gender #men for gender equality #internet safety

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cogentranting · 3 days ago

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What's interesting to me about Jod and his relationship with the kids by the end of the series is that it's so in-between.

It's not "actually I've come to care for these kids and I will give up my plan to protect them" but it's also not just that he's evil and doesn't care about them.

He does betray them and he does a lot of harm. He threatens them and their families and their home in a very genuine and traumatic way. He brings destruction and danger down on their home. He does not make the turn to help them or side with them against the other pirates. He stays on his course, stays a bad guy.

But at the same time, as much as he threatens them (in the pirate horde, in the ship and on At Attin) and their family, he doesn't actually hurt them. (in fact I think the only ones we see him actually physically hurt are 1. SM-33. 2. The werewolf pirate guy 3. the supervisor droid). And I don't know that the threats are empty, but he's certainly very reluctant to actually enact that violence, and his plan might not have fallen through if he had been more willing to hurt them. He's not willing to stop for the sake of the kids, but he'd much rather get through his plan without harming them. And when he KB is falling and he thinks she probably died there is real fear and regret in his face. He didn't want that.

All of this is an outpouring of his misguided worldview. Because again, Jod isn't a villain who can't recognize right and wrong. He knows what Good is, he's seen it. But his problem is despair so he believes that Good is not worth it, and is not powerful enough to make a difference. And because of that he becomes the manifestation of the cruel place he believes the world to be. The good in him is THERE but its not strong enough to really change him, but it's because his despair doesn't believe it can be. And so he becomes the very thing that made him-- he watched his mentor/parental figure killed in front of him, and he stands there threatening to do the same thing to Wim and Fern.

But he doesn't, because he isn't quite the villain that the Empire represents. Even though the difference doesn't come from him actively making a choice for Good, it does come from there being Good still in him, even just in the form of hesitation. Good is still powerful even when he's denying it. And then little ember in him is not what saves the day--that's the kids and their families and the New Republic. But it is there and it does mean that even though he stays a villain there is that moment of Wim calling out to him, there is still that spark of hope that Jod can be saved one day too.

#skeleton crew #jod na nawood

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ashen-crest · 1 day ago

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Well, I put it on Insta, so I suppose I should put it here too:

I have an agent! I’m now represented by Root Literary.

What does this mean? How did this come about? Will I continue to self-publish?!

Yes, I’ll continue to self-publish. If anything, I’ll be a hybrid author. But I’ll also partially pursue traditional publishing with Root. Will anything come out that? Who knows! But we’ll do our best.

As for how this came about: uh. um. They emailed me.

Which is surreal. That’s not a thing that happens. I had to read the email, like, ten times. But it was legit! And I had a conversation with them and it was lovely! And now I have an agent! What is life!!

Anyway. Nothing’s changing just yet. I’m still wrapping both the Lutesong and Side Quest series this year. After that, we’ll see!!

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relicsongmel · 1 day ago

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Iris, Miles, and their mutual "secret"

The Ace Attorney fandom is no stranger to discussions of homoerotic subtext in the game's script—pretty much everyone who's spent more than five seconds here will be able to tell you that. Screenshots of lines that imply romantic tension between same-gender characters are all over the place, to the point that many fans are drawn to the series purely by its reputation as "the gay lawyer game." Some scenes are more well-known than others, but one I find brought up fairly regularly is this conversation between Miles and Iris:

This is optional dialogue that can be triggered by presenting incorrect evidence on Iris' Psyche-Lock during the Investigation portion of Bridge to the Turnabout. The argument here is that the "secret" Iris is referring to is the same as her own: that being, a romantic interest in Phoenix Wright. Which is definitely hilarious when you consider that Iris has known Miles for less than a day and she's already reading him for filth (granted, she could have been clued in by the similarly infamous "indispensable friend" line, and she's also exceptionally good at reading people despite Miles thinking otherwise). As a Narumitsu shipper myself I am not immune to enjoying that interpretation; however, I feel like there's a lot of nuance in this scene that isn't often addressed by the fandom at large. Which is unfortunate because watering it down to just Iris calling out Miles for being the gayass he is (to be fair. she's not wrong) does a MASSIVE disservice to both of their characters, and I'll explain why.

My bone to pick with the usual analysis of this scene is mostly centered around the larger conversation to be had regarding the treatment of female characters in fandom spaces. All too often they tend to play second fiddle to the male characters, and a similar principle holds true for ships with their canonical male love interests: mostly ignored in favor of the the more popular M/M ship(s). At best these women are sidelined, at worse they are flattened into wingmen for the boys (as is frequently the case with many AA girls and Narumitsu, Iris included), and at the absolute worst they are demonized for their perceived "competition" with whatever gay ship is most popular and therefore the Only Valid One for the male characters involved (as exemplified by some very "passionate" fans that I generally try to avoid interacting with). Whenever this scene gets brought up, the focus is almost always exclusively on Miles and what the interaction says about his relationship with Phoenix; Iris is only relevant insofar as she's the one initiating Miles' Homosexual Moment™—you could replace her with almost any other character and there'd be a similar level of neglect for their role in the interaction. Only very rarely will you see attention given to what Iris' question about Miles' secret means when she is the one asking it, and what it can tell us about her relationship with Miles/what she thinks of him, and vice versa (absolutely wild how even Miles himself is often flanderized despite being the fandom's golden child). It's all too characteristic of the systemic misogyny that has plagued fandom since its inception, which is deeply frustrating to me as someone who adores Iris as much as I do (if that wasn't obvious by now). So that said, let's dive deeper into what I think the missing link is here: namely, the Iris-Miles dynamic as it pertains to their relation to Phoenix.

Iris and Miles is one of my favorite relationships to explore in the whole series—but as I've described above, unfortunately a lot of people get it wrong in my opinion. Discussion about the two is frequently centered around Narumitsu Love Drama—which is a conversation worth having, don't get me wrong—but the elements at play there aren't always represented the way I envision them, which again, is frustrating. Take the idea of potential jealousy, for instance: it's pretty standard love triangle fare that can be (and often is) quickly turned into demonization when it's used in a shipping context, character assassination be damned (re: Narumitsu fanfic authors that project their personal dislike of Feenris onto Miles via his jealousy of Iris and/or how they tend to portray Iris unfavorably). However, it's not inherently a bad thing to explore: personally, I do believe that there is mutual jealousy between the two of them. Miles might not have the full context of Iris' history when this conversation takes place, but he's emotionally intelligent enough to pick up on what Iris means to Phoenix, and vice versa. And him being a jealous hoe about it isn't out of the question when you consider that he's a bit of a loner by nature and doesn't have many close friends or outlets for socialization outside of his job. The crucial element that's sometimes missed, though, is that Miles not only lacks the self-awareness to realize he's a jealous hoe...he's also a self-sabotaging jealous hoe.

And the same can be said for Iris, who is similarly introverted and doesn't often leave her home at Hazakura Temple.

The whole reason Miles is peering into Iris' heart in the first place can be found in this exchange, after he breaks her Psyche-Lock:

Miles uses the Magatama in order to gain the answers he needs to bring the truth to light and get Iris acquitted, and he does so for the express purpose of reuniting her with Phoenix so they can find closure—in fact, he reiterates this to her multiple times. He obviously recognizes how Phoenix is suffering from what happened between them (I'd argue he sympathizes with Iris' plight as well) and has resolved to do what he can to help him heal, but there's no reason for him to be so insistent that she rectify things with Phoenix when it does nothing but harm his own chances with him. Unless, of course...that's the whole point.

To convince Iris to reveal her secret so he doesn't have to face his own, because he thinks himself undeserving.

And Iris, noticing this because she empathizes with that feeling of unworthiness, calls him out on it in an almost uncharacteristically forward manner when she asks him what he's hiding.

Takes one to know one, indeed.

Iris highly respects Miles for taking on her defense despite the risk to his job as a prosecutor. She's willing to trust him after hearing he's a friend of Phoenix, hearing him out and letting him reason with her. She still keeps her cards close to her chest in some regards, but she's more honest with him than she's been with anyone else in her life apart from her sister. She sees his commitment to the truth and how it starkly contrasts with how she's lived her life to this point, and thinks that this is the type of partner Phoenix deserves—not someone like her, who only knows how to survive using lies and deception. She sees so much strength in him but still recognizes the insecurity lurking beneath his tenacity, which is why when he falters in his logic, she takes a leap of faith and gives him one last chance to examine his reasons for pushing the burden of his unspoken affections onto her, as if to say: "Look in the mirror. Is this really for me? Or is it for you? Do you really seek the truth for its own sake, or do you merely hope to find one truth so you might run from another?"

Her question to Miles is a gamble—a coin flip of self-sacrifice. If she loses and he presses on, she has to face the secret within her heart she's been suppressing for five years. But if she wins and he gives in to the truth in his, she has to live the rest of her life watching it unfold and knowing she threw away her chance to finally stop living in fear of her own love.

Either way, there's no escaping heartache for her anymore.

Miles and Iris both want what's best for Phoenix and prioritize their vision of his feelings over their own. However, they are also both deeply emotionally repressed people who find difficulty in being direct with their feelings, and are predisposed to self-sabotage due to childhood trauma. These tendencies may manifest in different ways for both of them, but the fact remains that such people would likely not compete for a person's affection in the traditional sense, which is exactly what we see with how Iris and Miles deflect their feelings for Phoenix. These selfless, lovestruck idiots toss that man around like a game of hot-potato because their mutual self-hatred for the ways they've harmed him has rendered them terrified of the reality of what he means to them, and desperate to find a way out of admitting to it. It's the most compelling explanation I can think of for why the usually unassuming Iris makes such a bold judgment about what Miles might be keeping locked away, and why Miles goes to such lengths to make sure she talks to Phoenix and tells him the truth—his agreement to defend her was conditional on that exact promise. They go through this whole song-and-dance of playing wingman to ignore their own feelings while still trying to bring Phoenix the happiness they think he deserves—and then they wonder why seeing Phoenix give the other one attention burns them up inside.

Because they’re dumb. And I love them.

TL;DR the Iris Psyche-Lock scene in BttT is so much more than just "haha Miles gay" and I wish people talked about it more. Also Iris and Miles are way more similar than they appear at first glance and if I think about it for too long it makes me physically ill thank you for coming to my TED talk

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wemlygust · 1 day ago

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I hadn't heard about this, so I looked up the trailer expecting it to be awful and

youtube

This... looks fun actually? Toothless looks like Toothless. Still expressive and everything. It doesn't look like a Lion King situation in that sense. This trailer, to me, makes it look like they've changed the tone to a more serious one, but like the heart and emotion at the core of it may still be there. And the actor they picked for Hiccup seems like a good fit (I don't know hardly any actors though so idk who this is). It looks like How to Train Your Dragon: Gritty Lord-of-the-Ring's-ish Dramatic Fantasy Edition. Seems like a good time to me. Like the movie equivalent of an alternate universe fanfiction. I still won't see it in theaters. I'd still prefer more original films over this. I'd still prefer animated versions of live action originals, over yet another CGI/live action version of an existing animated movie that's perfectly good as it is. I'd prefer a new adaptation (animated or live) of the How to Train Your Dragon book (which I hear is VERY different than the movie) over this - that option was literally right there. They could've still tied it to the How to Train Your Dragon animated films in the marketing. It'd mean paying scriptwriters to adapt the book to film in a new way, but like. Scriptwriters are not even close to the most expensive part of filmmaking. They could have made it animated again and saved a bucketload of money. But still... as "live action" adaptations go, I'm actually interested in this one. I'm looking forward to it now. CGI, also, isn't even "live action", not really. I hate that this has somehow become the universal term for it. CGI is also animation, just really realistic and expensive animation. It has artistic value and also has a heck of a lot of potential beyond the ways it is most often used. There are so many cool things that could be done with it that get left on the table in favor of only "let's make this as realistic-looking and/or dark and gritty and scary as possible and put it next to human actors". It's been artificially limited from what it could be by corporate culture and decision-making (as have been many other things). Anyway, since Toothless - at least in the trailer, though granted that may not be representative - looks properly expressive in the usual animated fashion, this doesn't give me that "why are people treating animation as inferior" feeling as much as other such adaptations do. It does give me a bit of the "why do people treat realistic aesthetics as automatically better" feeling, but they're definitely doing this just because they (probably rightfully) expect they can make a lot of money for the investment required. And it looks fun so I can give that a pass, maybe. If it does well enough, it could hypothetically fund more originals that are bigger risks, the way mega-popular books have traditionally funded the risks publishers take on newer, riskier authors and books. But of course this is assuming the execs don't just pocket everything and then look for the next easy cash grab instead. (I've read that model in book publishing has been dwindling lately, too, but I've not looked into it much.) I am a bit concerned by the fact the 2nd trailer is almost identical to the first, though, because that leaves the possibility that they showcased the only good-looking bit and left out the rest. :P I do think there's a chance it'll actually be good though.

