#especially when he’s goth

[acekestis]

I have never felt as much gender envy towards someone as I do currently about david tennant

[peachyvillian]

ok so can you guys tell terry is my fav kiddad. Yea err. tugs at my collar. anyway scary and terry’s relationship make me so sad and . Insane generally because of their parallels

[canisalbus]

cursed no tattoo machete (I'm sorry for doing this to him)

.

[gentlygolden]

something something Perona and Mihawk were never anyone’s priorities/first choice (Moria was still grieving his original crew as he acquired new crew members and even then didn’t bother to form actual bonds with them; Shanks had already formed a crew and thus people were relying on him) but they chose each other (Perona returning after dropping Zoro off at Sabaody; Mihawk planting cocoa trees (!!!!) and making sure she escaped before the Navy landed on Kuraigana)

[bumblingbabooshka]

Spock Nerd and Tuvok Prep - What is T'Pol in terms of American High School Clique Stereotypes?

[todayisafridaynight]

would it be okay if u told me why u like aoki😭/gen😭😭😭😭BEEN TRYNA LIKE HIM FOR SO LONG I JUST CANTT but i love ur art so much so i still consume it otherwise lol

i liked tohru adachi in high school and tbh i think that alone is enough of an explanation for why i ended up liking aoki

[mayasaura]

I still hate everything the plot is doing with Newman, but calling Blackquill "Birdman" is based and I hope it becomes a Thing

[anotherpapercut]

sometimes I question the way spotify organizes things into genres. their genre playlists often have things that don't fit at all and this year my wrapped said I only listened to like 19 genres and there's just no way that's true. I have about 10 different genre playlists just that I've made and listened to this year alone not counting all of the stuff I've listened to that I don't have a genre specific playlist for

[arctic-hands]

Related to my tags on the Irish American reblog, how long have bastardized "Celtic" crosses been neo-Nazi symbols? I wasn't aware of this stupid use until I was an adult and my father was equally unaware until I learned about it, and in our Celtic (American) Pride we often used Celtic cross imagery in decor and accessories. Granted these usually did resemble actually woven/knotted crosses (which by no means meant they were authentic. At best a few came from local Celtic Pride fests–which as I said in those tags was plagued by Confederate and Nazi imagery), but most of them came from like JoAnn's or Michael's or Walmart whenever Saint Paddy's Day rolled around. That said, the woven pattern of a Celtic cross is a bitch to draw especially when you have yet to nurture or be nurtured in any art skills, so when my borderline-Gothic ass would doodle graveyards in my school notebooks I would often doodle simplified Celtic crosses as grave markers, which unfortunately just meant a simple cross with a simple circle in it, unfortunately reminiscent of the neo-Nazi symbol.

Me and my family were staunchly Indiana liberals (to be fair that wasn't that shocking in our democrat enclave city) and have only become more leftist as time goes on, so those who knew me well would know I didn't mean anything by it, but like I have to wonder/worry that those who didn't know me well (like most of my classmates. I was pretty lonely in high school) or people who would briefly visit my home or come across us while we were wearing Celtic pins that day or something came away with the wrong impression. I'm especially dismayed at the thought that the kids I knew to be actual neo-Nazis might thought I was one of them

For the record I left school in like twenty eleven and had been doodling graveyards for years and wearing Celtic imagery for even longer. I can't really find out when the "Celtic" cross became a dogwhistle

[rose-from-ashes]

Find it highly amusing that almost half of Emet's ship partners are soft and frilly and pastel and then the rest of them are Vynathr (victorian goth with optional heavy dark armor and sword), Eirunn (forest creature with a wood or bone mask), Argyle (he's just a mess. He's wearing every bright color and they are all clashing and it's bad), and Indiana Jones (Indiana Jones)

[troublcmakcrs]

//the only real goth kids are tweek, heidi, and stan. all the other ones are faking it

[holytrickster]

also i finally finished the silm earlier and oh my god i understood narn i chin hurin so much better this time. like i know the whole thing isn't included but the fact the main parts are mentioned *after* i knew who the heck everyone in it was and where everything was happening made it so much more understandable now than when i first read it back when i was like 14 bc i went like hobbit -> lotr -> children of hurin with a lot of time in between where i forgot stuff

[the-crooked-library]

Nuance, Narratives, and Nosferatu

As of today, Robert Eggers' Nosferatu (2024) has only been in theatres for 4 full days; and, coincidentally, that is about as long as I am able to let my thoughts marinate before they demand to be communicated. Before going into any further detail, let it be known that this film was made by freaks for freaks; it exists for the goths, the gays, the monsterfuckers, the historians, and for all those who delight in moral and thematic complexity.

