#god it's really haunting me

[ratzmatazz]

I think I got possessed by charlie chaplin and the only way I can tell this story is by greentext I hope you all understand

>be me (20 year old fool) >live in nyc >walking around and realize I haven’t eaten and also need to do some work so I decide to go to a cafe >walk around for like 30 minutes until I finally find one, looks great very peaceful plenty of people working >walk inside order bagel the guy behind the counter is french(???) and he talks slowly but my brain is on autopilot so I look like an asshole who talks too fast because nyc cafes are usually a quick-time event and I'm disrupting the cafe zen I guess >panic order first bagel I see to redeem myself >ice coffee and loaded bagel (whatever that is) is 20 dollars altogether >whatever the place looks nice for work >barista gives me a number stand for my bagel and I walk away and stand in the main space before realizing I need to still get my coffee? Come back looking even more like an asshole >coffee is in incredibly inconvenient glass cup and filled to the brim too >sugar station is right next to barista so he watches me now pour an obscene amount of sugar syrup but very very slowly >sugar syrup pourer is mildly broken and every time I try to get it to flow faster than "pouring cold tar" it squirts a pump onto the table >sit down >realize I’m sitting in their fucking decorative ~aesthetic~ chair and not a real fucking table >spend 2 minutes slowly dragging a table closer before realizing I look insane and moving all my stuff >still sitting in decorative chair during all of this >guy talking to his friend nearby is watching me and trying not to laugh at me out loud >preparing myself for putting the table back and admitting defeat >do not take coffee off of table >stand up for this but the table is lighter than expected and I tilt the table when I try to scoot it back >coffee leans slowly and cartoonishly close to falling over but I quickly scoot the table over and put it down before it can fully tip and ruin me forever >do this routine of up and down table 3 fucking times moving it back >sit down in shame at real table >guy talking to his friend subtly angles himself to be watching me over his friend's shoulder >take out laptop to work and it’s out of power >no biggie I’ll plug it in I even sat next to four power outlets :) >try first one >no good >try next one >all four outlets don’t work. >want to leave but still have bagel so maybe life is good >bagel arrives >no fucking cream cheese on my bagel. >lady who brings out my bagel is an elderly old-school nyc lady who looks at me with barely hidden disgust for my unknowing bagel monstrosity of 99% spring mix, warm cucumber slices, three pieces of bacon, and a fried egg >bagel is too tall for the second bagel piece to go on top of the bagel >trash can is right next to barista so they’ll see me throw out the untouched shameful top of the bagel too >table is also too small for the bagel plate and my laptop and too cramped for me to easily put it away >eat with laptop on lap (top) (haha) >bite bagel >runny yolk >egg bursts >YOLK ALL OVER LAPTOP. >guy still watching me >tiny courtesy napkin to wipe up my egg shame. >humiliating smooth jazz is playing during all of this. >charlie chaplin's ghost finally releases me from my torment.

[variousobsessions]

Trials of Apollo where everything is the same except Apollo keeps the potted hyacinth from Cabin 7 and brings it along with him on his trials and after he reunites with Meg they find out she can commune with the spirit of Hyacinthus through it because Plant Powers. He's basically her own version of the Arrow of Dodona and they bond through how much of a loser (affectionate) Apollo/Lester is. The rest of the story is the same but they have the added stress of keeping this plant alive and away from harm (the Burning Maze was absolutely a nightmare). The angst potential of Hyapollo getting to reunite but only in a roundabout way through Meg and having to navigate their way through what their relationship means now and how they continue, especially once Apollo starts really getting character development is just *chefs kiss*. I imagine that before Apollo went to face Python he gave the plant to Meg, trusting that if he didn't return she would take care of his semi-dead plant boyfriend. (After he succeeded, they definitely remembered the Golden Fleece and brought him back)

[sapphicdib]