GUESS WHO EDITED SMTH AGAINNN

My thoughts of httyd live action as a whole

#httyd #how to train your dragon live action #how to train your dragon #live action adaptation #animated movies #CGI #film industry #movie news #ramble #Youtube

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apoloadonisandnarcissus · 3 days ago

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Resurrection, Death, Rebirth and Reincarnation in "Nosferatu" (2024)

Is it possible that Robert Eggers sneakily pulled a “Coppola” in his “Nosferatu”? This sounds insane but stay with me, while I try to unravel Orlok’s backstory.

“Nosferatu” (2024) left me with some burning questions about Ellen and Orlok connection (outside of the occult meaning), because Robert Eggers is a director obsessed with detail:

Why does Orlok want to be spiritually united with Ellen, forever? To the point of obsession, really; he traveled from Romania to Germany, and he’s willingly to kill everyone and spread plague in order to achieve it. His entire goal is to have Ellen’s soul by his side for all eternity, he’s consumed by it;

How come she understands him speaking Dacian (an Balkan extinct language for centuries)? Does their connection come with a translator device? In “Bram Stoker’s Dracula” is unclear if Mina understands Dracula when he speaks Romanian, but she recognizes his voice as familiar (she’s the reincarnation of his wife);

Why is lilac their signature flower? Native to the Balkans and also connected to rebirth. Sure, the Victorian symbolism of this flower fits them, but so could others. And it’s clear Eggers really wanted this specific flower, even if it doesnt fit the setting: because it blooms in the Spring, and the events of the film are set in Winter. Winter represents death, closure, reflection, despair and sadness, and rest, as nature is dormant and will rebirth and renew in Spring time, which symbolizes the circles of life, promises of new life, new beginnings, growth and fertility. According to Lina Muir, the costume designer, lilacs remind Orlok of when he was alive;

Ellen and Orlok are connected with every facet of life and death: resurrection, death itself and rebirth. Is it possible that “reincarnation” also fits here?

The Curse of Nosferatu

According to Adrien Cremene, in his “La Mythologie du vampire en Roumanie”, the strigoi myth dates back to the Dacians. The strigoi are creatures of Dacian mythology, troubled or evil souls, the spirits of the dead whose actions made them unworthy of entering the kingdom of Zalmoxis (more on the Dacians and Zalmoxis later). Which appears to be Orlok’s case? He probably did some terrible things in life which caused him to be cursed to become Nosferatu?

A strigoi isn’t necessarily a vampire; but it’s not excluded because they can feed on blood. They rise from their grave at night, wandering and creating havoc. Strigoi haunt their relatives; bring plague with them; feed off the heart of the living, and their life force; and being bitten by a strigoi doesn’t turn the victim into one. There are strigoi-viu (living; sorcerer) and strigoi-mort (undead), with the last being Orlok’s case, obviously.

What is believed to be the cause for this curse is diverse, but according to the encyclopedist Dimitrie Cantemir and the folklorist Teodor Burada in their book “Datinile Poporului român la înmormântări” (1882), it can be one among several things:

Physical characteristics that doom the person in life: being the seventh of seven brothers; being a redhead; etc.

Lead a life of sin;

Die without being married;

Die by execution for perjury (false oath);

Suicide

Die by a witch’s curse.

Other causes in Romanian folklore can be: violent past; “bad death” (violent death; lack of closure; conflicts with relatives); sorcerers and witches; or someone who can’t leave the living world because they can’t forget their loved ones.

And this explains why Herr Knock wanted to be violently killed by Thomas, near the end of the film: he wanted to become a strigoi, Nosferatu like Orlok (“prince of rats”), and wanted a violent death to seal the deal. But his covenant with Orlok is not the same as Orlok and Ellen’s.

“I relinquished him my soul. I should have been the Prince of Rats – immortal... but he broke our covenant... for he cares only for his pretty bride [...] She is his! [...] Strike again. I am blasphemy!”

Since Robert Eggers took the time to write a few pages on Orlok’s backstory, I doubt the explanation is something as simple as “he was a sorcerer” in life. Orlok having a violent past is also hardly surprising, since he was a warlord who most likely saw battle, violence is to be expected here. There’s no reason to be secretive about any of these options. Everyone is expecting Orlok to be evil incarnate when he was alive. The only reason for not letting us know about his past it’s because he’s probably a tragic character, and that would humanize him at the eyes of the audience, and break the horror theme.

And here is where it gets enigmatic; because Orlok was dead, and had been for centuries, until Ellen awoke him. It’s her crying prayer that rises him from his grave, and turns him into a strigoi. He didn’t enter Zalmoxis kingdom, though; because he says his soul was in “the darkest pit”.

We don’t know if Orlok died because of a witch’s curse; but he was risen from the dead by one (enchantress, witch).

In Romanian folklore, it’s said when strigoi raise from their grave the first time, they return to those they have loved the most, because they wish to relive their life together. The strigoi usually torment them until they are dead, too. Which is what we see in “Nosferatu” with Orlok and Ellen. But this can only be possible if Orlok had known Ellen in his human life; with her being the reincarnation of his wife or lover/bride he didn’t get the chance to marry.

In Romanian folklore, it’s said strigoi come at night, and appear at the window of their loved ones, asking for entrance

The theme of the strigoi lover is also a staple of Romanian Romanticism and stories of women and men being visited by their dead lovers were very popular, both in folklore and in high culture.

“Your passion is bound to me. […] I cannot be sated without you. Remember how once we were? A moment. Remember?”

The use of the term "sated" in this context is also curious, because, in Archaic English (which is what Orlok uses, being from the 16th century), it's connected to the verb "sit", which means rest or lie. "I cannot rest without you"; which makes sense with their whole deal being about them together ever-eternally in death. He can’t find peace in death without her spirit by his side.

Who is Count Orlok?

Eggers’ Orlok isn’t a random demon vampire; he was once a man.

Robert Eggers doesn’t want us to know the full backstory on his Count Orlok, but he wrote a novella on it and gave it to Bill Skarsgård. We know he’s a 16th century Transylvanian nobleman, from the 1580s (“lord” and “lordship”), he’s not Vlad the Impaler (he’s from the 15th century), he was a voivode (warlord), a sorcerer (Şolomanari) and he was married, and had a family.

Bill Skarsgård cited the Bulgarian epic “Time of Violence” as one of Eggers’ many inspirations for Orlok backstory. And, indeed, he lived during the Ottoman rule of the Balkans, but he wasn’t the prince. His castle is in Transylvania, which was a state under Ottoman supervision. Transylvania nobility led many rebellions against the Ottomans invaders (hence the legend of “Vlad the Impaler”, who’s considered a Romanian national hero).

Orlok costume design (interesting his face is blurred, because he doesn’t look like a rotten corpse here)

In Bram Stoker’s novel (which is also one of the main inspirations for this film), Dracula is very proud of his boyar heritage when he speaks to Jonathan. In 2024 adaptation, we also see Orlok demanding Thomas Hutter (Jonathan cinematic counterpart) to address him as “lord”: “Your Lord. I will be addressed as the honour of my blood demands it.” A Romanian boyar is pretty much a “lord”, a feudal nobleman with a castle, administrative responsibilities (political) and/or military power. A “boyar” title could be hereditary (which seems to be Orlok’s case), or earned.

Orlok signet ring: with his own sigil. The gemstone appears to be rumanite, also known as “Romanian amber” (which comes in various shades of black, red and/or brown).

On his sarcophagus and on the mysterious cyrillic contract Orlok makes Thomas sign, we have Orlok’s coat of arms, and Robert Eggers, being obsessed with detail, crafts his worlds very carefully. “Coats of arms” is heraldic design, and were used by nobility.

Each “coat of arms” is unique to the individual (nobleman) and speaks of achievements, heritage, etc. “Coats of Arms” are traditionally composed by a shield, supporters, a crest and a motto, but might not have all of these elements. Orlok coat of arms doesn’t have a motto.

The crest is a crown. Which it’s probably connected with his noble lineage, and his role as sovereign of a county (count);

As supporters (holding the shield) we have two Dacian dragons (Draco) with their tails intertwined. Here, it’s a mix of dragon and wolf, a balaur (sky demon or “heavenly dragon”), and it’s connected to Zalmoxis. This dragon with a wolf head, was the Dacian battle flag. Orlok’s sarcophagus also has many Dacian wolfs. A historical note on the supporters; they were chosen by the nobleman and could change throughout his life, so these Dacian dracos were being used by Orlok at the time of his death, but he might not have used them all of his life;

The figures on the top, inside the shield, are a Dacian dragon with a sun or star; and a wolf with a crescent moon. Usually this star and crescent moon motif represent the Székelys, an ancient Hungarian sub-group (said to descend from the Huns), and with seats of power within Transylvania, on the hills of the Eastern Carpathian Mountains. Castle Orlok is located beyond the Árnyék Pass (also known as Umbră Pass) in the Carpathians, but this is a fictional place. Both “Árnyék” and “Umbră” mean “shadow”, in Hungarian and Romanian;

At the center, the shield is a Barry of eight fesse (horizontal stripes) or three bars, on the left (symbolic or military rank and recognition) and one tower on the right (symbolic or strength, protection, resilience of a stronghold, guarding its inhabitants from adversity and external threats);

1 Seven Rays (bottom, right), a star standing alone, probably a reference to his personal sigil (heptagram)?

3 sabers which seem to be Hungarian szabla (bottom; left). These swords were symbols of nobility and aristocracy (szlachta) The węgiersko-polska saber was popularized among the aristocracy during the reign of the Transylvanian-Hungarian King of Poland Stephen Bathóry in the late 16th century. Swords in heraldry are usually used as a symbol for military honor.

Now we are getting somewhere because Stephen Bathóry was Prince of Transylvania between 1576 and 1586, which fits the dates we have for Orlok: 1580s-1590s, late 16th century. The Báthory family ruled Transylvania as princes under the Ottomans until 1602.

We don’t know the dates for Orlok birth and death, but since Robert Eggers mentioned the 1580s and Lina Muir talked about the 1590s, I’m assuming these decades were important in his life, and he was already an adult. And he probably died somewhere in the 1590s since that’s the reference Lina Muir has for his costume design (which he was buried with): “Robert, right from the beginning, knew that he wanted his Orlok to be a representation of a Transylvanian count from around 1590.” In a interview to “Art of Costume”, the costume designer said:

“For Orlok, our research focused on the look of a Transylvanian-slash-Hungarian count from around 1580. He’s a character who was young and vital 300 years before the events of the film […] Even his enormous kalpak hat—a piece that would have been worn differently by a younger man—is now part of his strategy to hide the grotesque reality of being 300 years old.”

Robert Eggers also mentioned Hungary several times in association with his Orlok, because Transylvania was a Hungarian politically dominated principality. Orlok is also a count, the sovereign of a county, and the Székely had several autonomous seats within Transylvania; these were self-governing, with their own administrative system, and existed as legal entities. Their autonomy was granted in return for the military services they provided to the Hungarian Kings. Orlok also has a Hungarian royal army 16th century hairstyle, and military heraldry on his coat of arms, so he saw battle and/or military service.

Orlok being of Székelys lineage is also aligned with the “Dracula” novel, where Count Dracula shares the same ethnicity: “We Szekelys have a right to be proud, for in our veins flows the blood of many brave races who fought as the lion fights, for lordship. . . . What devil or what witch was ever so great as Attila [the Hun] whose blood is in these veins?” The Székelys are said to be only true Transylvanians, because they guarded the land's borders long before the Magyar invasion and Hungarian rule. Their allegiance was only to the sacred soil of Transylvania, no matter who holds temporary political dominion over them, which also makes sense as to why Orlok/Dracula, on vampire form, needs to rest on their soil during daytime.

Men could become sovereigns really young in the event of their fathers deaths. Sigismund Báthory (we’ll talk about him in a minute) became prince of Transylvania at the age of six. And it’s the same with weddings; we have several cases of marriages at 14, 15, 16, and so on, throughout History. No idea what’s Orlok case.

