#cindy berman.

[frightesa]

🎶 if you have any on your end for clarice, but also cindy.

send me 🎶 ( music notes ) for 3-5 songs about our muses relationship

i think i accidentally got these songs as an arc in their relationship verses the lyrics coinciding with them specifically just to explain the approach a little. a lot of the song also have better tonal vibe than their lyrics provide. CLARICE

kill of the night by gin wigmore : i'm gonna lure you into the dark my cold desire / to hear the boom, boom, boom of your heart / the danger is i'm dangerous / and i might just tear you apart / oh, ah, oh / i'm gonna catch ya / i'm gonna get ya, get ya this is very silence of the lambs to me. i think clarice is being lured by the darkness and instead of being able to recognize that in herself she's too mission focused. like 'the danger is i'm dangerous' feels very point and hannibal. whereas 'i might just tear you apart' feels more like it's directed toward clarice.

devil is a gentleman by merci raines : he's always got the words to say / just enough, so you don't notice /that you ain't nothing but his prey / ah, ah, ah, aah-ah /sometimes the worst of him have the best disguises / ah, ah, ah, aah-ah / he'll go as far as it takes to stay in hiding / oh, don't you know, don't you know / 'bout the devil? he's a gentleman i think this is the dynamic that they are setting. it's the acknowledgement that while hannibal is dangerous, there is a mutual respect there. i think it's that mental discord of 'this person has done terrible things' and 'we seem to have an understanding'

blood // water by grandson : look me in my eyes / tell me everything's not fine / oh, the people ain't happy / and the river has run dry / you thought you could go free / but the system is done for / if you listen real closely / there's a knock at your front door / we'll never get free lamb to the slaughter / what you gon' do when there's blood in the water? first off there's something so satisfying with the reference to lamb to the slaughter. i think it is just chef kiss for them. but i think that this is the open discussion that this event ( meeting him ) has set her on an entirely new path. and while she might want to return to 'normal' the definition has changed for her. it feels like almost a taunt for me.

angry too by lola blanc : i buried the unseemly urges / deep down in the ground with the roots / but it's all coming up to the surface / maybe it's getting ready to bloom / and i don't wanna be a monster in the making / i don't wanna be more bitter than sweet / i don't know how to be just standing by blankly / not getting angry i think that this is the recognition from clarice's end that there has to be a different way for her to exist. that she needs a closer proximity to danger to feel alive. while she doesn't want to enact the violence there's that want - that urge - that she is acknowledging.

masochism tango by tom lehrer : let our love be a flame, not an ember / say it's me that you want to dismember / blacken my eye / set fire to my tie / as we dance to the masochism tango / at your command / before you here i stand for me this is europe right, like she doesn't want to be consumed or dismembered, but it's the want for it. it the dance they do when they are in each other's company. it's that understanding like coming to fruition. it's like a gravity she's being pulled into and a part she is stepping into.

CINDY

ghosting by mother mother : hey, would it be so bad if i stayed / i'm just a ghost out of his grave / and i can't make love in my grave / i won't put white into your hair / i won't make noises in your stairs / i will be kind and i'll be sweet / if you stop staring straight through me this is coming out of the traumatic experience at camp nightwing and looking for comfort. she's so tired of people staring through her and hannibal doesn't do that. she's promising not to be an annoyance to him if the company remains.

this is me trying by taylor swift : i've been having a hard time adjusting / i had the shiniest wheels, now they're rusting & they told me all of my cages were mental / so i got wasted like all my potential & i just wanted you to know / that this is me trying / at least i'm trying / and it's hard to be at a party when i feel like an open wound / it's hard to be anywhere these days i think that this is the honestly garnered between them. and the knowledge that cindy is able to feel a little bit that hannibal expects more than what she's giving.

the good in me by jon bellion : like a knife in the woods / yeah, you hunt down the good in me / one temptation sparked this / now i can feel the darkness / it's my own fault but you had this planned / all of me, you take now, like criminals and shakedowns / yeah, you make me forget who i am (one, two, three) / your heart's a vine that i've bled trying to climb / yeah, you're making a ruin of me this is hope. i think that their friendship, or the facade of it, would inspire hope in cindy. and spark joy in their friendship. i think she believes that everything he's done for her has been life saving when it actually conceals his own motives.

lies by the black belles : someday i'm gonna be happy / i don't know when just now / lies / you're breaking my heart / you think you're such a smart boy / and i'll believe what you say / who do you think you are boy / to leave me out this way this is betrayal. the facade unraveling and how much it hurts cindy. like i think it just would unearth something in her and not in the good way.

playing god by paramore : if god's the game that you're playing / well, we must get more acquainted / because it has to be so lonely / to be the only one who's holy / it's just my humble opinion / but it's one that i believe in / you don't deserve a point of view / if the only thing you see is you this is righteous anger. the recognition that not only was hannibal the harmful thing at camp nightwing but has been placating her for years. i think it's a sort of anger that would inspire action for cindy. i'm not sure she would be successful but this feels to me like the antihero monologuing beofre the end of the movie.