With that being said - spoilers under the cut!

There are two principal narratives running through the flesh of Nosferatu, both of them rooted heavily in the cultural and literary origins of the story. It is a nightmare; it is also an erotic fantasy. It is horrifying, and it is also achingly romantic. From what I've seen so far, the vast majority of discourse that has already emerged around the film is caused by people misunderstanding or deliberately ignoring the relationship between these different lines of analysis; so please trust me when I say, from the bottom of my heart, that this duality is the very lifeblood of the movie.

The reason for that is, quite simply, that Nosferatu is a gothic horror film, set in 1830s German Confederation; and its plot relies on the same (sometimes contradictory) complexities often displayed in Victorian gothic fiction.

From the beginning of the movie, we are given to understand that Ellen Hutter met Count Orlok - the eponymous nosferatu - psychically, when she was very young. They spoke, she pledged herself to him, and was horrified to realize what she had done when he revealed his true visage to her in their first visual (and sexual) encounter.

Here, under the lilacs, the paths diverge.

The first reading of the film is perhaps the more straightforward. A young girl is essentially catfished and groomed by a much older, dangerous man. When they meet for the first time, she is a teenager; the lilacs that bloom where it happens become a trigger. He is the source of her madness and "melancholy" (depression), she has nightmares about him regularly enough that her husband is aware of them, and it is implied that she has been institutionalized in the past. Thomas Hutter is the physical representation of her one desperate hope for a normal life - but as the story progresses, she finds herself being denied even that. Orlok's psychic connection with her verges on demonic possession; in chilling, The Exorcist-inspired sequences, she writhes and mutters, prophesying a city-wide reign of death and terror. In pursuit of his claim on Ellen, Orlok terrorizes her husband, murders her friends - and, eventually, she gives her life to take him with her to the grave, saving the city from the plague he caused.

That is the horror element of Nosferatu; it deals with an exploration of childhood trauma, of PTSD, of difficulties maintaining a social life after the fact. It is easy to understand even from a modern viewpoint, and it pushes the film to its conclusion with a bleak, heart-wrenching punch.

The horror is not the only element of Nosferatu.

To contextualize the alternate - though just as correct - reading of the film, it is essential to understand that Ellen’s society was extremely sexually repressed, especially in regards to female and queer sexuality.

Both were severely medicalized, demonized, and restricted; and as such, when these topics do make an appearance in contemporary fiction, they are often inextricable from disgust and fear.

Dedicated as always to historical accuracy, Eggers maintains the same setting-based narrative coding.

In anticipation of morality arguments vis à vis monstrosity, depiction, and modern purity culture, let me clarify: this is something that works within his chosen genre. Horror, and especially gothic horror, invites a deeper analysis in regard to morality and motivation, and in this case, Eggers' homage to the origins of that genre grounds the narrative in its time and location, as well as fleshing it out much further than a purely modern cultural lens would permit. In this context, the details of Ellen's connection with Orlok become paramount to the understanding of the film.

As bits and pieces of their background become revealed, the audience realizes that her psychic gift did not begin with him - and neither did her melancholy, or her isolation. She was born with her abilities, and throughout her childhood, she was a bit of a tomboy by her contemporary standards, running wild in the woods near her father's property; however, once she foretold her mother's death, and once she was too old to get away with eccentricities, her father became frightened of her abnormality. She was isolated, confined indoors, and that is when her melancholy had begun. Painfully lonely and aching for some form of companionship, she called out into the ether; and Orlok responded.

Over the course of their story, he becomes the physical manifestation of everything Ellen perceives as dark and sinful about herself.

He is psychic, he is vicious, possessive, and blatantly sexual; her sensual affection with Anna parallels the evident and physical attraction he displays towards Thomas; and the social power he so easily commands is the same that she lacks, being a woman in a rigidly patriarchal society.

In the end, the severely questionable age gap, the murders, the coercion, the betrayal - all of that comes down to respect. Throughout the film, that is the one thing that Ellen is consistently denied. She is young when she meets Orlok, yes; but she is aggressively infantilized by her surrounding society even when she is a grown, adult, married woman.