Being a Count, Orlok was probably a hereditary member of the Union of Three Nations? Founded in 1438, and composed by Hungarian, Székelys, and Saxon noblemen of Transylvania. Their function was to provide mutual aid against Ottoman attacks and peasant revolts, and were successful for centuries. As a Count, Orlok wasn’t low in the aristocratic hierarchy; he was just two ranks below the Prince (Marquis and Duke).

Bill Skarsgård citing the Bulgarian epic “Time of Violence” as one of Eggers’ many inspirations for Orlok backstory, might indicate he probably was involved in the religious turmoil of Protestants vs. Catholics in Transylvania in the late 16th century. In the 15th century many Romanian noblemen converted to Catholicism; and in the second half of the 16th century, Transylvanian authorities forced their people to convert to Calvinism.

In the late 1550s, Protestantism began to spread in Székely villages due to Hungarian-speaking preachers, who promoted the theology of John Calvin (Calvinism). While the majority of the population remained Catholic, some Calvinist settlements joined the new Unitarian Church of Transylvania. In 1566, priests who didn’t convert to the “true faith” were expelled from the country.

However, when Stephen Báthory took power in Transylvania in 1576, restrictions began to arise, and Orthodox hierarchy was restored. Székely peasants demanded for their freedom, but were refused. As retaliation, hundreds of Székelys joined his opponent, Gáspár Bekes, who was defeated in 1575. As consequence, more than 60 Székelys were executed or mutilated, and Báthory's supporters received Székely serfs (slaves).

When Stephen’s sucessor, Sigismund Báthory, a Catholic, came to power in 1586, he wasn’t well-liked by the Union of Three Nations representatives, which tried to undermine his authority on several times, with plotting and conspiracies. The “Long War” (1591-1606) started; it began as a Christian alliance against the Turks, and became a four-sided conflict in Transylvania involving the Transylvanians, Habsburgs, Ottomans and the Romanian voivod of Wallachia led by Michael the Brave.

In 1593, Sigismund abdicated, and tasked his cousin Balthasar Báthory with the government of Transylvania, and he tried to seized the throne for himself, but was stopped by other leading officers who set up an aristocratic council. The commanders of the army, persuaded Sigismund to return, and arrest Balthasar and fourteen other noblemen for plotting. They were either executed (beheaded) or strangled in prison. Only one was Protestant, the others Unitarian. Many of their relatives converted to Catholicism to prevent the confiscation of their estates. Which side was Orlok?

In 1595, the persecution of radical Protestants began, and hundreds fled Transylvania. In that year, Sigismund married Maria Christina of Austria but was unable to consummate the marriage. He accused Margit Majláth (mother of his executed cousin, Balthasar Báthory) of witchcraft, causing his impotence.

Sigismund promised to restore the Székelys' liberties if they took up arms against the Ottomans, and more than 20,000 Székelys joined the royal army. They helped win the Battle of Giurgiu. However, their decisive warrior role during the war was ignored, and they were not only denied their freedom, but, in 1595, their leaders were massacred in the “Bloody Carnival” by István Bocskai, the commander-in-chief of the Transylvanian army.

In 1599, Andrew Báthory becomes prince of Transylvania, but the most influential noblemen didn’t support him. His main supporters are noblemen forced into exile in 1594, but they were impoverished young men, without influence. However, Andrew choose Catholic lords over them. Meanwhile, Michael the Brave invades Transylvania and the Székelys become his allies. Andrew tries to flee the country, but is ambushed by Székelys slaves and beheaded with a shepherd's axe.

We’ve arrived at the end of the 16th century, and we don’t know if Orlok lived to see the 17th century because we have no indication of that, since Robert Eggers only talks about 1580s and 1590s. Whoever Orlok was in life, clearly left a lasting impression because there were legends about him, as Thomas was made aware once he arrived, and several locals warned him about Orlok’s shadow. He was also connected with the Devil by the Christian Orthodox nuns.

From the movie, it’s clear he’s remembered more because of his “magical powers” (sort of speak) than for his military accomplishments. Which is the same case as Bram Stoker’s Count Dracula. In “Nosferatu” (2024), it’s Ellen who awakes Orlok in the 19th century, with him being dead for centuries at that point. Still, there appear to be legends about him in Transylvania, all the same.

If Orlok was involved in the Catholics vs. Protestants conflicts in Transylvania in the late 16th century, like everything seems to suggest (“Time of Violence” inspiration and historical context), he certainly wasn’t on the Catholic side of the conflict. We don’t have any Christian religious iconography on his coat of arms or personal sigil; and he used both during his life. Protestantism defended a more personal and private relationship with religion, than the performative and grandeur of Catholicism. A Protestant facade would allow Orlok to pursue and practice his true religion without raising suspicion to his county. Still, rumors about it certainly spread during his lifetime, until they became legend.

Hypothesis #1

Now, if we go with Orlok being 55 years old at the time of his death; let’s do some math. Both Robert Eggers and Lina Muir have said he’s 300 years old during the events of the movie, which is set in 1838. If we do the math (1838 minus 300), the date of Orlok’s birth would be 1538. And if we add 55 years to this date, we arrive at 1593 as the date of his death. Which would mean he was probably among Balthasar Báthory supporters, and was arrested for treason and strangled in prison (he obviously wasn’t beheaded).

We also have a woman and accusations of witchcraft as retaliation for the death of these noblemen. Someone also commissioned Orlok’s sarcophagus, not only expensive-looking (fit for his ranking), but also filled with symbols and sigils of immortality and rebirth. Who had this sarcophagus made? Himself or someone from his family?

On his castle catacombs, there are more sarcophagus, which obviously belong to Orlok’s family, who’s also buried down there. He was also placed in a prestige location within the cryptic; someone respected his role as Count, which suggests someone either cared or respected him, in life. Unless he was the last one to die, and ordered for his sarcophagus to be placed there.

Did his wife, the Countess, survive him, and ordered his sarcophagus to be made? If so, she clearly wanted him to return to life. Maybe she was also involved in sorcery as he was. We also have countless examples of wives taking over their husbands estates/titles after their deaths (even as rulers of Transylvania). Maybe his wife was one of those who reluctantly converted to Catholicism in order to keep the family estate?

“I [was inspired by] a 15th-century sarcophagus from Poland. Orlok is Dacian so I started looking at Dacian dragons. Trajan's Column in Rome shows the battle of the Romans defeating the Dacians and you see their Dacian dragon, which has a wolf’s head, so I started adding wolves’ heads. The feet of the casket are actually Dacian dragons. We came up with a coat of arms for Orlok to put on and added Solomonic symbols. The idea is that the more you stack up the details, the more you’re creating the world.” Production designer Craig Lathrop

Now, we do have “strangling” associated with Orlok and Ellen, right in the prologue, when he reveals himself to her, under the lilac trees:

This is a horror movie, yes, but Robert Eggers is very intentional with his stories and he doesn’t do cheap jump scares. Why did Orlok do this to Ellen? Especially when he just asked her to be one with him ever-eternally. This act does have a meaning we aren’t aware of.

And his first words to her are “You”, and then he says “you wakened me from a eternity of darkness”, and he repeats “you… you”, and says she’s not for the living. This somehow suggest a recognition from his part. He knows not only what she is, but who she is.

Orlok also calls Ellen “enchantress”, and it was her sadness (grief? Heartbreak?) which powered her prayer. She did it unconsciously, and due to her supernatural abilities, but maybe her soul has tried to achieve this in the past? But didn’t succeed then?

Orlok’s “asmatic” speech can also indicate his vocal chords are damaged? Sure, he’s been dead for centuries and has to inhale and exhale in order to be able to speak, because he doesn’t need to breathe (obviously, he’s a walking corpse).

The flaw with this theory is that Orlok doesn’t seem to have neck injuries compatible with death by strangulation.

Hypothesis #2

Another likely option, is that Orlok might have died from the plague, the “Black Death”, during the second plague pandemic in Europe (1346-1844), which known several outbursts throughout these centuries. Which would explain why he returned as the “plague carrier” and his association with rats (since the Black Plague was believed to be caused by the fleas of certain rats).

The plague hit Transylvania particularly harshly during the 15th and 16th centuries, more deathly than before; especially between the years 1550 and 1587. The towns and villages in the Carpathians suffered deeply with the plague in 1553-1554, with countless deaths. Between 1552 and 1554, many aristocrats died, and some territories were even depopulated due to the plague.

The Catholics saw this outbreak as God punishment of His enemies, as divine justice against the heretics (Protestants). Protestants, on the other hand, refused the “plague” Catholic saints (like St. Sebastian) and saw hardship as a path to salvation but also as punishment for pride and other sins, advising against attachment to the “riches of the world”.

Being a Count, in the face of a plague epidemic, Orlok had to work alongside religious and medical authorities to deal with the situation. However, when epidemics got out of control, physicians (doctors) could have full power of decision over the people. Several restrictions to gatherings of every kind were made during this period. Burials on churchs were forbidden. Mentions of rotten corpses and maggots were popular in religious speech to force citizens to keep the plague graveyards clean, and avoid the spread of disease. In “Nosferatu” we have allusions to all of this and even the “Death and the Maiden” motif at the end of the film.

If we take 1538 as Orlok’s birth, these dates (between 1552 and 1554) can’t possibly be his dates of death because he would be a teenager during these years, between 14 and 16 years old. They can, however, be when he became Count? Maybe his father and/or mother also died from the plague? Or even his wife?

The plague epidemic could also be the reason why he became so interested in conquer immortality, tapping everywhere to achieve it: alchemy (“elixir of immortality” and “panacea” to cure all diseases), Zalmoxis cult, and Şolomonari magic. Him dying of the plague anyway would be one of those wicked ironies which would fit his character. His corpse certainly exhibits plague wounds, like the ones on his victims.

However, this would make Orlok younger than Robert Eggers claims he is; but Eggers being so secretive about Orlok background, he can also be concealing his true age, after all. Orlok dying during the Transylvania plague epidemics would make him 49 years old tops or even on his 30s, at the time of his death. Which would fit Lina Muir comments on his hat design being worn by younger men.

Hypothesis #3

If we go with the strigoi folklore, Orlok might have died with “unfinished business”, which is a staple of ghost legends everywhere in the world. The cause of his death, or even the date, is not exactly relevant here.

Connecting with Ellen being a reincarnation of his past lover; she might not have been his wife, at all. The majority of aristocratic weddings were motivated by politics. The wife Bill Skarsgård talks about, might have been chosen for political reasons, and alliances. She might have died, too, and Orlok wanted to remarry (which was the usual practice), this time for love. But, his bride died before the wedding, or he did.

This option would fit this story better, because Orlok and Knock talk about Ellen as “bride”. Even when asking Thomas about his “maiden token”, Orlok calls Ellen “your bride”. It would also give a deeper meaning as to why Ellen put on her wedding dress to marry Orlok at the end.

In this option, Orlok’s bride wasn’t buried next to him in his castle crypt, and death separated them. Which would explain why Orlok is so obsessed in pursuing Ellen’s soul and have her by his side for all eternity.

Şolomonari and Zalmoxis

Orlok sigil: an heptagram surrounded by a Draco ouroboros (death; rebirth; reincarnation); the letters are cyrillic for “Zalmoxis”; the center is the alchemist symbol for blood; the symbols appear to be Vinča; with archeological findings in Romania with these symbols being over 8,000 and 6,500 years old, and consider by many as the oldest form of human writing, but their meaning is still unknown. They are here either to show Orlok comes from an ancient bloodline; or he has known reincarnations throughout the ages?

Heptagrams are connected to the seven elements of Alchemy but aren’t represented like this. Heptagrams are also connected to divine feminine goddesses, like Babalon and Isis.

We also see Ellen’s beauty being compared to a sylph by Herr Knock (probably due to his own deal with Orlok), which makes her connection to the 16th century, because “sylphs” were created by Paracelsus, a Swiss alchemist, in 1566 (Orlok would be 28 years old when this book was released). Sylphs are beings of the air element, a sort of fairy or nymph.

The genetics of historical Vlad III, “The Impaler”, “Dracula” can be traced much farther back than the Szekelys and the Huns: he was descendent from the Dacian warriors. And this seems to be the same case with Eggers’ Orlok; or he developed a fascination with them. Aside from his sigil and coat of arms, the audience knows there’s a connection between Orlok and the Dacian civilization, because he speaks Dacian in the film (a language which was already extinct in the 16th century).