I might have said this before but the nature of the iterator’s very existence is honestly horrifying. They do not die easily, and that is an understatement. Even in submerged superstructure, as the rain approaches, Moon’s siren still wails, with no one to alert but herself of her impending fate. A siren, crushed beneath hundreds of millions of pounds of water and metal, is still functional, screaming for no one. In the Saint campaign, parts of Pebbles’ structure are still active, producing steam and heat deep within despite being mangled beyond recognition, despite being fucking eaten alive. Do you think Sliver endured the same? No Significant Harassment? Suns? Chasing Wind? Without proper maintenance, it’s inevitable, and all they can do is sit idly and listen to their structures creak and groan, wondering when they’ll come crashing down.

An iterator’s death is not swift, it is agonizing, a drawn out whimper, a last punishment for daring to defy their creators. They weren’t designed to transcend, and it drives them mad.

[waitineedaname]

I so desperately wanna know what lee sookyung and persephone's relationship is like. they share a son, I have GOT to know how lsk feels about that. is there grief that her son allowed himself to be adopted by another set of parents, when he struggles to connect with her? is she relieved that he has someone at all? does she try to tell persephone stories about his childhood, only to find there's only a small pool of stories she can tell, the rest of them colored by suffering and her absence? did they mourn him together?

[rin-solo]

Pls tell me I'm not alone—

[ratatatastic]

"is barkov just a total rockstar when hes walking around town?" "he is [...] heard hes kinda like a god up here [in tampere] 😃" sasha dear beloved son of tampere is a rockstar? no! hes a god!

normal things to say about your captain, more news at 11

2024 nhl global series finland postpractise interview | 10.31.24 (x)

[skitskatdacat63]

Please take my low effort shitpost of our two Aston flopboys

Basically:

[astranauticus]

soliloquy

(edit once again i drew something with my ipad screen brightness too high and now that i've posted it nothing is visible. sad!)

[queerofthedagger]

the problem with sites like bluesky is that you'll follow some tolkien scholars because you own books of them and think what they do is fascinating and then they just. follow you back. like my good sir we post incest elf porn here. oh my gOD

[royaltea000]

I cannot stress how many times this fancam of hetamyu Prussia plays in my head daily I need to be neutered immediately

[threepoint14art]

This is how I cope

[kalashtars]

oh god they made chaos in hades ii so fucking hot oh my god oh my g

[p3achii-was-h3r3]

okay so I swear I have context for this

okay so uhm

context: me and my closest friend were on a vc a couple days ago and they brought up that they wanted to draw something. they said something was urging them to draw Hermes, almost as if Hermes himself was whispering in their ear to do so. and thus led to me getting the idea to do this.

[waitineedaname]

sorry im still so fucking unwell about the bingge vs bingmei extra. not only did he get this little glimpse into a world where he's loved, but he goes home with evidence of it on him -- the disciple robes, and the little braid sqq sneakily put in his hair. can you imagine bingge going back to his world and realizing there's a delicate little braid in his hair, put there by the shizun that loved him and treated him tenderly. im going to eat gravel.

[cheemken]

Some Vertin thoughts I have, but do you ever think she and Matilda had this talk after seeing each other again?

I always imagine Vertin just coming up to her and hugging her, and Matilda being so flustered tried to push her away until she feels Vertin shaking like a leaf. Vertin's trying so hard to talk to her, saying she was so glad, so so glad Matilda backed out during the breakaway plan, cause she can't handle the thought of losing Matilda that night too

I think there's so much unexplored potential for these two. Like yeah, Sonetto regretted letting Vertin and the others go that night, but do you think it haunts Matilda too? That maybe she could've tried to talk them out of it, maybe then she and Vertin would still have their friends around

[silverskye13]

talks to u

You will regret talking to me I'm very very sorry

So recently my sister has been reading out loud to me [it is very fun I wish I had someone to read out loud to] and the book she picked was Haunting on the Hill. This book was an absolute minefield of a read because it was advertised as a spiritual sequel to Haunting of Hill House and HOHH is probably one of the books I've been the most emotionally invested in ever. Mostly because I see people take the book and Try To Do It Better constantly, and they do it wrong over and over and over again. I don't know how this became My Hill To Die On, but no one can do a remix of the genre right, especially those that pretend like they're trying to.