It starts from the beginning of the film, when the Hutters visit the Harding family. During those scenes, the men are shown talking business - while the women play with children in the parlour; and the same social framing persists into the body of the film. When Ellen is suffering from what appears to be some form of mental illness, she is referred to as a child by multiple different characters; and when the condition progresses, she is swiftly diagnosed with hysteria and drugged - thus being forcibly removed from the discussion of her own illness. The general reactions to that illness - which is, in fact, a display of her psychic abilities - range from annoyance to fear to curiosity; it is seen either as a disability or a curse, rather than anything entirely innate to who she is. Her fears are dismissed. Harding tells her to learn some deference. Even closer to the finale, when Von Franz admits that she could have been a great priestess in another age, he does so with pity rather than anything else; in their industrial era, he cannot help but see her only as a tragic sacrifice - horrible, but necessary to save the city from a plague. Brought in to heal her, he instead guides her to her death.

All these aspects of Ellen's circumstances find a direct opposite in her relationship with Orlok. Unlike all other characters in the film, he only ever sees her as his equal, which is made even more evident when his interactions with Thomas and Herr Knock are brought into consideration. With both men, Orlok insists on being addressed by his lordly title, "as his blood demands it"; and yet, Ellen never calls him by any title at all, be it "My Lord" or even a simple "Herr." She argues with him freely, and there is a familiarity between them that he is demonstrated to never tolerate from anyone else. Similarly, while he disguises the covenant he makes with Thomas, the terms of his covenant with Ellen are laid out clearly, in full. He does not hide from her; she already knows the worst of him, the same way he knows that she is intelligent, that she is powerful, and that she is not meant to be demure and deferring. Again and again, Orlok insists that Ellen is not meant for humanity - and the true horror, the horror she cannot bring herself to face, is that he is right.

In a sense, he is a mirror held up in front of her own face. Ellen is painfully aware that she does not fit in, and that she never has. The "normal" society, epitomized by the Hardings (wealthy husband, pretty blonde wife, 2.5 kids), has no place for her - and actively dislikes her.

The film makes this ostracism impossible for the viewer to ignore. As the story progresses, it becomes evident that the other human characters - even those that do sincerely care for Ellen - never truly know her. Anna loves her, but wishes she would not talk of dreadful things - and lashes out as a result of that discomfort, scolding her. Sievers finds himself bewildered by her; Knock sees her as an object to trade; Von Franz pities her, Harding hates her, and Thomas cannot truly satisfy her, even after being touched by the supernatural himself.

Seeing a flash of a monstrous face while they are together, he flings her away. To him, his experience with Orlok is merely traumatic, and he wishes for nothing more than to leave it behind. However, to her, it is something she cannot help but crave; and she continues to wear her lilac perfume.*

All that to say - Count Orlok is, simultaneously, everything Ellen wants and everything she is terrified of being.

That specific dichotomy reaches its climax during their mutual finale. As it is to be expected from a vampire wedding night, they rejoin in a sequence of sex, blood, and renewed vows - and what is particularly notable is that (unlike Murnau) Eggers makes it clear that this Orlok never intended to kill his Ellen, despite his inability to resist her blood. Though he drinks from her through the night, he stops at cock-crow; and she guides his head back down herself, distracting him long enough for the sun to rise. It is a duet of accident and intention. He drains her; and she holds him as the sun drains him. They cling together as they end - on a bed that serves their wedding and their death.

It is romantic. it is unquestionably romantic. However, that does not mean that the horror isn't also present; Ellen's consent, under these circumstances, is highly debatable, and Orlok is cruel, amoral, and murderously possessive. At the same time, the characters are also acting out folkloric archetypes, with precious little adjustment to that framework - which further removes them from a modern understanding of morality. He is Death, a Koschei the Deathless, a monster; she is the Maiden, a Vasilisa, a damsel. I hesitate to liken them to the Beauty and the Beast, largely because in the original premise of that story, the Beauty falls in love with the kindness that the Beast consistently displays; and it is essential to stress that Orlok has none. He does care for Ellen, in his own way, but he admits to being incapable of love as she defines it in human terms;** and, curiously, that seems to be her primary concern when it comes to the idea of accepting his proposal - rather than all the blood and carnage.

What I'm trying to say, I suppose, is that there are multiple ways of following a story, and multiple different stories in a film as nuanced as Nosferatu. Yes, it is about grooming and trauma. Yes, it is about finding love outside of the cage that is "polite society." I'm sure that it is many other things besides, with as many meanings as there are people in the theatres; after all, I am only one person, and the film grossed something over $40M in its first three days. The point is, really, that this is a story in which a rotting vampire is woken from centuries of deathlike slumber by a lonely voice asking him to be her friend; and whatever these two strange and aching souls do with that can go down any myriad of paths. The film trusts the viewer to interpret the narrative they choose.