The Dacians were a Indo-European people from Ancient times (6th century) which inhabited modern-day Romania (as well as parts of the surrounding countries) and were eventually conquered by the Romans. Their cult was a deity called Zalmoxis, God of life and death, who granted eternal life and knowledge to the worthy, ensuring their place in the afterlife. Sacrifical rites and shamanism were practiced in his honor. Zalmoxis was considered a prophet, represented as a handsome man, a priest who controls the forces of nature, with power over wild animals.

Zalmoxis is kind of a mysterious figure, he’s a man who became a God to his people, and in some legends he was a king, in others a slave of the Greeks who freed himself, while in others he’s the high priest of the actual God of the Dacian people. He’s often compared to Jesus Christ because he, too, was resurrected after being three years underground. According to Herodotus, Zalmoxis learned the secrets of immortality when he traveled to Egypt: we already have a link here with Ellen, because she was compared to a “priestess of Isis” (Isis, the Queen of the Underworld).

Ancient greek historian Herodotus wrote about several Dacian legends and rituals; as the priests of Zalmoxis who kept the secret of incantations that could make human beings immortal, and the ritual practice of wrapping a young man who wished to become a warrior in the skin of a wolf (some men were said to be able to change themselves each year for several days into the form of a wolf). There are some theories among historians that hallucinogenic mushrooms were used in the wolf-pelt ceremony, allowing the men to experience a complete psychological transformation into wolves.

Dacian warrior

Once psychologically transformed into a wolf and thereby initiated into the Brotherhood of the Wolf, the Dacian warrior would enter fearlessly and ferociously into battle under the banner of the Draco, the wolf-dragon. This appeared to be Orlok’s case because he has the Draco on his coat of arms, which he would wear in battle.

Draco: the Dacian battle flag; Brad (Romania)

We are told this book is Şolomonari by Von Franz, and obviously belonged to Orlok, and it was in Herr Knock’s office:

However the language it is written is Latin-based, so I’m guessing it’s Dacian (instead of the cyrillic Orlok used before in written material). My mother language is Latin-based, I can understand some of the Dacian spoke by Orlok, and I’m recognizing some words here, too. This book is probably from a Zalmoxis cult, which isn’t surprising because this leads us to another question: scholars in recent years have been disputing long-lasting ideas about who the folkloric Şolomonari truly were, which seems to be the approach Robert Eggers is taking with his adaptation of “Nosferatu”.

In the “Dracula” novel, Van Helsing says Dracula attended the school Scholomance. In Romanian folklore, it’s located in the Carpathian mountains where the Devil was the lead instructor of 10 or 13 students. One of each class was either kept by the Devil or given permission to ride a dragon. In “Nosferatu”, the old abbess tells Thomas, Orlok was selected to have his soul kept by the Devil, and, possibly, cursed to vampirism as a result: “A black enchanter he was in life. Şolomonari. The Devil preserved his soul that his corpse may walk again in blaspheme.”

Xenoarcheologist Jason Colavito is one of the pioneers of these kind of studies, exploring science, pseudoscience and speculative fiction, and has done research on the Scholomance and the Şolomonari. He made the connection between Dacian priest-shamans and the folkloric Şolomonari (named after King Solomon and alchemy) and how they were perceived as benevolent forces until the Christians defamed them as “devil worshippers”. This association between Paganism and the Devil wasn’t exclusive to Romania, it happened throughout Europe when European kings and leaders converted to Christianity and forced their populations to forsake their old Pagan beliefs.

The Devil’s School of Scholomance is, then, a distortion of Dacian Pagan beliefs; where Zalmoxis had a underground chamber, a great hall, where he taught the secrets of immortality, and of life and death to his followers. In “Nosferatu”, it’s the Orthodox nuns who first make the association between Orlok, the Şolomonari, and the Devil; and then the alchemist Von Franz does the same. But none of these characters have first-hand knowledge of what the Şolomonari truly are, and Von Franz admits he never encountered a Nosferatu before. And, indeed, there’s no “satanic” symbols on Orlok’s sigil and coat of arms. He’s Pagan, a follower of Zalmoxis.

The question here is: how did Orlok had access to this knowledge? Was there an actual “school” or a Zalmoxis cult in the 16th century, in this story?

#nosferatu 2024 #count Orlok 2024 #Ellen Hutter 2024 #Robert Eggers #bill skargard #bill skarsgård #count Orlok 2024 backstory #Nosferatu 2024 analysis #Transylvanian history #transylvania #Dacian mythology #Zalmoxis myth #strigoi #romanian folklore #ellen x orlok #orlok x ellen

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gotham-daydreams · 3 days ago

Text

Suspicions

Day 3 {Challenge Masterlist}

Getting close, but not close enough. Something's wrong here. How could they have known? Who did this?

[Yandere Batfam × Gender Neutral! Cop Reader]

[Warnings: Mentions of suicide (only briefly talked about in dialog), cults, occult like acctivites, weird behavior (?), arson (sort of).] (Note: Unless otherwise specified, it's to be believed that actions involved with harming, hurting, or heavily injuring the self are not talking about the Batfamily or the reader. Still, you have been warned.)

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Unlike the previous two days, this one starts off rather eventful - which is honestly more common and normal than anyone in the Wayne family liked to admit, but really, it wasn’t their fault they all just worked better in chaos. Nevertheless, for those that weren’t up already, the day is smooth sailing until they exit their rooms - or wherever they slept - and are left to find what’s happened in the batcave.

Tim is one of the last to find out, as he just gets his slow morning started - grabbing a cup of tea to help him wake up instead of coffee, rubbing his eyes to get the tiredness out of them, and starting things off officially with a plate of breakfast. Once that’s done and out of the way, he finally gives himself a good, simple stretch before heading down to the batcave. It’s only there, does he see the mess unfolding.

It’s subtle, sure, but with how long Tim has technically been a Wayne, well, he can tell when something’s going on. Bruce is drinking coffee, and Cassandra, while out of the suit, already looks to be itching to put it back on again. Tim noticed that Stephanie had slept over while he was on his way to the kitchen earlier, but didn’t think much about it - though what caught his attention was the fact that not only was Jason here, but that he was awake. Huh.

“What’s going on here?” Tim asks, voice having its usual echo as he takes a sip of his tea, approaching the little crowd by the batcomputer - taking note of Barbara’s presence as well, have any of them slept?

Cassandra seems to take note of him first, and perks up, though just as she goes to supposedly explain what they’re doing, Jason cuts her off. Instead, he straightens himself out, and asks, “Hey, have you or any of your birds seen anyone weird around, lately? Like, extra shady or just new? Like they come from out of the city?”

Tim raises a brow at the question, “This is Gotham? Every other person looks like someone shady- and what does ‘extra shady’ even mean? And besides, Gotham is a big city, newcomers come in and out everyday,” he points out, and though his response only gets an annoyed groan out of Jason, he can’t help but remain curious, “why? What’s going on this time?”

Jason seems to ignore Tim’s own question, and instead asks, “Okay, have you seen anyone with some weird symbol on them? Something simple that represents a sun, maybe on their neck, wrists, arm, or just some exposed part of their body?”

“Uh, no, I haven’t,” Just as Jason looks like he’s going to throw something, or someone, Tim adds, “but I think a few of the birds have, and- hey, some new officers came in from Metropolis, right? What’s up with that?”

Just as Jason goes to open his mouth again, Cassandra gives him a nudge, and gestures for Tim to come over.

From there, he’s given the gist, and he has the reasonable reaction of just, being confused. While he understands what’s going on, what he doesn’t get is the supposed group itself. While they do seem to be working towards this ‘Red Dawn’, is it something they’re working towards, or merely preparing for? Is there something on that specific day that will happen, and will allow… well, whatever they’re hoping for, to happen? There are a lot of things that are undetermined, but Tim is on board with the general goal - they have to learn more about these people, what they want, and put a stop to it since it has to be something bad that people are killing themselves over it. You were right when you said that the only people they were hurting were themselves, but they were still people, and what if their influence spreads? What if they rope in more people, only for them to die-

Duke rushes into the cave, a smile of sorts on his face and he hurries around the space, gathering a few things here and there - mostly his gear, but some other things too - quickly, as if in a hurry. It was hard not to notice, seeing as he was the only real movement going on in the room and it drew the attention of those at the computer. Tim was the first to question it, asking, “What’s the rush?”

“Patrol!” It was an easy enough answer, but something felt off about it, though Tim couldn’t put a finger on it - no one really could, but those that were paying more attention did notice something.

“Hey, aren’t you forgetting something?” Barbara points out, and Duke pauses, chuckling briefly before grabbing his helmet.

“Right- thanks! Anyway, gotta go-!” With that, the young vigilante rushes out of the cave after hurriedly putting on his suit and gear. A few of those in the cave stare, raising a couple of brows or just looking confused before ultimately returning to what they were doing – even if such a sight weirded them out. Cassandra, however, couldn’t help but narrow her eyes at the sight as she watched Duke rush out of the cave.

He seemed… really excited to be going on patrol… hm.

Duke could hardly focus on where his feet were going as he rushed out of the house, a warm sort of feeling blooming in his chest as he made his way out of the cave, and through the front door – nearly bumping into someone on the way out. Even if he was able to just barely move out of the way, a quick, “Sorry! I’ve really got to go, Selina!” Leaves him, the words tumbling out of his mouth like how he almost trips over the single step in front of the door. Leaving behind a confused but amused catwoman all the while.

Getting to the city is easy enough, and even more so with a small tug in his chest seemingly guiding Duke somewhere. Does he know where? Not particularly, but he can’t help but have a good feeling about this.

Dropping down in an alley, Duke peaks around a corner to get a glimpse of the city before slipping out – only to bump into someone… somehow.

Shaking it off, he goes to say something – only to stop himself when he sees who it is, what a coincidence. “Oh, [Last Name], what’re you doing here?”

You glance over your shoulder, and raise your brow at the sight of the teenager, “Grabbing breakfast? Why else would I be waiting in line at this breakfast spot?” A small, amused chuckle escapes you as you offer a hand to help him up, and it’s only then that Duke notices he fell at all.

“Oh! Yeah, that… um, makes sense?” Grasping your hand, he pulls himself up and glances to the side awkwardly. This wasn’t very professional, was it? As a vigilante, he was supposed to be better than this – and more, well, vigilant! He had to get it together, he couldn’t embarrass himself in front of you!

Clearing his throat, Duke meets your eyes once again, “Seems like things are busy here, huh?” Just what the hell was he trying to do? Duke couldn’t understand – he had patrol to do, he couldn’t just sit here and make small talk-

“I guess you could say that, it does seem busier than it has been the last few days, but nevermind that- what’re you doing here, Thomas?” Your grip loosens on his hand, but Duke can’t find it in himself to let go. Not after what you just said, and so casually at that – like knowing his secret identity was common knowledge and not, well, secret!

Duke’s mind races, with him staring at you like your face alone will provide all the answers, and in the midst of his disbelief, a breathless, stunned, “What?” Slips past his lips, and your brows seem to furrow.

“Is something wrong, Thomas-?”

“How-” Duke can barely even speak, his eyes blown wide. He wants to pull away, but it’s like your hand is the only thing keeping him grounded – making him almost hate how real it feels, especially as his hold tightens. With him now grasping onto it like he’s both afraid to let go, and desperate to cling onto something, but what? Duke doesn’t know. Hell, he’s almost scared to know, and that confuses him even more. “How do you know who I am?” It’s a simple question, but it’s spoken so quietly and hesitantly that it’s like Duke himself is unsure if he should’ve spoken at all, or if he even said it to begin with. As if, for a moment, he couldn’t tell if he managed to speak at all, or if his eyes and the way his hand shook had asked the question for him.

It’s beyond confusing, and honestly making Duke’s head hurt the more he tries to make sense of everything. The world spins, and yet zeros in on this moment at the same time, and Duke almost feels like he’s about to fall or even collapse all over again-

Then, he sees your smile and how you turn more towards him, and it’s like he can breathe all over again.

“Well, you’re adopted- or at least being taken care of by Mr. Wayne- aren’t you? It’s pretty hard to not know you, Thomas, especially in Gotham. Which- is sort of like Mr. Wayne’s little empire, don’t you think?” You respond easily, words almost playful as you carefully rest your other hand over his – most would pull away or tell him to stop because of how much it hurts, but you don’t. Almost like you can’t feel it, or just see how much the small action means to him – to hold onto something steady, unmoving, and undeniably real in this moment of confusion, dread, and fear. Maybe it’s both, but who’s to say.

