#camille is a bitch

[lurafita]

Ghosts AU

(Youtube has been showing me scenes from a show - I think "Ghosts" - in my shorts, and my brain began working)

Okay, so Magnus can not see ghosts. But his ex-girlfriend Camille could. (because, you know, somehow all the people in series who can see ghosts are always nice and good people, so why not have a bitch like Camille for a change?). And when they moved into an old mansion that had lots of ghosts, Magnus was all for helping Camille help the ghosts. Did all kinda things that Camille said the ghosts wanted so they may move on. But of course Camille lied about most of it. Even told Magnus that the ghosts don't really like him. Which is a lie, of course, they wish he would break up with her he deserves better! Anyway, one day Camille just up and leaves, at least leaves a break up letter telling him she is going to live with her lover who she has been cheating on him with for a long time. Weeks after that, Magnus realizes he needs a roomate or three, in order to generate enough money to pay off the mansion and all the things Camille made him cough up money for. Enter Alec, who can see ghosts as well.

[arrowheadedbitch]

Gotta love 36 questions, they literally imply the main character had something to do with some girl named Camille's death and never elaborate or bring it up again.

[cockyroaches]

Really fucking funny when Verna is like "it didn't have to end like this. It could have been peaceful. I'm sorry" to some of the kids when insane shit is about to go down. Sorry, you're all fucking doomed to die in horrific and grotesque ways and it's not even the fault of this omnipotent force of nature. Can you imagine.

Except Frederick that guy earned it for real

[firelise]

my academic analysis...

[myreputatioooon]

"fixer i want to have dinner with" is so fucking lame & tame for a poll idc if livestreaming culture is young asf compared to our livestreaming culture, you live in The City,, STEP UP

[bonescaps]

[bonbonanza]

"well said, robespierre; but i will answer with rousseau: burning is not answering!"

robespierre:

[full---ofstarlight]

more girl <3 <3

x x x x

[ashfdhfgdsfk]

oh thunderous classical music how i want to eat and be eaten by you

[teas-of-trin]

“Sharp Objects uses the mystery around the story of dead girls to dive deeply into the psychology of motherhood, and the entrapment of female characters in cycles of violence and their own traumatic family history—a history that repeats itself again and again in persistent yet futile attempts to resolve the childhood trauma perpetuated by the malevolent mother.”

“In Sharp Objects Flynn situates violence by and against women against the trauma and dysfunctionality of a matriarchal family.”

“There are two parallel stories of dead girls in the novel, the killing of… Natalie and Ann… [and] the mysterious death of Marian, Adora’s daughter….This meeting point between violence, trauma, and the female body points to a larger discourse that delineates the missing/dead female narrative and underlines a common culture “of the atrocity exhibition, in which people wear their damage like badges of identity, or fashion accessories.””

“Flynn also twists the dead girl victim narrative often found in crime fiction by shedding light on her complex female characters who often cross the line from victimhood to transgression and criminality. Sharp Objectsthus paints dark and disagreeable images of the mother as well as her daughters, who are both victims and perpetrators of violence.”

“Adora’s diary entry after Marian died shows this intense obsession with her daughter and death itself: “Marian is dead. I couldn’t stop. I’ve lost twelve pounds and am skin and bones. Everyone’s been incredible kind.”…In contrast, Camille recalls her mother’s neglect and coldness towards her, which seemingly shaped her upbringing and her mental state…Adora’s open admission of hate towards her own child can be viewed in light of the mother’s mental state and the broken mother-daughter relationship.”

“Camille is shown to suffer from a severe trauma after repressing a lot of painful memories from her childhood, especially the trauma of losing her sister Marian at the hand of their mother. The narrative illustrates the failure of processing her trauma; Camille is painted by her past and her pain is literally painted on her body…Camille embodies words literally and the words on her body become her main narrative, a vehicle for whatever attempts to escape language and expression—her trauma.”

“Adora needs to be at the center of her daughter’s lives and assume control over them to the point of suffocation and death. She seeks attention and love from her daughters but she takes loving and caring for her children to the extreme. What Camille describes as her mother’s “voraciousness about children” is not separate form the violence and control that she exhibits.”

“While Camille rebels, Amma plays along with her mother, she lets her mother give her the medication that makes her sick yet she also revels in the attention she is given.”