* LILAC PERFUME - in fact, it is such a consistent favourite of Ellen's that Orlok smells it on her hair in the locket she sends with Thomas to the castle. Thomas never really learns the reason she likes that scent - even though he knows that preference well enough that he gifts her lilacs in the beginning of the film.

** ORLOK'S OBSESSION - this is a side note, but: the vampire wedding sequence reminds me strongly of the third season of NBC's Hannibal. I suppose that was to be expected, considering that Hannibal is also a Dracula offshoot, much like Orlok himself. When Ellen snaps at Orlok that he cannot love, he responds that "no; but only with you, I can be truly sated." Similarly - "Is Hannibal in love with me?" asks Will; and Bedelia responds - "Could he feel a daily stab of hunger for you, and find nourishment at the very sight of you?" I'd say if you liked that series, you should try and see the film. It works with a familiar blend of aesthetic horror.

[tra1nchi]

dom male reader with a like scary goth turned whore pls for my birthday (tmrw) 🤭

Happy very late birthday (im so sorry 😭) MINORS DNI!! top male reader,, Makeup ruined,,Collar/leash,,

Having the scary dog privilege when you both were outside was a blessing,,your boyfriend is a scary looking dude,,quite tall,,dark makeup that made his eyes seem even more empty with his clothes being entirely out of the norm,,

But little did people know that you get him on his knees every night for you,,his makeup running down his cheeks as he begs for your cock,,his face placed inbeweetn your thighs,,looking up at you with the sweetest most submissive expression someone could have!!

He would suck your cock so well,,his pretty eyes looking up at you with tears running down his hollowed cheeks,,his hands gripping onto your knees as he takes you so deeply!! Whimpering through his muffled mouth,,his tongue running across the underside of your cock as he pulls off of you

he would die if you wrapped a collar around his neck,,especially one with a tag on it to show your ownership over him!! He was just your very own fleshlight and he knew it and loved it,,it was what he woke up for,,

Pulling him around on his leash in public!! >□< stumbling behind you with his bulge obvious through his tjght jeans,,even as his cheeks flushed in embarrassment he didn't seem to want to cover himself up as you dragged him around like a little puppy!!

Groping his chest as you poudned into him,,playing with his nipple piercings as he moaned like a little bitch underneath you!! His makeup completely ruined,,pulling on his dark hair would tame him instantly for you,,He would only wear his collar during sex,,he was yours and will always be your cumdumpster <33333

[long-live-astronerd-ghost-king]

DPXDC prompt: Valentine's day spirit. Superbat edition.

When Phantom sets foot on the Justice League base many years later, he expects anything but not Flash pointing finger at him and screaming about "legendary child who made Superbat canon".

~~~~

Being in Metropolis because of a ghost hunt right in the middle of a battle between Lex Luthor and Superman was not the best outcome, especially considering that Jack had his three-year-old son with him. But without such a combination of circumstances, they would never have found out that "Ghost!" "Daddy, no!" Ectoblast that Jack shot at the target of their hunt touches Superman and..really hurts him.

There were two sides to Danny-the ghostbuster's son and the astronerd. It is clear which half of him did not have a chance to win.

Danny threw his space rocket toy aside and grabbed father's arm. In the next second, boy had already sunk his teeth into Jack's fingers, forcing him to drop weapon. Youngling quickly jumped off and picked up ectoblast and then ran towards Superman. "Fly away! I'll hold him!" Danny stood up to try to cover up ghost (or alien?) in case Dad took not one but a whole bunch of shooting things with him again.

Jack: Get away from my son, ghost. Superman: Sir, I'm sure this is some kind of misunderstanding, I'm not a ghost. Jack: Danny, come to me, he's trying to hide his identity and manipulate us. Danny: No. If the heroes are being attacked, then someone must protect them too. Jack: But he's a ghost.. Danny: Alien or ghost is not so important, Daddy. He's in pain, and he's protecting this city, not haunting it. It's wrong to try to catch him for experiments. I forbid you to do that. Jack: Danny, champ, you're wrong.

Lex: Hah, what an interesting substance. Despite the other aggregate state, or rather its absence, it is so similar to kryptonite. Superman: Lex, is this a portable lab? Now is not the time, in case you haven't noticed. Lex: There is always time for science. I think my colleague will agree, right? "Similar to kryptonite?" Jack muttered to himself.

Jack: So Superman wasn't my target. And we are not colleagues. There is only one insanely rich man with questionable moral values with whom I am ready to do work, and your surname is clearly not Masters. Lex: It's a pity, but still, if you want to carry out the delivery of your wonderful weapons or exchange experiences, then call this number. Luther quickly shoves a business card into Fenton's hand. Jack*throws it away*: Come on, son, let's go back to the hotel, you've skinned your knees.