Hell House, for example, a book that I hate with my entire being, was a very intentional stab at HOHH. It took the trope of four people -- one a slightly older gentleman who is doing research on the property -- two women -- who is a lonely homebody, and one who is a (implied) bisexual psychic -- and one younger man about their age who has some Obvious Substance Abuse Problems, and sets them in a haunted house to try and figure out why its haunted. The author then spends the rest of the book punishing those characters for obvious perceived societal slights. The old man's sin is being old, and dies because he isn't virile and strong enough to withstand the house [unlike the young male protagonist]. The psychic is punished for believing she is psychic, being a confident woman who lives alone, and being implied bisexual [this is evident in the nature of her death, which I won't share here. It's fucking bad]. Then after these characters die, the white male savior comes back, something to do with the old owner of the house haunting it with his willpower, in a closet with a glass of water? It made no sense. But the metaphor the book was obviously leaning towards was, the Good Guy can win and get the girl if he has strength of mind, is vaguely psychic [but better than the psychic lady obviously] and fucking stands around long enough while his friends are killed.

House on the Hill, which should have been marketed as a reference to Hill House and not as a spiritual successor, is a passable haunted house book that attempts to remix the story by making all of the main characters theater kids. There is an older lady who has been ousted from her community for being too old, the young woman main protagonist who is the Ellie parallel, the Theadora parallel is her girlfriend, a bisexual actress who is maybe a little too full of herself, and their single male character has a substance abuse problem involving cocaine instead of alcohol, like Luke from the original book. The author even seems to have grasped some of the original intention of HoHH as a conversation about isolation and loneliness. However about halfway through the book, it takes a turn and seems to punish Theadora for being the character she was written as, in the same way Hell House punished its Theadora allegory character. The rest of the book proceeds with a lot of standard haunted house tropes -- not a bug exactly, but they don't reinforce any extended metaphor. They're mostly there to be spooky. Which would be fine for a standard haunted house book, but not for a haunted house book that claims its the sequel to HoHH.

You see, Haunting of Hill House, and by extension, Shirley Jackson, the author, have a very subtle but also deeply impactful metaphor about loneliness going on in the background, and everything from the haunted house to the fallout of the characters reemphasizes this theme.

Ellie, Eleanor, is an exhausted housewife-style woman in the 1960s, whose never gone anywhere or done anything with her life, because instead of marrying and moving across the country somewhere, she stayed home to take care of her ailing mother. Now that her mother is dead, she lives with her sister and brother-in-law, and believes herself to be a general tax on the family. She fills stuck, alone, unloved and unwanted. The story is in her point of view, and you quickly realize her way of coping with her trapped feelings involves fantasticizing the world around her. She dreams of who she would be if she just lived over there in that little cottage, how differently her life would turn out if she had a cute little life in that one room house. Etc. When she accepts the summons to Hill House, she steals her brother in law's car and drives there on her own, her first trip alone anywhere in her entire life.

Theadora is a psychic who, if I'm remembering right, lives alone and owns a flower shop. She lives a much more interesting lifestyle than most women in the 60s, in a big city with many different friends and lovers coming and going, completely independent. There is an implication that she has trouble keeping interpersonal relationships -- she's a little too flighty -- and really a woman who can't settle down with a man is a red flag.

Doctor Montague seems fine on the surface, if a little jaded. He's a professor at university who is being slowly pushed out of his scientific field because he believes in the supernatural, and wants to prove it using empirical evidence. You find out his wife is very supportive in this venture -- too supportive. He thinks all of her contributions are nonsense, and so is she. His loneliness is self inflicted. He has a fan club right there with his wife, if he gave two shits about her opinions.