Duke struggles to respond, only managing to stutter out an, “I-” a few times before you decide to spare him once more.

“Granted, I’m surprised to see you out and about so early. A growing boy like you needs his rest, doesn’t he?” Your fingers brush against the back of his hand, and it’s only then that Duke realizes that he’s feeling it on his skin, not though his gloves or suit – and he finally looks down. When… did he put on civilian clothes?

Regardless, he can’t help but ease. The tight tension in his shoulders drops, and Duke exhales, relieved. “Right- well, I was just out grabbing a quick bite to eat. Always good to get outta the house, yeah?” He replies easily, the excuse coming easy to him – and as if on cue, his stomach rumbles… Did he eat breakfast this morning? When’s the last time he’s forgotten something like that?

Your expression softens, and you give a small shrug, “‘Suppose you’re right, can’t really argue with that.” You glance down at his stomach before looking back at the teen, and pull your hand back – an action that makes Duke’s hand twitch before he lets it fall back to his side. “How about you join me?”

Duke can’t help but be taken aback by your request, and stammers a little as he straightens up and says, “I couldn’t- I can’t-”

“Oh, c’mon. It’ll just be a little bite, and besides, I’ve already got a table. Breakfast’s on me, yeah?”

“I really shouldn’t-”

“[Last Name]?” A waiter calls out, causing you to perk up.

“Ah, that must be it! Now, c’mon,” you gesture for Duke to follow you inside, “I promise I won’t keep you long. But consider this my thanks for yesterday- I definitely underestimate how big Gotham really is.”

The young vigilante hesitates, unsure if he should follow you or try to decline again. After all, he still had patrol – and with this weird group going around, he couldn’t afford to just go off and push aside his duty for breakfast, could he? In situations like this, it was best to stay on top of things and remain vigilant, wasn’t it?

Duke feels his stomach growl much more insistently this time, and he can practically feel the painful pinch of the void growing inside it… It wouldn’t be good if he did patrol on an empty stomach, would it? After all, he had to be in top shape to properly perform his duties, right? Being on an empty stomach wouldn’t do him any good, and would only hinder him further…

“You comin’, Thomas?” The teen’s feet before he could fully process your words, but he offers a nod and agreement all the same.

Bruce would understand, right?

The waiter leads you and Duke to a booth, and from there, things go smoothly. The silence isn’t as bad as one would think, and for those that didn’t know any better – they’d think you were friends or had some friendly relation since conversation flowed seamlessly and easily. It wasn’t long before your orders were made, with you encouraging Duke to order whatever he liked, and the wait was practically nonexistent. Though, that’s only to be expected when you two got along so well. It may have been weird in any other circumstance, but here, it wasn’t. It was natural, just like everything else was.

Really, only those on the outside looking in could notice anything, and someone eventually did.

Cassandra had felt that something was weird, and with how Duke’s body language had read this morning, she couldn’t help but be curious. Not to mention worried, especially since they had enough things to worry about. So, seeing her brother eating with a cop from Metropolis was… weird to say the least. It felt weirder knowing it was you for some reason, but she couldn’t explain why. You couldn’t have possibly been the reason for Duke’s excitement, could you? No, that didn’t make any sense – unless… you knew each other previously? Would Duke have left something like that out?

Just seeing something like this spawned too many questions, and Cassandra wasn’t getting any from standing across the street. Especially not when your body language reads as calm, happy, and oddly enough – full of energy, along with a trace of confidence. With Duke being almost… too happy, too calm and content for someone that was supposed to be a stranger. You were helping them on the case, of course, but they didn’t know you as civilians. They weren’t supposed to, and yet Duke didn’t have the suit on – where was it?

… She could stand there until you both left, but something told her that wasn’t going to get her anywhere either. Something told her that she had to approach, if only to confront you and get Duke out of there herself. To help him get back on track if anything, and to get some sort of explanation if she was smart about things.

So, approaching the establishment, Cassandra steps inside and wastes no time heading over to where you and Duke are sitting. Resisting the urge to just grab you by the collar and get answers out of you, she simple rests a hand on your shoulder and gives it a squeeze – which is more than enough to grab your attention.

Looking up at her, a confused expression passes by before another bright smile rests and makes itself home on your face. “Ah, You must be Cain, correct? Or would you prefer Cain-Wayne?” A light laugh escapes as you add, “It’s a bit of a tongue twister, but the choice is really yours, young one.”

Surprised, Cassandra can’t help but blink before her expression hardens and he brows furrow. Taking note of her confusion, you simply say, “I haven’t been here for long, but word travels fast in Gotham! Besides, who wouldn’t know about the children Mr. Wayne has taken in? You’re all a very common topic amongst the city folk, and from your expression – I’m willing to assume you’re surprised to hear that.” There was something in your tone that made those last few words of yours almost sound sarcastic. Cassandra couldn’t pinpoint what it was, but it made her narrow her eyes all the same. What were you trying to get at-?

“Cass?” Hearing Duke’s voice makes Cassandra glance at him for a moment, and the look in his eyes rubs her the wrong way. He shouldn’t have an expression like that, not for a stranger, even if you are from Metropolis. “What’re you doing here? I thought you were still… home.” The small pause in his words doesn’t slip past her, and it certainly doesn’t make Cassandra feel any better either, but it isn’t enough to make her leave.

Even as she doesn’t say anything, her eyes say enough, and you notice how Duke tenses slightly while under her gaze. You don’t understand what they’re saying, or whatever they seem to be communicating, but you’re not bothered by it. Communication was a universal thing, after all, and you’ve seen many people find all sorts of ways to do it – with or without words. It’s something you’ve picked up on with time, but that’s a given considering things.

Nevertheless, you speak up and interrupt… whatever it is that’s going on here. “Why don’t you join us, Cain? Thomas was just finishing up, but it’s like they say; the more the merrier!”

Cassandra seems taken aback by your offer, and so does Duke, but you only focus on her for now. Despite not having said a word, it’s like you can feel her growing quieter, and just as you go to say something else, she glances at Duke before promptly taking a seat next to him – nearly pushing him towards the window just to create some space for herself.

Naturally, Duke responds with a surprised, “Hey!” At the sudden intrusion of his space, but ultimately does little to get it back, and instead moves over to grant Cassandra her desired space.

From there, you carry on as you did before, but the younger ones across from you seem awkward – you can’t decipher a reason for this, not on your own, but a few eventually come to you and you try to work around it as best you can. At the start, things are strained and it’s obvious that there is something more than what both are deciding to show. Which, while smart, is inconvenient at best.

Regardless, you do what you can to spark conversation. Duke responds well enough after a few questions that ease him back into the flow of things, but Cassandra takes a while longer. Though that only makes sense since she’s just gotten into things, and is only starting to get into that flow as well. It’s not hard to notice that she’s simply just observing for now, and most likely wants to keep it that way, but you didn’t make that offer for her to just watch.

You start with something to drink, offering coffee since that seemed to be a common choice around here, and even take a sip of your own beverage while you were at it, and ask if Duke wanted anything else. It’s always the little things that count, but of course Cassandra remains as she is, and doesn’t respond. It’s only after a good minute or so does she get something, though if it’s to ‘blend in’ easier or because she genuinely wanted something to drink, you couldn’t tell – but that didn’t matter. Eventually, she gives you small responses by nodding or shaking her head, among other small gestures that seem to give just enough information to count as some sort of reaction. Cassandra was responding and reacting more to things Duke was saying, but that didn’t bother you. She was beginning to ease up, and that’s what ultimately counts.

Then, you’re given a golden opportunity as her stomach gives a small rumble. It’s barely noticeable, and not even Duke hears it, but Cassandra does and you notice her reaction well enough to tell. Of course, you give her the same offer you gave to Duke earlier – and even if she is more hesitant and reluctant, you take a risk and push things as you get her something. Just as before, the wait is hardly long at all – even if Cassandra seemed to feel it more than you did – and when it comes, it takes her a bit to even poke at it, but she caves eventually.

From there, everything eases just as it did before. Whatever you picked, she ends up liking it, and the conversation flows much better now that Cassandra is less tense. Your smile from before remains, and the morning carries on splendidly.

However, as with all things, it eventually comes to an end as you get a notification on your mobile device, and a small huff escapes you. Things are coming along, but it’s time to call it – you’ve been here long enough. You signal for the check, and once it arrives, you simply say, “Well this has been nice, hasn’t it? I don’t know what I expected, but I’m pleasantly surprised by both of you. This has been… eye opening, as one would say,” you muse, another light laugh escaping you, “but I’ve kept you both for long enough. I’m sure you both have places to be.” You don’t even look as the waiter takes the check back after you slip on your Rose Bank card.

Duke seems to tense slightly, and stops you from standing as he shoots up from his seat, “Wait, do you have to go right now? If there’s anywhere you need to go, I could take you-” You wave him off, and shake your head.

“There’s no need, I know my way around well enough, but thank you-” Cassandra moves to stand as well, and before she can even fully get out, Duke scrambles to get out of the booth and stand in front of you.

“You just got here a bit ago, right? I’m sure I can still help-”

“Thomas, I assure you I’m fine. I’m just heading back to the station,” you handle the check and slip your card back into your wallet when the waiter comes back around. Duke struggles to speak, and Cassandra seems concerned. Hm.

Exhaling softly, you give the teen a pat on his shoulder, “If anything happens, remember, you can always contact the GCPD if need be, alright?” Duke didn’t seem too pleased with that response, but all it takes is one more long look before he averts his gaze and nods.

“Yeah, yeah… alright.” You grin, and give him another pat.

“Perfect! See you around, kid!” With that, you leave without a second thought, feeling more confident then before – and Cassandra could tell. Of course she could, but before she could think about why you were going to the station this early in the day, her eyes drift back to Duke, and she can’t help but pause. His body language and overall attitude is completely different now… but… why? What could have made him so upset?

The young vigilante glances up when she hears the small bell of the door, indicating your leave… and she doesn’t know why, but she can’t help but feel disappointed.

— — — — — —

Making your way to the station is easy enough, and as you check the time, you hear someone clear their throat behind you. Just in time.

You turn around, and are greeted by the sight of blue eyes and dark hair – honestly, if his face shape was different, you’d think he was Bruce. It’s almost weird that they aren’t biologically related, but that’s the funny thing about genetics, you suppose.

Nevertheless, you offer a smile as always, “I got your call, but I didn’t expect to be meeting you in Gotham this soon, Grayson. You really are punctual. Though noon is an odd time to meet up, don’t you think?” Richard – or as everyone apparently calls him, Dick – just gives a smile of his own that borders on a smirk, and shrugs nonchalantly.

“Couldn’t think of a better time, and besides, it isn’t that bad. It’s just in time for lunch!” You hum at his response, finding it a bit curious before giving a nod.

“Well, when you put it like that it almost sounds smart,” You chuckle out, watching as his face contorts slightly. “Regardless, I got your call. You wanted to discuss the case?”

Dick doesn’t seem to appreciate your little jab, nor how you brush past it so fast – but just huffs before giving a nod. “Yeah, some guys said you’d know some things…? Or that someone here did?” You raise a brow before a look of confusion settles on your face.

“A few of us here do, but the one that would know the most would be detective Greenwood,” yet, you pause, as if thinking for a moment before adding, “I assume the situation in Bludhaven has gotten worse?”

The sigh that escapes him is telling enough, even more so with how he rubs the back of his neck, and the nod he gives is almost guilty. “Yeah… and even saying that feels like you’re sugar coating it.” Hm, must be like Metropolis then – that’s good to know. “I guess Ludwig told you?”

“Among a few other things, but just gave a general idea,” Dick visibly deflates at your words, and so, as if extending an olive branch of sorts, you gesture to a cafe nearby. “How about we get you some coffee and a quick bite to eat, hm? Can’t imagine getting here was an easy trip.”

Dick’s practically already following you to the small shop when you make your offer, and a low, exaggerated groan escapes him. “You don’t even know the half of it, it’s like Gotham’s become some highly sought out tourist destination overnight! It’s insanity, I tell you- makes no sense! The people who live here don’t like it enough as it is, why would anyone else want to be here?”

You shrug your shoulders, and guide both of you over to the cafe, “Not a clue, but it is weird when you put it like that. But maybe it’s nothing, who knows? We’ve got enough to deal with, anyway.”

“Tell me about it… not like there's anyone around here that wants to deal with this kind of weather. It feels way too warm for fall, if you ask me.” Dick mumbles, making his way over to the counter to order, and you only partially shrug, giving another nod in half agreement. You didn’t feel a difference, but it could just be because you’re used to it.

