#anya the midnight club

[kashkadavr]

Anya

[neonstatic]

it's sad cus tammy and juno finally had a connection... when juno rambled to her abt how lonely she felt alone in that big house, you could tell that tammy was rly seeing her for the first time. and tammy invited her to her big event and gave her an assigned front seat with a personalised pack (that did NOT include poo!).... and then tammy lost it and juno received a mic stand to the head javelin-style

[dcvina-claires]

thinking about how steven told hill house’s stories despite never really believing them and how jamie kept dani’s memory alive through a story and how she thought it was a ghost story but it was really a love story and how the midnight club found solace in the stories they told each other and how season two was going to have anya star in ilonka’s story and how we really are all just stories in the end

[bodie-r-hart]

You want it darker

Gänsehaut um Mitternacht

THE MIDNIGHT CLUB

from the Netflix Series Episode 'Anya'

[sdcfrvgbthy]

spence: this place is a lot like mcdonalds illonka: what?! spence: you'll find out soon later the day anya: welcome to mctherapy can i take your disorder amesh: ive about mcfucking had it with this spence: say that one more time and ill beat the mcshit out of you illonka: what did i get myself into

[ashleybenlove]

Cheri singing Good Riddance (Time of Your Life) by Green Day at their little beachside funeral for Anya is like... fitting for Anya. I think she would appreciate that song.

I know that the original intent was a edgy sort of “fuck you” but yeah, people have claimed it for end of eras.

ETA: Also, it’s a CELLO cover. Fuck. 

[dontyoulistentome]

Y'all did a fantastic job with the gif sets and all those edits, but which one of you fuckers (affectionate) was gonna tell me this was victim to Netflix's generous cancellation policy?

[richdadpoor]

Creepshow S4 Trailer Promises Ghosts, Ghouls, and Gore

It’s a scarily good time to be a fan of horror TV, with Chucky recently revealing its season three premiere date, and now Shudder’s Creepshow anthology series announcing its own return. Season four of Greg Nicotero’s George A. Romero-inspired series drops Friday, October 13 on Shudder and AMC+. What Did the Actors Bring to Their Back to the Future: The Musical Performances? Even better news:…

[fabledenigma]

In the Source Link, you will find a gif pack of Ruth Codd in Netflix's The Midnight Club.

Ruth plays the role of Anya, an amputee at Brightcliffe hospice. She is the roommate of Ilonka and one of the members of The Midnight Club. She also appears as Dana, Scottie and Harmony in the stories of herself and others. Ruth, like her character is an amputee. If you are casting her as someone, please remember this.

Source - FabledEnigma

[the-pleasure-garden]

The midnight club (Mike Flanagan, 2022)

El tema del terror me ha sido siempre reacio. Mi valent��a es simplemente inexistente cuando se trata de jumpscares (que por cierto la serie tiene el récord de más jumpscares seguidos) u otros recursos para hacer sentir temor. Defino esas producciones por su capacidad para hacerme tener pesadillas y sin embargo puedo decir que, olvidando algunas idas al baño en la noche con temor de espejos, no tuve ningún tipo de trauma. Al menos no ded terror. Sentía trauma de la tristeza de los personajes. En una serie cuyo propósito es despertar terror poner personajes con enfermedades terminales hace que las cosas tomen un giro bien diferente. Si la muerte es la razón del terror ¿cómo lo definen estos personajes? Ellos no se enfrentan a lo desconocido con preocupación a una muerte que se acerque más de lo debido, porque lamentablemente esto ya pasó. Temen de los espíritus solo por su capacidad de ser portadores de mensajes que cada vez los ponen más cerca de un destino inevitable pero prematuro. Creo que el uso del terror en esta situación es lo que hizo que no tuviera pesadillas, que quisiera lo imposible en compañía del club de la media noche.

Con una estrategia marcada del ritual como espacio en el cual se comparten historias, la serie esta planteada al rededor de este carácter cíclico. Desde posturas llevadas a la necesidad de las familias en el proceso del duelo con visitas que se repiten, se nos presenta un espacio que se aleja de la familiaridad que los une en la biblioteca, en este ritual impuesto no todos tienen un lugar equiparable. Hay familias que no llegan, otras que no existen, pero los que se quedan en la noche todos pertenecen. Cuando da la media noche el ritual solo admite a pacientes, jóvenes que llegan con un singular vaso o pocillo para recibir un poco de vino mientras se brinda por los fallecidos y se “crean fantasmas” como lo dice Natsuki en una oportunidad. A la luz de historias inventadas, cada quien pone su esencia en un pedazo de ritual que lo vuelve oyente o narrador. Pero que nunca jerarquiza entre sus miembros. Ni siquiera rituales propiamente dotados del tabú de lo místico y la invocación a seres extraterrenales hace que los miembros se encuentren en ese mismo equilibrio de la biblioteca. Con sacrificios de sangre y de corazón los miembros tratan de salvar a su compañera pero lo verdaderamente valioso de esta escena no es el ritual recitado como instrucciones que se envían de un externo, es en realidad ver como quienes ya no tienen más que sus recuerdos dejan incluso esto en pro de que uno de los fantasmas que no crearon no se vuelva realidad.

