#about; || thomasin;

[llimerrence]

also here's the line that absolutely sent me earlier:

No, It wouldn’t be until she finally looks at little Philip, who is crying in relief that she’s home, that she would realize she was alive. And only then would Thomasin realize that she had seen hell, she had survived it, and it is now standing in her room, clutching to her as though she was salvation.

[archive-double-knots]

Thomasin sits at the table, picking leaves off their stems and dropping them into the waiting pot of water to soak. Looking outside, she sees the Wittebane boys helping her father with the daily chores.

"Mom?" Thomasin asks, continuing her work. "Why can't I do what Cale and Pip do?" She looks to the woman, stirring a pot above a small flame. "I can't wear pants, and I don't get to do the chores with Dad, and I can't shoot the muskets either."

"Because those are things that boys do." Felicity responds, lifting the ladle and watching as the green liquid dribbles back into the pot.

"But why just boys?" Thomasin asks, shifting so she can sit on her knees; now able to reach across the table to get the rest of the herbs. "You let me do that sorta stuff before the brothers came to live with us. And now, we even do this sorta stuff in secret too."

"That's because the Wittebanes aren't one of us." Felicity replies, her eyes glancing out the window to watch as Caleb took the axe from her husband. He was capable, and far more open minded than the others in their town. "They're one of the townsfolk, of Gravesfield. And we don't show ourselves to them. We blend in." Yes, in time, Caleb Wittebane would make a fine suitor for her daughter. He'd be someone who could fit into their world. "Remember, the townsfolk won't accept us. Won't like us. They'd chase us, hang us, burn us. They would never let us go."

Thomasin thinks this over, watching as Philip tries to take the axe from Caleb, who simply seems to hold the axe out of reach. A small sigh escaping from her lips, "Then why do we live here? Why live in Gravesfield if they don't want us here?"

Felicity blinks at this question, lifting the ladle up once again; this time catching the liquid into one of her signatural shaped vials. Ones that her husband had made for this sole purpose. As it fills into the vial, it slowly takes on a gentle glow.

The older woman walks over, placing the vial into Thomasin's hand, before crouching down low. Now, looking up into her daughter's beautiful aqua colored eyes, her own forest green eyes also appear to glow the same as the vial.

"Remember, Tommy, the fox never looks for a mouse in their den."

A sinful smirk lifts on to the woman's lips; as she presses Thomasin's hands around the vial even tighter. Thomasin's eyes begin to glow a pale blue, and the vial feels warmer than before.

"No matter the predator, it never searches its own home first." Felicity continues, "Hide in plain sight, befriend them, offer them gifts, tell them praise, and give empty words of flattery. Do whatever it takes to keep them from suspecting you. That's the only way to live."

Thomasin nods, the vial is burning against her skin. Her lips part, as if to ask a question, but instead, she closes her eyes, and feels the magic flowing out of her into the vial. Suddenly, her mother's hands leave hers. Her eyes open, and so do her hands, looking down at the vial now containing a bright blue liquid.

"If I hide in the den, will I eventually get to live as a fox? Or am I always stuck being a mouse in hiding?" Thomasin asks after a moment, looking up at the woman who returned to her pot.

"Tommy, if you manage to live in the den, you'll be something even greater." Felicity chuckles, gesturing to the window; at the Wittebane brothers.

"You'll be a mouse with two foxes bowing before you."

[normalbrothers]

you know john's whole 'tommy i need a wife now because my kids are running around at night and i can't handle it bla bla ' is funny. because maybe if he got less drunk in pubs and spend some time at home, this wouldn't be an issue. and thinking of, on the topic of who's the most like arthur sr? you bet it's john.

[apricote]

💍🤍

[jane-not-rizzoli]

Eileen is Carol for people whose Barbie was Poor Things

[awakenatmidnights]

it's now 2am, i just finished "last night in soho" and i can't help but feel like this movie just changed the trajectory of my life

[afabstract]

Joy Review: Engagingly Understated Tribute to IVF Pioneers

Joy, starring James Norton, Thomasin McKenzie, and Bill Nighy, brings the inspiring journey of IVF pioneers to life with understated elegance and heart.