[a-great-tragedy]

Listen, you can’t be partners in crime and also be just “Best Friends”cause there is nothing more gay than planning murder

[lllivia]

They look so tiny I wanna carry them all in my pocket

[horrorwomensource]

Fear Street Part Two: 1978

[willfreakbyers]

Big fan of whatever type of charachter this is

[emilyskinners]

siblings in horror, you are so dear to me <3

[willowcried]

comphets final bosses

[hadesisqueer]

Man, Fear Street always makes me emotional. The killers being remembered as monsters by everyone when they all were innocent, good people being forced to kill people—many times, their loved ones—. And we know that they at least have some level of consciousness when they do it because of Ruby Lane; she killed herself, which means that at some point she managed to snap out at least for a moment and took herself out before she could hurt someone else. Nurse Lane, who spent her life investigating and trying to get to the truth about her daughter. Ziggy, who lost her sister and spent her entire adulthood thinking it'd all been for nothing and wishing she'd stayed dead (and then at the end when Ziggy visits Nurse Lane and they both finally get their peace? Sobbing).

And most of all, Sarah's story always gets me the most. Betrayed by someone she trusted and accused and killed by people who'd known her all her life for something she didn't do and because she was a lesbian and loved another woman in 1666, and was remembered as a monster too, as the witch who cursed the town when all she ever tried was getting people to the truth. Always hurts to see her story, but it makes it all the more satisfying when she finally gets her vengeance and finally has people who know the truth about her and respect her. That "Sarah Fier, the first Shadysider" at the end and Sam and Deena kissing in broad daylight just like Sarah wanted to do with Hannah always fucking gets me too.

Like fuck.

[ronancecore]

Cindy Berman the woman you are

[nightowl050403]

Fear street saying actually it isn’t that some people are just worse and that’s the way it is instead it’s that the system is rigged and it’s always been rigged and actually maybe the losers are just people trying their best who have always been trying their best even though all the fucking odds are stacked against them. And privilege exists because it is built on the misfortune of other and those who sustain are aware of the suffering and might even feel bad but they know that that is what it takes to maintain their privilege so they do it anyway.

Like thinking about the way that we were all on Nick Goode’s side even when he was calling Kate and Simon junkies and acting like he could do nothing to spin the story differently despite being the FUCKING SHERIFF. Thinking about Nick Goode framing Martin not because it was part of the ritual but because he fucking could and it was easy.

Thinking about Tommy who was kind, and Cindy who was smart, and Alice who was brave, and Ziggy who was bold, about the children in Union who were innocent and the people who loved them, and the friends of Sarah who loved her despite everything, and every name on the stone that was innocent and will forever be remembered as a monsters. Thinking about Kate and Simon who were not junkies, not just drug dealers, but kind and funny and smart and brave and so so loved.

About how despite all the press and gossip the true monsters always lived in Sunnyvale, not Shadyside.

And like everybody talks about all the queer themes in this movie and yes those are great, but like the themes of privilege and wealth and what actually upholds those beneath all the pomp and polish. What it actually means to be born into poverty, and the useless vigils held by those benefiting from the suffering. Like these themes also should be discussed.

Aight sorry if this is incoherent, it’s late but I was brimming with feelings after rewatching the trilogy.

[frightesa]

SHE WAS NERVOUS. it had be a while since cindy had been vulnerable about something she cared about. especially something that went against the identity she had created for herself in this last year and a half. she smoothed out the piece of paper and directed eddie to turn around with a slight movement of her finger. she takes a deep breath as she began to set the see. " what you hear is not silence, it's just the trees waiting to hear what next you'll hum." she lets the image sit. the forest sprouting from the ground in their mind.

" and what you see is not the dark it’s just the gods upturning inkpots, 'cause they know what you'll become." she doesn't look up from the paper, trying to keep herself reading evenly. "and to those gods they will speak bluntly. we've an accord if you ever touch or harm him please rest assured that you might not fear a man but to a woman by the end you'll kneel and plead."

her shoulder kind of slumped. the sense of creativity that was needed for dungeons and dragons wasn't exactly her forte. "anyway - that was the idea i had for an opening." cindy said a little sheepishly. "i'm not sure where you'd take it from there - or if the prospect is even any good." @metalcursed / s.c

inkpot gods by the amazing devil

[raisedbyanother]

Fear Street 1978 AU: Cindy finds out about Ziggy and Nick.

[inspirationfandream]

[horrorwomensource]

Cindy & Ziggy Berman in Fear Street: Part Two — 1978

[dorkszn]

tommy slater, they could never make me hate you

[magic-is-beauty]

Doomed sapphics you will always have my heart

Lottie and Nat : yellowjackets

Lexy and Nadine : chucky

Sarah and Hannah : Fear street 1666

KJ and Mac : paper girls

Ellie and Riley : the last of us

Cindy and Alice : fear street 1978

Bear and Tiger : sweet tooth