~~~The Evening. The Roof of the mentioned hotel~~~

"My friend Sam is also very frightening. And she also likes dark.“ The boy paused for a minute of thinking. “You want to kiss your goth friend?" "W-What makes you think that, kid. We’re colleagues, I respect him very much and.." "So you want to. It’s okay, I’d like to kiss Sam too but I’m afraid she’s gonna hit me. You have the same problem?" "It’s a little more complicated for adults." Kal begins to explain but stumbles upon Danny’s completely unimpressed look. Yeah, this boy apparently has heard 'kids would understand when they grow up' lectures at least thousand times. "But you’re basically right."

~~~~

When Batman himself comes to their hotel the next day as a representative of the Justice League to make sure that Mr. Fenton has no desire to harm Superman in the future and to tell that Superman is not going to press charges because of the ectoblast that injured him, Danny refuses to leave the room.

Jack: Oh, Danny, I thought you dropped your space rocket yesterday, it's a good that Alicia's Christmas present isn't lost. Danny: Well, dad, I left it on the roof of a bad bad man, yeah, but Uncle Kal returned it last night and we talked for a while. Jack: About what? Space, my little star? *Father immediately assumes that Danny would like to ask about everything real alien*. Boy*blushes and shakes his head negatively*: No, not about it.

Jack: Then what it was about? Danny: Secret superhero things. I can't tell you. I agreed to withhold that information as part of a pinky swear. Batman: And what about me, young man? You can tell me, right? Batman couldn't resist talking with such a cute kid. The boy thinks only for a second before hurriedly trying to push his father out of the room. Danny: Dad, come out for a minute and don't eavesdrop. I'll tell you when you can come in. The big man laughingly obeys. Lil child checks the reliability of the closed door and runs up to Batman. Danny: And so, Mr. Batman, first promise not to laugh or hit Uncle Kal. Batman: I promise? Danny: Good. This is very important information. Batman: I'm listening.

Danny: He thinks you're terrifying and wants to kiss you. And since he is afraid that you will hit him for this, I recommended him to appease you with a pie cooked according to his mother's recipe. Well, you know, since you love sweets and his parents' farm has the most wonderful apples in all states. He rarely cooks himself, but he will try for you, so even if he doesn't succeed, pretend that you liked it, please. Batman:...

Batman: Would you like to work in intelligence for the Justice League when you grow up? Danny: Actually, I want to be an astronaut. Batman: Our base is located in space. Danny:

Danny: Hmm, then I'll think about your offer.

Batman: Great. It's a pleasure doing business with you, Mr. Fenton. You can count on a job recommendation from me. Do you want anything as compensation for your consultation? Danny: Actually, yes. Mr. Batman, tell me honestly, are you a bat on a frugivorous diet like Giant golden-crowned flying fox or you are a Vampire Bat? Sam says that such a big bat can only be a vegetarian and uncle Kal said your son was more than happy to steal strawberries from his garden with Superboy but..

~~~

Batman tries to behave naturally for a week. However, the sweet tooth inside him still makes him clamp Superman in the corner and question him. "Where the hell are the pies you promised to cook for me, Clark?"

[xoxoladyaz]

Cackling at the idea of streamer Steddie, where Steve - the perfectly polished yuppie - plays intense horror games while Eddie - the goth-looking dude - almost exclusively plays farming sims and co-op games aka Golf With Friends, Ultimate Chicken Horse, Mario Party, etc.

The highest-viewed videos on both of their channels are the crossover episodes where Steve watches and laughs as Eddie screams and freaks out over every horror game, especially once he invests in a VR headset. Meanwhile, on Eddie's channel, his viewers (and Eddie) love to watch Steve gradually lose his shit when Eddie beats him at golf or when the farming sim games he occasionally joins in on have "ridiculous prices, how is anyone supposed to grow a business under these conditions - Scrooge McDuck wants HOW MUCH?!"