⭐⭐⭐⭐ Rating: 4 out of 5. Director: Ben Taylor Writers: Jack Thorne, Rachel Mason, Emma Gordon “You’re aware they’ll throw the book at us? The church, the state, the world. We will unite them all against us.” “But we’ll have the mothers. The mothers will back us.” In the early 2000s, when my brother and I were still school kids, we heard about a couple in the family whose daughter was a…

[rose-of-oz]

For the plot bunny ask game: Ruby Barker + Little Women (2019) please??

@dancingsunflowers-ocs ✨💛✨

Oooh, okay, this one kinda slays, thanks so much, Alexandra!! (Also gonna tag @ginevrastilinski-ocs since I think I remember her liking Little Women?? <3)

NAME: Alice Thomasin.

LOVE INTEREST: Meg March.

SUMMARY: Alice had been loving Meg March from afar for as long as she could remember. Though the two young women had never exactly been friends, as it were, since the March sisters were not always able to come to social gatherings and Alice, being the eldest daughter of a wealthy family, was expected to attend all of the ones that were held, they had always been friendly, and it had only taken a view short conversations for Alice to fall into a dizzying, head-over-heels love for the other girl that had lasted a long time. However, she has never been able to be sure that Meg feels the same things she does about other young women, and so Alice has resigned herself to pining from afar and eventually marrying someone that her parents choose for her - until, during a social call to old man Laurence’s nephew results in an offer to spend more time with the March sisters, which leads Alice to believe that, just maybe, she might have a chance with the object of her affection after all.

OTHER INFO:

We’re just gonna pretend that homophobia doesn’t exist in this time period and that two women can marry each other, okay? Okay.

Anyways, yes, meet Alice! My dearly beloved hopeless lesbian who falls in relatively unrequited insta-love with Meg that eventually does turn out to be requited, once it’s been given some time.

Basically she’s over paying a social call to Laurie and his grandfather when the sisters come over to visit Laurie, and Jo really likes her after talking to her for a bit and offers her a membership in their play-writing and performing club, which the others don’t have nearly as much of a problem with as with Laurie given that at least Alice is a girl. Seeing an opportunity to be close to Meg for a while, even if she still can’t have her love returned, Alice accepts immediately.

Their love story is kind of a ridiculous slow burn, because Meg still needs to accept the fact that she likes women before she can even acknowledge whatever feelings she might have for Alice, but they do eventually get together and get married and the whole thing, and it’s so sweet and soft and lovely.

Alice develops an amazing BROTP with Jo, and is actually the one to help the other girl realize that she’s aro-ace (because you can pry aro-ace Jo from my cold dead hands, so why shouldn’t I make it canon if I can?).

send me a fandom and a faceclaim/love interest and i’ll make an oc!!

[randomestfandoms-ocs]

Fandom: Bridgerton + FC: Anne Hathaway

Yes yes okay

Thomasin Elkins in Message In A Bottle (x Jon Lockwood)

Details tbd, she's a widow and has been a widow for at least a few years, close friends with Violet and Agatha. Jon asked her to dance at one ball to avoid intense mamas, they flirted, she's not sure if she should but she wants to be with him, Jon adores her and wants whatever he's willing to give her

head empty on plot they're just vibing

[folklorepoetsdepartment]

watched eileen (2023) yesterday at the cinema and not to be all i’m a creep i’m a weirdo but why was i the only one laughing at the funny parts

[hayleylovesjessica]

Anne Hathaway: I'm Rebecca. Thomasin McKenzie: I know

Me: (screams)

[llimerrence]

Things that should be analyzed tm but i cant because i just get emotional: (Note: all of these were not planned and mainly things i noticed long after i did it lol)

Tia's magic is golden in color. && Golden guard / Hunter's magic being gold

Empress Tia being called Aunt/Auntie by Hunter

Thomasin having silver/white hair / dressing in pastels && evelyn being all dark colors in both clothes and hair