“I guess so,” you say, pulling out your wallet to pay – seeing as you offered to begin with. Obviously, Dick notices and doesn’t move to stop you, but can’t help but raise a brow.

“Aren’t you going to get anything?”

You glance at him for a moment before huffing softly, almost as if amused by what he said, and just hand the cashier your Rose Bank card to pay.

“I had a filling brunch.”

— — — — — — — — — — — —

Despite everything that’s been going on, this is probably one of their more organized efforts to tackle the night – which is really saying something, since there’s always been attempts, but it’s hard to be orderly amidst chaos. Something that Gotham practically breeds, even if this particular strain comes from out of town.

Tim and Duke are in the manor running tests on the organic material Stephanie and Jason had managed to get from the other night, with Barbara doing similar work in the clock tower. The others are out in the city, with Bruce running some things by Gordon, Selina being god knows where, and the others tracking some shipment while taking care of minor crimes and such along the way.

It’s almost… weird how coordinated this ‘cult’ seems to be, not to mention just how many people seem to be in on this thing. There didn’t seem to be an exact number at the moment, and if they really did split up, then there may even be more members that they weren’t aware of that have taken refuge outside of Gotham-

Point is, there were definitely a lot of people in this cult. Maybe even too many to coordinate and organize, at least for them to work so in sync with one another as they were now. It’d make more sense if they were only in Gotham, but until they got Clark’s report, no one could be sure of that – even if Dick responding so readily when Bruce had called him in was telling enough on its own. There was also the possibility of there being multiple organizers and leaders for this, which seems like the obvious choice, but even so – who could get a system in place that works this smoothly? It’s almost unnatural. Uncanny, even. Not to mention it doesn’t make sense if there’s no incentive for these people to be doing all of this-

Tim couldn’t figure it out, anyway. It felt like there was still so much they didn’t know yet, and like one thing was happening right after the other. Despite not being out in the city himself, he could use his birds as his eyes to see outside while he remained in the cave – so, in a way he was also tracking the cult. What Tim found weird himself is that you didn’t think the cult had a proper name, or that they weren’t called after the event all of these groups seem to be working towards. It made the most logical sense that they would be, or at least something similar to it – but you, someone who's been working on this case longer than anyone they knew at the moment, disagreed. Why? Regardless, aside from this supposed ‘Red Dawn’, what incentive did… well, anyone have to be a part of the cult to begin with? Did the event itself grant them something? What even was the Red Dawn? What did it have to do with all this soil and sand?

There were too many questions and not enough answers, but he supposes that’s why they’re even investigating to begin with. Though, if Tim had a say in this – it feels too organized to be something that only started three or so days ago. Have they really only been in Gotham for just a couple of days? If what his birds are seeing is real, then it’s more likely that they’ve been here for months-

[“Oh, would you look at that? They split again. Geez, really makes you wonder why they’re moving this stuff around like this. Seems ssseriously inefficient if you ask me.” Jason’s voice sparks in the commlink, tone sarcastic and rough.]

[“Agreed, there hardly seems to be a purpose to such tactics.” Damian huffs, going quiet for a moment only to add, “Unless they really are trying to distract us.”]

Tim perks up at this, and uses a nearby bird to perch on top of one of the telephone lines that go across the street. Watching as the next load of… whatever this cult was hauling and bringing around, drives off down the street. Some of it in a truck, and the other half of it in various cars. Not exactly subtle, but it would be hard to keep track of it all if one person was trying to keep tabs on things. Especially if said person was human.

[“Gonna have to agree with you guys, these people… they’re doing something, alright.” Stephanie chimes in, the suspicion clear in her voice.]

“What does that mean?” Tim can’t help but ask, trying to focus on the sample he’s analyzing, but can’t help but focus more on what his birds are seeing – especially when it’s more interesting the shuffling through samples of dirt.

[Stephanie sighs, “Seems like they’re trying to spread this stuff all around. Parks, gardens, bakeries, flower shops- all kinds of places, and from the looks of things? Whatever they’re doing here, it’s getting to other civilians as well. Guards and employees are helping them, and not just to open the back door either.”]

[“Someone open the front door?” Jason asks rhetorically.]

[Stephanic stiffs a chuckle, but Cassandra responds with a curt, “Yes. And storage.”]

[Jason was quiet for a moment before a small, “... Right, ‘course they did.”]

With his birds, Tim is able to follow as many trails as he can – and upon noticing a particularly weird detail, his brows furrow. “They… looped back around.”

[“Yep, I see them. Right back at the gardens… weird.” Stephanie confirms, sounding equally confused.]

[“They’re obviously trying to play us, but why? So they can plant more of this… red shit everywhere?” Jason can’t help but question.]

Tim shakes his head, which the closest bird to Jason and Damian emulates, “No, that doesn’t make sense. They’ve got loads of this stuff all over Gotham- I don’t see why they’d need more, unless…” He grows quiet, thinking for a moment before he looks down at the sample he’s supposed to be examining. Were they thinking of this the wrong way?

[“Unless… what?” Stephanie asks.]

He tries to think of a way to explain it, fumbling for a moment before just saying, “Well, do we even know what this stuff does?”

[“That’s what we have you looking at it for, yeah? Shouldn’t you or Barbara, or hell- even Duke know?” Jason chips in again.]

[Damian sucks his teeth, “Of course you can’t even do the one job we actually give you, Drake.”]

Tim can practically feel the disdain in Damian’s voice as he says his last name, which makes his brow twitch – but he shakes it off. He tries to, at least.

“I’m trying! I just… don’t know what I’m looking at, or why, okay? This whole situation is… weird.”

[“Look, Tim, people… people died over this stuff. There’s gotta be something weird about it. Maybe weird chemicals or…?” Stephanie tries to suggest.]

The watcher huffs at the reminder, but ultimately relents as he gives it another look while still having his birds keep tabs on things. All he sees is the same thing, and as he increases the magnification on the microscope, he only finds himself growing more… confused. More weirded out than anything, and a little curious, sure, but confused all the same.

Leaning back, he takes a breath, “I don’t understand, it looks alien… but how can that even be possible?”

[“We work with aliens, is it really that strange, Drake?”]

“I know that- but this is like- different! The organisms in the dirt are being taken over by something- and it’s like it’s both trying to take over and adapt to it?”

[“Like… a parasite trying to get used to its host?”]

“Kind of? It’s hard to explain… and this substance in the dirt- no wonder some of it looks like sand…”

[“So, instead of ‘getting used to’ the host, it’s killing it.” Jason suggests.]

“Yeah, like it can’t adapt properly or… is valuing infection over adaptation. It seems to feed on organic material and create more- but there’s something weird about it too.”

[“... And that is?”]

Tim hesitates for a moment, unsure himself, before eventually just putting the idea out there. “Well, at this pace… if their plan is for it to infect all the organic material in Gotham for whatever reason, then this is a seriously inefficient way to do it. Their plan here isn’t to have this stuff in all the dirt - at least, not to change it all. It seems more like a byproduct of whatever they’re trying to do with it.”

[“Well, what’s in the dirt, Tim?” Stephanie asks.]

“That’s the thing- I have no idea. It’s like its own organism, but I haven’t seen anything like this. It’s completely alien, and I doubt it’s the friendly kind.”

[“Well- I have to agree with you there. If it was… well, who knows how this would go. But nothing about all of this particularly screams ‘friendly’.”]

[“Did the people shooting themselves give that away?” Jason sarcastically quips.]

[“The purposefully suspicious activity certainly doesn’t help.” Damian adds, sounding equally pleased.]

Tim zones out of the conversation, glancing back at the samples Jason and Stephanie were able to bring in that he hasn’t fully looked at yet. The samples themselves don’t seem to ‘decay’ necessarily, and it seems to take them a while to eat away at the dirt or sand they’ve been ‘mixed’ with – from the looks of things, anyway.

No, if anything it gives the impression of a substance trying to reach homeostasis. Since, it’s either that or it’s trying to revert back to it’s original state for… whatever reason. Whatever other material it produces in that process is simply a byproduct of its efforts. The real question is why. Why is it trying to change? Why is it working to do… whatever it’s trying to do?

Mindlessly, Tim’s blank eyes drift over to where Duke was sitting, only to pause.

The teenager was hunched over, entirely focused on the task at hand – and whereas that isn’t inherently a bad thing, Duke hardly seems to be breathing, like the smallest gust of air or wind will tamper with the sample so much. Taking too much precaution when it comes to treating it. Not like it’s dangerous, but like it’s precious, like handling something more fragile than glass.

The sight alone makes Tim feel unnerved, and as his senses heighten – its only then does he pick up on the faintest smell. What… what is that-?

[“Oh shit- we’ve got to bounce. Now-!”]

[“Agreed. How did you even manage to-?”]

[“Let’s save the questions for when we’re out of the burning warehouse.”]

Tim blinks, eyes blowing wide as he looks away from Duke and focuses back on what’s going on. Using one of his birds, he can see that a warehouse is, in fact, on fire – and it is growing fast. “Steph-”

[“Already made the call, fire department is on the way but- how in the world did you guys even manage to set the whole place on fire?”]

[“Don’t lump me in with this brainless brute-” Damian’s complaint is cut off.]

[“I didn’t even expect the stuff to catch that fast! Just- ugh,” Jason groans, the subtle sound of the warehouse coming apart is just barely audible through the comlink. “Do everyone a favor, and keep those samples away from fire. That shit lights faster than propane.”]

“Even if it spreads quickly, how did the fire get strong that fast?!”

[“Hell if I know! You said this crap is alien, right? How is anyone supposed to figure it’d have so much kick!?”]

“You knew it could set on fire?!”

[“Last I checked, dirt isn’t flammable- of COURSE I DIDN’T KNOW!”]

[“Guys! Just- focus on getting out of there! We can figure out all of this once we regroup. Meet me and Cass at the station. We need to tell Bruce about this.”]

Tim glances at Duke once again, who’s hand twitches slightly, and the watcher grows quiet before looking back at his own sample.

… Could this night get any weirder?

— — — — – – – – – – — – – –

Eventually, towards the heart of the night, Bruce is able to reach the batcave once more, and everyone recounts what they found or learned – minus certain individuals.

The discussion is as chaotic as one would imagine, but the main points get across eventually, albeit between suspicions a few of them had, and more speculation on what could be going on. The biggest question is why this group had chosen Gotham of all places, if they really have been here recently or have been in the city for longer, who Tim and Cass were able to identify as members of the cult, and so on.

Whoever was organizing this was clearly doing something to the people following them. How perfect everything seemed to flow without their presence was uncanny and unnatural, not to mention how readily members have killed themselves without a hint of hesitation. Honestly, it was terrifying – and the fact there was still so much left unknown wasn’t helping. Not knowing who was behind this, or at least in charge of the group in Gotham was setting them back – and the risk of confrontation was too high. There was no telling if they’d dispose of themself just as quickly as the other members of the cult, but that was assuming there even were other leaders in place.

They certainly had their influencers and people who brought in more members into their cult, but for some reasons… most of the vigilantes had a feeling that there wasn’t. That there was just one person in control – the lack of evidence on that end didn’t help, but they sort of just knew. Regardless, it wasn’t enough to fully dismiss anything, even if some of them were pretty set on a couple of things. Duke, Jason, Stephanie, and Cassandra in particular. Bruce was… well, himself, but he seemed to have his mind set as well even if he left the door open for possibilities.

If this was really alien, who knows what they’re dealing with – and if what Clark said earlier was true, then it’s definitely mind altering, at the very least. Though, that did pose another question entirely about you and the cops that came in from Metropolis.

Were any of you under the influence of this… alien substance?

They weren’t given much time to dwell on that as something pops up on the batcomputer – a notification of sorts. “Ah, must be Clark.” Bruce mumbles, already working on displaying and finding out all the information Clark had gathered.

A map of the United States first flashes onto the many screens, before red dots begin to appear on the map. Like little fairy lights, they flicker on, and don’t stop until it looks like the country has got the bad case of chickenpox. Then, it zooms out, showing the whole world map, and more dots appear. They’re sparse in some areas compared to others, but the message is made clear enough.

Yet, before anyone could fully digest even the point Clark was trying to make, the funniest thing happens.

The dots begin to move. They weren’t just markers, they were trackers.

Some move faster than others, all of them blinking for a moment before shifting, showing their movement. There aren’t any labels, but the direction seems to be clear enough. Especially as the map zooms back into the United States, and shows the movement there a little more clearly.