El contar historias como punto de reunión es la excusa mejor pensada para hablar de cada uno. Es la estrategia narrativa hablar de sí mismo como un otro y de pensar a los otros como parte de sí mismo el verdadero argumento del club de la media noche. Es una narración que surge en lo efímero, en historias que no deben escribirse porque todos sus miembros pasados las pueden oír. En un club que está siempre en crecimiento y que sin embargo no necesita de más asientos se crean fantasmas para saciar la ansiedad del futuro que no existe. Antes de estas narraciones se recuerda el pacto, ese grito de esperanza porque exista un más allá, mientras habitan ese limbo construído en el bosque. Esta idea del retorno como oportunidad para comunicarse es la expectativa que se crea en todos. Es ese estado de alerta porque pueda pasar lo inexplicable. Tan inexplicable como el destino trágico que los aguarda a todos. Pero en este caso, se evitan los diagnosticos, tratamientos y examenes, cada uno de los miembros usca pruebas de que sus antiguos compañeros quieren saludar. Rechazan cada posible lógica para simplemente sentirlos cerca.

La familiaridad y el legado son aspectos que rondan constantemente la trama. Ese lugar común que a pesar de ser fatal puede reunir absolutamente a cualquier, en especial desde el filtro de la juventud. Si esta edad es liberación, la enfermedad los ata de cualquier posibilidad y esa circunstancia es tal vez la más poderosa. La atadura que tienen no a la enfermedad sino a la muerte. Esa consciencia sobre el final conjuga de manera muy bella con las historias de Kevin, y su intento de que todos lleguen a escuchar y el pueda presenciar su reacción.

Siendo la segunda vez que escribo esta reseña, creo que la primera quedó mucho mejor pero se borró :( quiero exaltar la historia y el capítulo de Anya como lo más devastadoramente hermoso que he visto.

Sobre el título: Es el nombre del club, es la reunión a una hora que no termina de ser ayer pero tampoco es mañana. Es el limbo en el que se encuentran y en el que deciden tomar las riendas sobre lo que aún tienen poder.

Una serie de:

Duelo

Cuentos

Legado

[flanaganfilm]

Hi Mike!

I’ve been curious for awhile while: in “The Midnight Club” episode “Anya” when she’s watching TV, is that Kate’s voice on whatever Anya’s watching?

If so, I’d love to know who the other voice is as well!! Thank you in advance!

Yep! And the other voices are Hamish Linklater and Carla Gugino

[horror-aesthete]

The Midnight Club, 2022, dir. Axelle Carolyn

SE01E07 Anya

[yourfavschappellroansong]

Anya from mouthwashing's favorite chappell roan song ?

[cornyonmains]

While The Midnight Club might be my least favorite Flannagan project, I have to give it up for how well he wrote Ilonka. She's a textbook smart teenager. She's smart, but it hasn't turned into intelligence, as evidenced by her Mary Shelley rant, which had a lot of opinions that weren't quite her own, but good points she'd heard other adults make and memorized.

She'd have been brought back down to Earth in college, but she never had the opportunity. She went straight into a hospice, with no reason to think anything other than she's the smartest smarty that ever smarted and can smart her way out of this situation with smarts, because she's smart. She's insufferable, and it's one of the best written teenagers I've ever seen. Because ONLY a teenager could be so insufferable even a terminal illness makes it hard to stymie your distaste.

Even her story about the witches highlighted how Ilonka saw herself in the beginning, as special and powerful. Even the wardrobe in her store reflects that, lots of billowing fabrics with nature prints evoking the feeling of a goddess. The lights on her forehead when scrying highlighting her pride, her mind, and how she sees it as this superior thing. Even Shasta knows puffing her up about how smart she is is how to manipulate her. The depths of Ilonka's denial knows no limits. Her willingness to drag the other kids down with her really highlights this pride, because Ilonka doesn't know what it is to be wrong.

While I wasn't overly fond of the Midnight Club, I do think it's a shame Ilonka's journey was cut short. I think where this story was ultimately headed, where the horror of it was headed, was in teaching that sometimes the real horror isn't what lurks in the dark, but the inevitability of darkness itself. I feel like Ilonka's journey for season 2 would have been finding peace with the inevitable, the same as Anya managed to do. And accepting death.

I also have a fan theory that the janitor guy is death, because I was getting some major William Bludworth in Final Destination vibes off him, just less ominous. Also, if it is death, what's doubly hilarious is that Ilonka even managed to tell him how smart she is. God, I see too much of my 18 year old self in her, and I don't like it.