Thomasin slowly going from dark forest greens to bright red and pink pastels to midtone purples

Her middle name being "Memorantia", which means "Remembering", and her immortality curse

Philip being the reason Thomasin got trapped and Hunter being the reason she gets free

Caleb calling her "Memora", but Philip calling her "Tommy"

Tia's mother being burned alive && Tia's speciality being fire/lightning magic

[archive-double-knots]

now the only question i need to answer is: what the fuck is thomasin actually doing with her life 4 years later

she literally has no reason to continue living. Belos is dead. Philip has been dead for years (and she would come to accept that during 'thanks for them'). Caleb is gone, and he can actually rest now that Belos is gone. She'd be able to find the traces of her family and such within the first year of the aftermath.

But Thomasin is still cursed. As long as Gravesfield continues to tell the story of the Wittebane brothers, as long as the Isles speaks of Belos; as long as the Collector lives to remember the events; Thomasin will remain.

Thomasin will live as long as the remains of her former friends sticks in someone else's mind.

[darishima]

THOMASIN MCKENZIE YURI?!?3!2?2!2!3!3!3!:!:!:!3!3!4!:!:!3?3?4?4?3!3?3!2!3?3!4!3!4!3!!3!3 I OWE YOU TWELVE MILLION DOLLARS/EUROS/POUNDS/ETC

GODDAMN RIGHT IVE GOT THOMASIN MCKENZIE YURI!! so much of it in fact. ... THANK YOu!!!! <3333

[apoloadonisandnarcissus]

“The VVitch” (2015) and “Nosferatu” (2024) Are More Similar Than You Think

Robert Eggers made “The VVitch” and then thought: what if Thomasin and Black Phillip/The Devil had an demonic sexual love story going on? Time to make my own version of “Nosferatu” (the first script is from 2016).

This man is really out there making historical horror movies about ostracized women making pacts with the Devil.

“Wouldst thou like the taste of butter? A pretty dress? Wouldst thou like to live deliciously? […] Wouldst Thou Like to See the World?”

“You are not for the living. You are not for human kind. And shall you be one with me ever-eternally. Do you swear it? […] As our spirits are one, so too shall be our flesh. You are mine.”

How these films are similar:

Both Thomasin and Ellen pray for something at the beginning of the film, and the Devil answers: Thomasin asks for forgiveness and guidance, Ellen prays for companionship and tenderness;

Both Thomasin and Ellen are ostracized in connection with their womanhood and sexuality: Thomasin is growing into a woman, and Ellen has “hysteric fits” with strong sexual undertones;

The Devil (Black Phillip and Orlok) essentially kills everyone around them, until they are the only left, to force their hand into accepting him (a bit different in “Nosferatu” because it’s a remake);

Both films have a pair of children which are “foreshadowing bombs” in the narrative (Mercy and Jonas in “The VVitch” and Clara and Louise in “Nosferatu”);

In both films, the Devil offers something tempting to both these characters, which they accept: Black Philip promises freedom and knowledge, and Orlok promises eternal passion and sex;

Both pacts involve blood sacrifice and death to seal them: in “The VVitch” Thomasin kills her mother, in “Nosferatu” Ellen kills herself alongside Orlok.

Thomasin was accused of being a "witch", a “whore” and having a pact with the Devil by everyone around her, until she actually did at the end. Ellen is also seen as “deranged”, “diseased” and often compared to supernatural beings ("changeling girl", "sylph", "fairy", etc.) until she becomes just that at the end, too. They are both the Devil’s concubines.

“I’m that very witch. When I sleep my spirit slips away from my body and dances naked with the Devil. That’s how I signed his book.”

Thomasin taunts her sister, Mercy (“The VVitch”, 2015)

In another post, I already explored which demonic figures Ellen and Orlok are meant to be in this adaptation: Babalon and the Beast.

There I saw a woman sitting on a scarlet beast that was covered with blasphemous names and had seven heads and ten horns. The woman was dressed in purple [lilacs] and scarlet [blood], and was glittering with gold sunlight precious stones and pearls [sunlight]. She held a golden cup in her hand, filled with abominable things and the filth of her adulteries. The name written on her forehead was a mystery: Babylon the great, the mother of prostitutes, and of the abominations of the earth.