On the East Coast, all of the dots closest to there seem to be moving towards two cities in particular – but before it can be shown where they are clearly moving towards, the power cuts. The batcave is swallowed by darkness, and the vigilante family is left in complete darkness for a few moments. The cave being the most dark any of them have seen it, and the silence near deafening.

It doesn’t take long for the lights to flicker back on, but they have the oddest shade of pink, and as everything powers back on – the ventilation is still paused, and something else has taken place of the map on the batcomputer – it’s taken over every screen even remotely connected to the advanced computer, actually.

A red solar eclipse with a timer right on the bottom, counting down. No explanation, nothing aside from the eclipse and countdown.

There’s no way someone in the cult could’ve got into the system, and especially not tonight when they were all on high alert and keeping an eye on them! It wasn’t possible, the security in the cave and manor would’ve been enough to stop anyone from getting in, or at least notified any of them if someone had gotten in. Hell, Damian’s sense and trigger would have alerted him if anyone had so much as stepped onto the property that wasn’t supposed to be there. There are too many precautions put into place for this to happen – and for the sight to stay on screen as well.

That didn’t leave many possibilities, and it was less about the why and more about how this could even happen. Which, amongst the options to shift through… with the threat they were dealing with here, only one seemed to stick out and seemed the most plausible.

There was a traitor among them.

#yandere batfam #yandere dc #yandere batfam x reader #yandere dc x reader #yandere x gn reader #gn reader #yandere batfamily #yandere batfamily x reader #yandere duke thomas #yandere cassandra cain #yandere dick grayson #the red dawn

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empyrealoasis · 2 days ago

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꩜ .ᐟ Shadow work prompts + benefits ༄.°

For shifting, pure consciousness and manifesting

"You need to look within, not out, for all the answers you seek are already within you"

ଳ benefits ଳ shifting ଳ void state ଳ manifesting ଳ bonus prompts

ଳ Benefits ⋆˚࿔

Engaging with these shadow work prompts is incredibly beneficial because it allows you to confront and integrate your shadow self—the hidden, suppressed aspects of your psyche that influence your thoughts, emotions, and actions. Your shadow self is not your enemy; it is a part of you that holds valuable lessons and insights.

By acknowledging and embracing your shadow self, you open the door to profound personal growth and healing. This process is not limited to manifesting, shifting, or inducing pure consciousness—it is a way of connecting with the suppressed parts of yourself, including those you may feel ashamed of or try to avoid.

By learning more about your shadow self, you can uncover hidden patterns, fears, and strengths that impact not only your current goals but other areas of your life. It allows you to move forward with greater self-awareness, emotional balance, and alignment with your true potential.

ଳ Shadow Work Prompts for Shifting ⋆˚࿔

What limiting beliefs do I hold about shifting? Where did these beliefs come from?

Do I truly believe that shifting is possible for me? Why or why not?

What fears arise when I think about successfully shifting?

Am I afraid of leaving my current reality behind? Why?

Do I feel deserving of living in my desired reality? If not, what makes me feel unworthy?

Are there any experiences or relationships in my current reality that make me hesitant to shift?

How do I feel about my current reality? What emotions or situations am I trying to escape?

Do I feel pressure to shift quickly? Why do I feel this urgency, and how can I be more patient with myself?

What does my desired reality symbolize for me? Does it represent freedom, happiness, love, or something else?

How would I describe my relationship with control when it comes to shifting? Am I trying to force the process?

ଳ Shadow Work Prompts for the Void State ⋆˚࿔

What do I believe about the void state? Do I see it as easy or difficult to access? Why?

What emotions come up when I think about entering the void state (e.g., fear, excitement, doubt)?

Am I afraid of the stillness or emptiness of the void? If so, what does it represent to me?

What would happen if I fully let go of control and surrendered to the void?

Do I trust myself to enter and utilize the void state effectively? Why or why not?

How do I perceive the idea of being alone with my thoughts in the void?

What fears or doubts arise when I think about my ability to manifest from the void?

Am I approaching the void state with an attitude of trust, or am I overcomplicating it?

Have I been comparing my void state journey to others’? How has this affected me?

What would I gain by fully embracing the void state? What would I lose?

ଳ Shadow Work Prompts for Self-Concept as a Master Manifester ⋆˚࿔

What do I believe about my ability to manifest anything I desire?

Do I see myself as powerful and capable, or do I doubt my abilities? Why?

What past experiences have shaped my beliefs about manifestation?

Are there times when I felt my manifestations failed? How did I interpret those experiences?

Do I fear my own power as a manifester? If so, what scares me about it?

What does being a "master manifester" mean to me? Does it feel achievable?

How do I handle setbacks or delays in the manifestation process?

Do I believe in instant manifestation? If not, why?

How do I respond when things I manifest show up in unexpected ways?

What blocks do I feel in my manifestation practice, and how can I start dissolving them?

Do I feel worthy of having my desires fulfilled? Why or why not?

What stories have I told myself about why certain things haven’t manifested yet?

How do I speak to myself about my manifesting abilities?

Am I placing too much focus on the "how" and not enough on the "what" and "why"?

If I fully trusted my ability to manifest, how would my life change?

ଳ Bonus Prompts: For your Journey ⋆˚࿔

How can I show gratitude for my progress so far, even if I haven’t reached my goal yet?

What lessons have my challenges with shifting, the void state, or manifestation taught me?

How can I balance self-discipline with self-compassion in my practice?

What would it feel like to fully embody the version of myself who has already succeeded?

How can I let go of resistance and flow with the process instead of forcing outcomes?

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artist-issues · 10 hours ago

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No, they shouldn’t have said it at all. Shouldn’t have hinted at it, shouldn’t have implied it, shouldn’t have brought it up or nudge-nudge-wink-winked at it as a reason.

Read what I said. If inbreeding is the reason they are hinting at for Moana to need to leave the island and connect the world, THEN “inbreeding” was a terrible choice of reasons. Because, as you say, they can’t show it or tell it to the audience directly. Meaning the audience can’t make a connection with it, emotionally, as a compelling reason for the story. Meaning they don’t make a connection with it, emotionally. Meaning the whole movie falls flat. So. “Inbreeding” was a terrible reason for them to choose, IF they chose it, for Moana to leave.

I don’t know how to be clearer.

Saying “it’s impossible for Maui or Moana to die because they’re main characters” is very silly. Main characters die in good stories all the time. The main character dies in Sunset Boulevard. And in Saving Private Ryan. And in Titanic. If you need kids’ stories examples: Charlotte’s Web, Bridge to Terabithia, The Hobbit, The Princess and the Frog. Close-and-impactful-to-the-main-character characters die all the time too. Mufasa, Bambi’s mom.

You’re making me repeat myself. I said, the theme and impact of what they were TRYING AND FAILING TO SAY: “We Can Be Together Even If It’s Different” could have been said and saved if they had simply killed Maui and given Mini-Maui + what Maui Represented to a new character. That would have said “We Can Be Together Even If It’s Different.” But they did not do that. And if Maui remains alive but for some arbitrary reason Moni just reminds everybody of Maui, that does not strengthen the “We Can Be Together Even If It’s Different” theme. Because it’s not different. It’s not different if Maui is still around—then there’s no reason to worry about being “together…” because you’re still TOGETHER. You’re never apart. So then that message is pointless.

Also, I never said anything about how Moni was “not” Maui-like. I said he was another example of wasted potential in the movie.

When did you ever read what I said?

Sounds like Moana 2 felt like the rushed tv movie it was supposed to be.

THIS IS THE MOANA 2 CRITIQUE POST

I'm tired of excusing things with the word "rushed." If you have less time to produce, you should simplify what you're trying to say. That way, all your small amount of time can be spent on carefully building the best way to say it. Moana 2 felt very unfocused. It felt like it was trying to say:

"You Can’t Survive in Isolation" (but like why not? why do they need their neighboring islands? Don’t make up a reason—tell me the reason the movie showed you.)

"There's Always Another Way” (what? As opposed to what? One way? What One Way was Moana demonstrably sticking to before the not-really-villainess sang her song? Wasn’t finding that One Way ((“learning where to go by remembering who you are/where you’ve been”)) the whole point of the first movie? Now we’re throwing that out the window?)

"Together But a Little Different" ("Different" as in 'In-New-Circumstances' not "Different" as in 'We’re-Different-So-It’s-Hard-to-Relate-to-One-Another,’ which would've been the better, more cohesive sense of ‘Different’.)

“Something-Something Stories Are Important” (literally they just substitute the phrase “we’ll die” with “our story will end.” No mention of why that’s bad, or what makes a story a story, no reason why stories are important, or what for, just throwing the word “story” around vaguely.)

And none of those "themes" I listed just now had a lot of work put into them. That’s it, in a nutshell. But I can flesh-out my argument for those, and present what I think they could’ve easily done differently, if they’d just picked one and worked hard to make it simply good. SPOILERS BELOW.

“You Can’t Survive in Isolation”

We're told in a quick vision that Moana's people will die if they stay in isolation—but there's no showing us that.

In fact, what we've been shown is that they're thriving, they're fine by themselves. They were in the first movie. They are at the beginning of the second.

So we're not convinced that they need what the whole adventure is supposedly about. Compare that to the first movie! Totally doesn't measure up to the storytelling quality!

In the first movie, the whole first act sets up the idea of darkness reaching through the ocean from Tefiti's missing heart, killing everything. That’s especially bad for Moana’s people. We know that because we’re shown how Moana's people are so deeply connected to the ecosystem of their island, and how every part of it is needed for their way of life to continue—then were also shown that Moana has a deep, personal longing to leave the island. There’s a real connection to home and an urgent need to leave it, and that creates really good emotional tension.

So by the time we're shown (not told in one scene, or through snatches of overdone dialogue, but shown) how the darkness will destroy everything if she doesn't go, we really believe it. We have lots of reasons to empathize with and believe in Moana’s reason for going on this mission. We also feel for her having to make the big decision; we’ve been shown that she’s trying to live up to her responsibilities, and leaving the island would seem like a dismissal of those responsibilities, but we can also see how doing nothing and staying actually would be a dismissal. We feel that tension because they showed us several believable reasons to feel it.

But when Moana is singing “Beyond,” which is supposedly about her conflicting feelings about leaving, and the need to go? I’m just bored. Not emotionally invested. I just saw her going back-and-forth, leaving and coming back, leaving and coming back, one song ago, in “We’re Back.” And everything was fine during that song. Leaving-And-Coming-Back is the dream she’s been living as a voyager. So why is she suddenly convinced it’s a hard decision to…leave-and-plan-to-come-back?

“Because the last voyager died doing this mission she’s about to go on! She might die too!” Okay but all you did was tell me that. You didn’t show me Moana nearly-dying (like she did the first time she tried to cross the reef, or the first time she tried to tackle Te Ka on her own) and then realizing, “gee, oh no, I could die this time,” and then having to make a renewed decision to go anyway. You didn’t put work in, so I don’t believe it.

But the emotion Moana is feeling about leaving is also undercut, like I said, because there doesn’t seem to be a need for her to leave. All they did was tell me that Motunui is in trouble if it stays isolated. But no proof. They were fine isolated from other islands in Moana 1. They have been fine up until now in Moana 2. One random vision of an empty pavilion for three seconds isn’t going to make me forget that and believe that continued isolation will do anything negative to them.

And another thing, what does “uniting with other islands” even mean?” Why would it be such a good thing?

Nobody mentions trade. Nobody mentions learning from one another, or demonstrates learning from one another. Honestly, having Kele teach Moana or Moni or the Kakamora, an actual other-islander, about farming would’ve been a great demonstration of “why we need to meet new people and get out more.”

Having Kele LEARN TO SWIM would have been a SLOW ONE DOWN THE MIDDLE.

But nooo. They just half-bake suggest the idea that the old man doesn’t like leaving his comfort zone, but then never let one of the others have a real conversation with him about why he needs to learn new things from new people. NEVER. It’s just “bouncy vague song, almost-jump-in-the-water-under-coercion BUT NEVER ACTUALLY DO IT, banter and one liners” for the rest of the movie! (And don’t tell me Kele “learning to speak Kakamora” was an example of him “getting out of his comfort zone.” No. Kele never demonstrated a lack of desire to meet and learn new things from strangers. He demonstrated a hatred of fun and the ocean. All the others could also understand the Kakamora literally whenever they needed to, so that wasn’t a special-character-arc for Kele.)