“Throughout the story Camille is presented as a puzzle; she is full of conflicting feelings towards her mother, her family, and even the whole town. She refuses to end up like her sister Marian, another “dead girl”, and turns her pain, anger, and frustration towards her mother inwards. Her body is a full canvas of her traumatic past, while it also speaks to the present…”

“Adora is “a girl-woman who occupies an ambiguous space between appearances of innocence and expressions”, while Amma oscillates between the roles of a child victim and a ruthless killer.”

“The sexualization of the child exposes the dysfunctional family and the harm that Amma suffers under her mother’s hand, but it also reveals the doubling in her personality. The two faces of Amma—a child and an oversexualized girl—disclose the fissure in her psyche and the trauma that lies behind her dissociative behavior. It is the trauma of being a victim of her mother’s constant manipulation, which is soon translated into violence.”

“…the temporal fluidity in Flynn’s story shows how the female characters navigate their reality. The story moves smoothly between the past and present, which creates more tension around the murder mystery of the two dead girls, and at the same time underlines the trauma and the complex family history of the female characters. She demystifies and resolves the mystery of the murders and brings attention to the conflicting facets of femininity, victimhood, and power.”

“…in presenting “a lineage of disturbed women,” Sharp Objects focuses on femininity in a display that reveals a tension between public “performance” and “private deviance.” Femininity in the novel is closely related to criminality and monstrosity…Although Adora’s daughters are victims of their mother’s MBP…the novel also suggests that there is a mirroring between the mother and her daughters. Flynn establishes Amma as a “monstrous double of the mother,” as both Amma and Adora killed girls, while Amma herself is the product of her mother’s abusive upbringing. This complicates the demarcation lines between victimhood and criminality on the one hand, and victimhood and agency on the other.”

“Through a family full of dysfunction and destruction, Flynn brings to the fore the origin of female monstrosity and dissects the inner workings of femininity and motherhood in this narrative. The story reveals generational hatred and damage in the family structure.”

-From Monstrous Mothers and Dead Girls in Gillian Flynn’s Sharp Objects and Gone Girl by Maysaa Jaber [Part 2]

[iatemyorgans]

bitches b like "amma crellin is so me" but in reality they are camille preaker.

[lurafita]

AU. Malec, lots of backstory and "it's complicated" good! Camille.

Okay, basically Buffy the vampire slayer, but with lots of differences, and set after the theoretical series. (You will hopefully understand what I mean)(almost all characters are adults! The teenage vampire slaying is part of the origin story.) Camille is the vampire slayer. She meets Alec, Izzy, and Jace when she saves them from being sacrificed by a satanist cult in New York. Unable to close their eyes to the hidden world that has opened to them, the three want to help her. Camille is reluctant to accept their help and companionship at first, but they wear her down. For 2 years, they form a pretty good team. But then a prophecy is revealed, or a great calamity hinted at, or someone gets a vision or something, which demands the slayer turn back to (insert fantasy town here), - let's call it Dawnsbury for now. The town where she finished her highschool, did most of her slayer duty, and was a kinda really mean entitled bitch of a teenager. She had had a team then as well. Fellow classmates and others, eager to help and support her. One of them most of all. Raphael, the souled vampire with his crytpic advice and fighting prowess. Simon, the nerdy computer geek with his research skills and misplaced hero worship. Sweet Magnus. Whose life she saved when they met. Who fell in love with her. Who did everything for her. Who learned magic for her. And who she used and abused and betrayed and abandoned. A past full of regrets, that she had done her best to outgrow, (and run from). But of course she had to go back. Of course her new team accompanies her. Of course her old team is still there. Of course they, especially Magnus, want nothing to do with her. Of course Alec falls in love with Magnus basically from the get go.

[benratinox]

— Don't tell Mama.

[loveipromiseimnotinsane]

I think The Fall Of The House Of Usher is going to be one of those things simply will never leave my brain

[firelise]

most nonchalant worst 24 hours of greats life goddamn

[ileftherbackhome]

do u understand the level of depraved you have to be to literally spray an abuser's cologne in the bathroom to "psychologically torment" the victim, who didn't even want to go to court to begin with just so you can get a big fucking bonus? FOR FUCKING MONEY?

I'm literally fucking disgusted fuck all you fucking cunts i hope you never sleep peacefully again