“Scarlet beast” = Orlok, a vampire

“blasphemous names” = names of the Devil

“Seven heads” = heptagram, the seven-pointed star (Orlok and Babalon’s sigils)

“Ten horns” = ten lilac flowers

“Golden cup” = it’s the Holy grail = womb

“Filled with abominations” = sex with Orlok, necrophilia

“Filth of her adulteries” = she’s married to Thomas before God, and she’s defiling that vow on their marriage bed

“She [Babalon] rides astride the Beast; in her left hand she holds the reins, representing the passion which unites them. In her right she holds aloft the cup, the Holy Grail aflame with love and death.”

Aleister Crowley, “The Book of Thoth”

In some occult circles, this “Beast” is the Devil himself, which makes me ask: is Orlok the Devil?

Not only he’s referred as such several times in the actual film, but also the fact he was one of the Solomonari, a dark wizard, in life, a servant and a student of the Devil. We are told “the Devil preserved his soul that his corpse may walk again in blaspheme.” So… who’s actually walking in that corpse? Orlok’s soul or the Devil? Being a servant to the Devil is being a puppet to the Devil, essentially. This is pretty much what the abbess says to Thomas: it’s the Devil that makes Orlok’s corpse walk.

In another post I already talked about how Orlok prepared his own physical death, because the book containing the “maiden’s sacrifice” was found by Von Franz in Knock’s office, his fanatical servant, which is shady to say the least. The Devil is a deceiver after all (as Ellen herself accuses him of being), so making the heroes believe they are beating him while doing exactly what he wants them to do, it’s not far fetched, and even rooted in religious belief.

Why would Orlok want to die in the physical world? Because he wants his spirit to be set free, he doesn’t want to be trapped in a freaking rotten corpse, which explains why he tells Ellen she’s “his affliction”; she’s the one who trapped in that physical form when she awoke him, probably. He wants to return to spiritual form, and wants to take Ellen with him; which explains their covenant, and their blood sacrifice at the end to seal it. And Ellen was also fully aware of what she was signing for, she knew what her physical death would mean (being forever joined with him in hell, or the Underworld or whatever “celestial sphere”), and that Orlok would die too (obviously).

[see-arcane]

As a fan of the book Dracula and Dracula-adjacent media, I am very used to disappointment. I can still clap when the media is impressive while pretending the characters do not have the names they have. After enough trailers and interviews, I see Nosferatu 2024 is now sadly in that category, RIP to Thomas and Ellen Hutter, the un-Harkers set to get the Francis Ford Coppola treatment ala Robert Eggers. But if directors can play dolls and make the Mina/Ellen character do bloodstained kissy kissy with Dracula/Orlok, I can do this:

ACTUALLY SUBVERSIVE IDEAS I’D BE COOL WITH IN NOSFERATU (2024) FROM LEAST TO MOST COOL

Idea I’d Be Least Cool With, But Seems Eggers-shaped:

Ellen goes full Thomasin x Black Phillip, giving into the darkness~ ooh she loves her some Orlok, talk cadaverous to me babey~ And they make out bloody style and devour the puritanical human society because Eggers will pull a del Toro and make 99.99% of the human characters assholes not worth saving from the Horrors. Maybe Thomas and un-Van Helsing are left standing, maybe not. But it’s basically the Eggers MO of Monsters/Myths > Humans, however innocent or evil, extra dark ominous ending.