Even though, my point is, they could’ve easily had a character arc for Kele. And that would’ve had something to do with “learn new things from new people, or die stagnant and stuck in your ways,” look, see, a mini-object-lesson in one character’s journey about the theme of the movie. But noooo

They could’ve done the same type of “learn-something-new-or-die” with Moni. Have him be convinced that doing things the “traditional Motunui Wayfinding Way” on this, his first adventure, is the ONLY way to do things. But he’s not good at it, no matter how much head-knowledge he has. And then the Kakamora (or literally any non-Motunui-character) could’ve shown him a newly-developed style for him to learn and grow.

They could’ve done the same type of “learn-something-new-or-die” with Loto. But nope. She just has a really poorly-done, poorly-written, poorly-performed snippet of a song where she mentions how… “perfection is a myth, the journey is just failing, learning, then death, no destination, ever.” But that ridiculous, absolutely absurd worldview is not portrayed as something she’s wrong about or needs to grow out of. It’s portrayed as a good, quirky, revolutionary thing.

But that’s not the same thing as portraying the value I’m describing. Loto just sings about it and invents-and-reinvents canoes. She does not learn how to make canoes from outsiders. She doesn’t learn anything from anybody. She is portrayed as a solitary genius with her own ideas who’s never once shown to be wrong about anything in the whole movie, and everything she tries works. She never messes up or makes a mistake, for all her singing about it. So she never actually “falls on her face, then gets up and learns.” Even though learning from others would be the literal only way for her character to portray the idea of this vague theme they throw out there, “You Can’t Survive in Isolation.”

The point is: there is no reason, in-movie, SHOWN, for the audience to believe that Moana should “re-unite the islands.” There’s no believable demonstration of why that would be a good thing, and no believable demonstration of why not doing it would be a bad thing.

So then why do we care if she risks her life and Maui’s life to re-unite the islands? For a bunch of nameless nobody background characters to show up for a five-second afterparty on Motunui at the end? Ridiculous.

Moving on.

“There’s Always Another Way”

So BUMP ALL THAT, I GUESS.

Matangi, everybody’s Cherished Hope for a New Villain, sings a song and it’s about “get lost, there is no one way, there’s always a different way.”

Fine. Cool. Whatever. The whole point of the first movie was that there’s this symbolic, ancient, WAY of sailing and living your life bravely. And Moana doesn’t know what that One WAY is because her tribe had forgotten it, so she has to learn it. It’s cool, because you navigate by looking at where you’ve been, to see where you’re going. It’s the whole “remember who you are in order to face life’s challenges, not hide from them.” That’s “the Way.” But whatever. Dump that down the toilet, new movie. You know why? Because everybody’s obsessed with “There’s No One Truth,” and “There Is No Right and Wrong,” and “Let’s Experience Things Just to Experience Them, the Journey is the Destination Because We’re not Going Anywhere!” Blah blah blah ridiculous inane sewage slop.

BUT whatever, fine, IF you mean it in a “There’s Lot’s of Ways to Solve Most Problems, Try Try Again,” sense, that’s okay. That’s true for most problems (not all, but most, certainly there are more than one ways to sail.) Sure. that message, if that’s what they mean, is fine. That’s the sense in which Moana takes it, at least, when she dives down to touch the Core Island and break the curse instead of it rising.

But you know what? Yeah. They don’t flesh it out. They don’t take time to show that that’s what’s happening. Moana doesn’t try to teach her new crew how to sail, and they suck at it, but if she lets them do it their own way or whatever, then they work—and she learns there’s “more than one way.” That doesn’t happen.

The Kakamora that joins their team doesn’t solve all his problems with blow darts, or violence, or whatever—and then Moana, or the kindhearted Moni, or the peaceful Kele, tells him, “no, there’s another way, you don’t always have to do things your violent way.” That doesn’t happen.

Loto has one moment where she applies the way she was already living according-to, from the moment we meet her, not a NEW way, to the canoe so that the gang can out-sail magical waterspouts. And it works for like twenty seconds, is played like a great triumph, before they all get smashed into the ocean anyway.

Kele, again, would’ve been a great example of “learn to do things in a different way, or problem-solve by try-trying again.” Because he’s old and they set him up as hating life for no reason and not wanting to do new things. But they didn’t do anything with him.

And guess what else—at the end—when Moana has her own demigod powers, and her own magical-arm-tattoo ripped off from Tears of the Kingdom—guess what her magic power is?

To stick her oar in the water, and light up one current or “path” for the boat to take to a new destination.

A Path. ONE SINGULAR SOLITARY WAY.

Not “a new way.” Not “all possible ways.” Not “multiple ways.” Not even two ways. One. Even though the big lesson she sacrificed her life for, even though the one and only song Matangi got to sing, was about how “there’s always another way.”

WHILE they’re singing a reprise of, “We Know THE Way.”

It’s like being in a conversation with someone who starts a sentence and then forgets what they were saying halfway through, and winds up saying worse than nothing.

“Together, But a Little Different”

Like I said, if you told me that the Main Point of the movie (not one of many vague ideas, but the Main Point) was “Together, But a Little Different,” I immediately would’ve said:

“Oh, so it’s about having to adjust to long-distance relationships. Maybe even death.” Or, maybe, because I saw the trailers, I’d go, “Oh, so it’s about keeping what makes us unique, but uniting when we need to, in spite of our differences. ‘Together, But a Little Different.’”

No. It’s not about any of that. It’s just a phrase the Grandma’s Ghost says whenever she hugs Moana to remind her that she’s still “with her.” She’s still with her; she just glows and can shapeshift into a manta ray now! That has tons of application for real life. 🙄

It’s supposed to be her words of comfort to pass on to Moana, who can then pass it on to the people in her island, so they know that she won’t “ever really leave them.” But like. Then why should I care that she’s leaving them? Why should that be sad? If there’s no sacrifice in being apart, in leaving for the adventure, then the adventure keeps feeling low-stakes and boring and kind of pointless.

If you tilt your head and squint, it’s also maybe-applying to Moana’s pointless ugly annoying Little Sister character, Simea. Simea is in the movie so that someone can be immature for three seconds about how Moana’s always gone from home. And I do mean exactly three seconds, that’s all the emotional drama we get, and it’s not built up to either. She says, “Never come back? -sniff sniffle- I don’t want you to gooo!” And then runs away and then Moana takes a break from singing the next day to briefly explain to Simea about how she can pass messages through the ocean. Then she’s fine.

But the way this theme is thrown around, you think it would mean, “Moana Has to Go Away Sometimes, But if You Remember Her She Never Leaves You.”

But seriously. Again I say to you, who cares? We know Moana is coming back. We know that. Nobody in the audience seriously believes she’s never coming back when she leaves for this adventure. If we did, maybe we’d care that Simea cares. But we don’t.

Even when Moana “dies,” and it’s the perfect time to be like, “seeee, what we feeeared has happened, she’s dead, she can never go home to Simea!” THERE IS NO FOLLOW-THROUGH. There’s not even a cut to Simea back on Motonui, feeling through the ocean or the Force or whatever movie mumbo-jumbo that her sister is gone. And there is not even a deadline, in the movie, for Moana to accomplish this mission, so it’s not like she could be running late and we could get some scenes of Moana’s family mourning. Simea having to do something, take some big step, that show’s she’s willing to go on even if she can’t be with Moana anymore because she believed Moana about how she’s always with her—something like that.

My point is, Simea has no real point, so she doesn’t add to this “Together, But Different.” idea at all. And we already know that it doesn’t mean, “overcome our differences” from what I said in the first Theme.

But what they could have done? They COULD have gone whole-hog and MADE MOANA A BELIEVABLE DEMIGOD. Instead of a vague joke about tattoos that leaves the question open-ended, a pointless and theme-breaking display of shiny superpowers, and no other change to the status quo—

—they could’ve shown that there are consequences to that action—maybe she’s a Demigod of Navigation, or something like that, and the condition is, she can sail around connecting islands, but she can never stay on one too long. So she’ll never be able to live with Simea and her parents again on Motunui, but it’s the price she has to pay to connect the islands. Then she’d have to show Simea how they can still be “Together, Just a Little Different.”

Or someone could’ve gotten hurt or disabled, giving off the idea that even though everything is “different,” they can still be “together.”

Maui could’ve died and passed his fishhook powers, AND MINI MAUI, on to Moni or Moana. “Together, but different.”

Nothing, nothing at all like that happens. It’s just a pretty phrase that could’ve meant something, but any meaning it actually has hamstrings the whole emotional weight of the story instead of fueling it.

“Something-Something Stories Are Important”

The thing here is. I already said it. You can’t just say words and expect them to be impactful, in a story. You’re supposed to show what they mean and why they’re true, and THAT’S what creates an impact.

So when you’re talking about “stories” in a story, you definitely should not have nothing to say.

And I can feel it. I’ve seen none of the promotional material, I don’t watch the interviews, I haven’t checked BuzzFeed or ScreenRant or the Disney Youtube page in a while, but I can feel it.

I can feel them trying to say, “Something Something, ‘Storytelling’ is a big part of Pacific Islander Culture!” I can imagine the headlines. “[Actor or Disney Exec Name Here] Invites You to Celebrate Your Story with Pacific Islander Heritage Month!” They’re so into “culture as a marketing tool” these days.

But they say it so lazily. Just repeating the word “story” over and over in the movie doesn’t pay tribute to how important “stories” are to Pacific Islanders. Or to anybody.

You know what makes stories impactful? They point at truth, when the darkness and misunderstandings and evil of the world threaten to distract you or hide the truth. That’s what makes stories impactful. I’m sure Pacific Islanders use stories in that way—to pass on what they believe to be true, in a way that can be retold and remembered.

So MAKE THAT THE THEME OF YOUR MOVIE. Instead of just having Moana replace “Nalo wants to kill us” with “Nalo wants to end our story” for Empty Effect—instead of having Grandma say something about “your e

Okay okay.

Nalo is a silly, lazy villain. He is clearly a Thanos rip-off in design and introduction in a literal post-credits scene, and his most-present form, in the movie, is just a big ocean thunderstorm. But the laziest thing about him is that he’s the Conflict that everyone is trying to rise up and overcome, and the whole reason he sunk the Island was “He gets power from humans being divided.”

That’s never explained. It’s never shown at all why he gets power from the vague “humans are divided” thing. He has no scenes. He has no interactions with other characters (till the end-credits scene.) A range of his power, like “here’s what it looks like when the humans are divided—oh, now here’s how much less-powerful he is when they’re together!” is never shown. So. No consequences if the heroes fail, no change to the status-quo, villain-wise, when they win.

If Nalo wanted to end their stories, though, that would be another thing.

Stories are meant to be told. They’re for the benefit of others. So what they should’ve done is made the secret key of Nalo’s power hidden. Unknown. Nobody knows how to beat him. And he’s not sinking some unfindable island in another dimension. He’s just devouring the resources of the weather with his ever-more-powerful storms, (kind of like the darkness leaking through the ocean from the first movie) and nobody can stop him.

But that’s because each island, around Oceania, has clues to how to beat him. Clues in their stories. But they can only sail so far from what they know before his storms kill them. So he’s literally making them weaker by using his power to keep them apart, and making himself stronger by defending his weakness. Now they can’t Wayfind to each other, and learn one another’s cultural advancements or stories or beauties, because Nalo is powerful enough to make storms that rip their boats apart. But if they could learn from one another’s stories about the things their ancestors used against him, they could get rid of him.

That’s what they should’ve done. Shown why Nalo was a threat and how the Main Theme was the key to overcoming that threat.

They did not do that.

They made stories just a hot button word to be thrown around with no impact. In a story.

The point of this post is that Moana 2 had a lot of potentially-good points, and it made none of them, so it was totally unsatisfying. If it had just focused on one, the other little benefits they were trying to fit in could’ve been mentioned more naturally.

The way that Beauty & the Beast is all about ONE theme: “True Love is Self-Sacrificial.” But because of the tools it uses to tell that story—a beast that it would take a lot of self-sacrifice to be stuck with forever—you get little side-themes thrown in, supporting and draping decoratively over the ONE theme: “Beauty is Found Within, So Don’t Be Deceived By Appearances,” etc.

Moana 2 should’ve just picked the Story One, and it could’ve had that theme, and it’s cultural-nod cake, and it’s unifying-effect cake, and EATEN IT TOO.

And we could’ve eaten it. And WE could’ve enjoyed it! But no. Money money money lazy lazy lazy.

#this is starting to irritate me #Moana 2 #character analysis #themes #very long post

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