[kit-middleton]

Burning question about Midnight Mass (contains spoiler)

Hello lovely people! I am writing a Midnight Mass fanfic and it has become imperative I find out how old Riley Flynn is meant to be. 

I assumed he was roughly Zach Gilford’s age, so around 40, but I’m not sure Mike Flanagan doesn’t know Zach is now older than Matt Saracen. My evidence? One of the kids in Midnight Club (it might have been my perfect Anya) described Mark (Zach Gilford’s character) as “cute” (indisputable, he is adorable) and “young”... These kids are like 20, I know for a fact they would think a 40-year-old is ANCIENT!

So. How old do we think Riley is?

Only tangentially related: who else is thrilled about Mark’s obsession with Interview with the Vampire when so much of Gilford in Midnight Mass was literally... what is on this photo.

[eggelette]

The Midnight Club

So I finished the Midnight Club and I have to admit, out of all Mike Flanagan's work, its the weakest. However the runt of a pack of wolves is still a wolf, Spoilers ahead.

I think this weakness is unfortunately because we've gotten used to the strength and maturity of his previous shows. The explorations of deep, haunting love and the ramifications of the way we choose to show that love and although the Midnight club had glimpses of this, it wasn't as much depth.

I think two things influence this overall critique. The first is that the stories within the story doesn't always hit the beats of the overall central story, which for season 1 was at least portrayed as Julia Jayne being Shasta. None of the other members of the hospice were involved in the overarching story, except for the ritual for Anya but that's it. They never met Shasta and thought she was weird. We didn't even see the other kids' reactions to Ilonka''s involvement to the ritual. Instead the stories were like vignettes of the characters which I really liked (except Kevin's because it didn't really tell us anything about the character except he likes to be alone, which is fine but inequitable compared to other characters) but I feel like the two weren't cohesive. The last episode was more dedicated to resolving each of the character's which felt rushed and disjointed, and was ultimately also a disservice to Julia Jayne's story and ramifications of being prepared to kill Ilonka, a child she had been slowly manipulating, for her own health. Health is not wealth at the exploitation of others and that whole narrative thread was dropped because it had no room to breathe.

The second is the fact that Ilonka is the biggest Mary Sue of all times. I mean I understand her being a vulnerable desperate teen who is deadset on her notions of healing herself and her own percieved intelligence is in theory, compelling. I just don't think it came across in practise, because never in the narrative is she challenged or questioned for her actions, plans or words. She's always justified and treated as right by her peers- hell, even in the final scene with Kevin he says she's right when she simply isn't. You could read this as two desperate teens consoling each other, but she was wrong both in the way she treated Kevin's ex-girlfriend, and in the ritual for Anya! It would have taken the life of the others if it worked! When Sandra fucked up with Spence she spent an episode actually reflecting and told a story for her redemption (which still hilariously included Angels) while Ilonka dosn't have to earn her redemption, she just walks in while the camera pans on her and boom forgiven. Also a nitpick of mine, is that she has blind faith in Shasta for the ritual, but her concern and doubt rises when she isn't in the centre of the circle? It's not intelligence, but sheer selfishness that raises red flags, and it's fine to have a selfish character but treat them that way.

The closest that came to any kind of obstacle for Ilonka, was when she asked Dr. Stanton if she could keep her whole "i was almost complicit in a murder sacrifice oopsie" a secret to the rest of the hospice and Dr.Stanton was straight up like "I thought you would have wanted to know something like that? :)". I cackled. But no, no narrative consequences. I think my biggest grip with Ilonka is that she was the protagonist when all of the supporting characters were much more interesting. Anya's story, both the one she told and in the episode of "Anya" were highlights, along with Amesh and Natsuki's stories and respective meanings. I loved Sandra, Spence and Cheri. I adored Mark and the Janitor (Flanagan's season 2 post confirmed my suspicions about the latter).

Speaking of season 2, I took a gander at the posts and I don't really think the ideas would have addressed the critique I'm levelling. The janitor as death I absolutely love, along with Spence getting AIDS treatment (and then going off to live with Sandra in a condo as per my headcanon). Even the elderly ghost couple as soulmates, reincarnated in Kevin and Ilonka is super sweet in theory, but Ilonka's Mary Jane status who can do no wrong has soured it. Also season 2 seems it doesn't have much to do with Julia Jayne, which questions why we are spending so much time in season 1 with the rituals and the lore, and the hourglass, and then not even delving deeper into how the most vulnerable people are scammed and exploited seems like a waste. Time that could have gone to the characters.

Surprisingly, I really liked the ending of the Midnight Club, I love how there were touches of collaborative storytelling earlier (with the club describing Anya and Rhett's future together in the Anya episode) and how it culminated in them finishing Imani's story. I thought Amesh adding him and Natsuki to the story (well their OC's) along with Sandra's film noir OC was incredibly endearing. That, along with the appearance of Angel Porn and all the jumpscares really sold me for the teenaged antics of the group, and the whole nature of the found family.