Idea I’d Be Somewhat Cooler With:

Ellen is 2 goth 4 U Thomas. But she’s also not oblivious to how Orlok is going to drink everyone. Which is bad. So she’ll 1) embrace her own dark inner lust and monstrosity~ while also 2) pulling a Bride of Frankenstein climax (We belong dead.) to see to it that she and Orlok are destroyed by sunrise. Not a ‘She was too pure for this sinful Earth!’ ending, but a ‘She was too gothique and eager to monsterfuck to hang around with you prudes. But fiiine she’ll destroy herself and her beloved Orlok to save you all or whatever. :/’ Which is slightly better than the scenario of un-Van Helsing and/or Thomas executing her and Orlok. So. Sure. Vampiric murder suicide, dying with her True Orlok Love (Orlove) uwu

Idea I’d Actually Be Pretty Cool With:

Eggers says he’s focusing on the sex/death drive and love story of Nosferatu (many asterisks here). If he has the guts for it, he’ll turn it on its expected heel and do the unthinkable—put a magnifying glass on Orlok getting very weird with Thomas. Who he drinks from first. And leaves imprisoned rather than outright killing him.

“But how do you explain him coming at Ellen’s invitation? What about the whole locket scene??”

Well, that’s where the bittersweet bit happens. Heavy on the bitter. Because if Eggers wants to really put his heel down on the horror part of vampirism and Dracula’s original MO, this would be the perfect point to do a bait and switch with Ellen herself. She wants Orlok? Wants him to ravish and drink her and make her one of his undead so they can be vampires together forever and ever?

“You want me. My touch, my gift. This I know. But the question remains,” cue that sharp little rat grin, “why would I ever want you?” Remember; the only one that explicitly craved what Dracula had to offer in the novel and in Nosferatu was the Renfield character. The one who saw the Count as a means to their end, who pined for him and what he could give. Bar the more sexual/amorous elements with Eggers-Ellen, she’s going after the same thing. This, when Classic Dracula is very much about preying on those who are terrified of and/or loathe him—he’s a conqueror, not a suitor. If you want it, he doesn’t want you. So it’s very possible that Ellen’s unwittingly set herself up for not only disappointment, but a potentially violent end.

“Sounds fucked up. But again, where’s the ‘love story’ bit? What’s up with him taking the locket?”

The locket that Thomas had. Of his wife, who he loves. Who he risked death and worse to crawl his way home to. Who, if he’s anything more like the novel Jonathan Harker he was based on, would become aware of Ellen’s condition/Orlokian preference and simply be heartbroken, yet still unable to turn against her. Ever.

Thomas Hutter’s heart belongs to Ellen, breaking or not. Thomas is also the one who Orlok clings to like his own shadow for the entire stay in the castle. The locket is taken not because it’s an image of Ellen <3, but because it’s an image of the competition/distraction for Orlok’s pet real estate agent who he is Very Normal about. And this is all supposing he doesn't just outright destroy the locket in a petty rage, per the vile thing-mirror scene.

The climax comes with Orlok about to off Ellen, only for Thomas to arrive and offer a trade. Him for her. Orlok takes the deal, latching happily onto Thomas and setting himself up for the sunrise trap. It would make sense. It would boot the old Reinforced Hetero rule of ‘he has to be drinking a pure maiden for it to work!!’ It would be genuinely subversive and tragic as a gothic love triangle, perhaps capped with un-Van Helsing arriving too late and finding Ellen grieving over the corpse of Thomas, Orlok having gone to burning dust as he fed.

Which could lean toward a special knife twist ending in itself:

Ellen mourns not just what was lost, but what she threw away, not realizing what she had in Thomas until he died for her. Tragique. ...Unless.

Ellen refuses to let un-Van Helsing ‘desecrate’ Thomas’ corpse with stake and saw. In fact, she kills him outright when he tries. Cut to the next evening, where Ellen sits patient and unblinking at Thomas’ bedside. The sun goes down. Cue some implying beat in which we realize that Ellen’s clocked that she’s been misinterpreting her prophetic dreams all this time. An epiphany that comes to fruition as we see her smile at some sudden change off-screen while facing Thomas’ cadaver on the bed.

The Embodiment of Death she was pining for was never Orlok, but Thomas. Rather, Thomas fully metamorphosed into Nosferatu.

“Come to me,” she whispers. “Hear my call…”

Thomas hears. A claw-tipped hand raises up to hers. The wedding ring on it gleams.

The End. (?)

It won’t happen. I know it won’t happen. But goddamn would I love to be proven wrong.