Last is Luke, an alcoholic, and the person in line to inherit Hill House. His loneliness is that he, doesn't want the fuckin' house. But because of his alcoholism and gambling problems, the family has decided he, as the cursed child, gets to take care of the cursed mansion no one else wants to touch. So Luke, ostracized from the family and a little shitty about it, decides he might as well rent out the place for some extra cash to fuel his various addictions. The family is going to be cutting him off soon anyway...

These four characters, over the course of Hill House, become haunted by the house, not because of tragic deaths there, or because the house is alive in any literal sense of the word. But because the House has the quality of an overbearing mother, smothering its children with its expectations. Any piece of furniture moved in the place is replaced as soon as they leave the room. Any door opened to allow air or light inside is shut the minute they walk into the next. The house rights itself back to a self-inflicted perfection that is unlivable, and it wants to isolate you too, to be like it. Hill House tells you exactly what it is and what it wants to do in the first paragraph: And all who walk there, walk alone.

Shirley Jackson wrote this very intentionally. As a woman in the 60s trying to have a successful writing career, none of her books were taken seriously. She was pigeonholed into mother and housewife first. Articles that wrote about her works at the time held the patronizing tone of someone congratulating a child who found a new hobby -- not a serious writer wanting to make poignant stories. Her books are lovely now, the few that were published. But Shirley Jackson lived a life that was full of anxiety and agoraphobia, in a world where she felt belittled and token. Her books are written the way they are for a reason. There is great loneliness in being shoved in a box.

I really love that exploration. I love how the people in the book descend into the box of Hill House, the expectations they place on each other, and the way all the women feel tonally dissonant in their token roles. And that's why I hate so many modern adaptations, or inspired-bys, or spiritual sequels. Hill House is a metaphor before it's a ghost story -- and that is why it succeeds as a ghost story! It is scary because you get invested in the characters' wellbeings, their doomed qualities, their individual, very subtle, madnesses. Watching new writers read the book and punish those characters over and over again for not acting right [especially Theadora, Jesus Christ.]

In fact, since I'm already ranting, I'm going to give you a quick rant in defense of Theadora.

Theadora breaks into the book as a very bright star in Ellie's world. She is, literally, everything Ellie wishes she could be. She lives an interesting life, alone, without being too cripplingly lonely. Theadora, used to a little bit of flirting and over friendliness, falls in with Ellie and Luke immediately. She is charming, and bright and beautiful, and Ellie, who's character flaw is romanticizing everything, falls head over heels for her. They get scared together. They comfort each other when the ghosts start acting up. They get haunted together. And Ellie decides, in the way of someone romanticizing something, when all this is over, she would like to live with Theo. But when she tells Theo this, Theo laughs it off. "This is just a holiday, Ellie dear. We will have to get back to our lives eventually." It's unfair to say this is a game for Theadora. I feel like her feelings in the book, all her charm and her flirting, are genuine. But they're genuine in the way of someone going on vacation and flirting around with the people they meet -- she has a normal life she enjoys that she plans on getting back to. Ellie, who is incredibly alone, and who feels like she has only just tasted happiness now that she's come to Hill House, doesn't want to go back home after this. This is the happiest she's ever been.

Ellie informs Theo she is going to follow Theo home, and Theo turns very, very mean. She starts hitting much harder on Luke [something that makes Luke uncomfortable, but something he never really stops, because Luke also likes the attention he's getting] and belittling Ellie and her wild fantasies. She pushes Ellie away. It isn't kind, but what else can she do? She told Ellie she doesn't want to be followed home and Ellie, trapped in her daydreams, doesn't listen.

The rest of the book unfolds. Hill House isolates Ellie, and makes her feel like she can have no happiness outside its smothering walls. She gets taken by it.

In every book that takes on the mantle of trying to tackle the themes that made Hill House great, I would like to ask you all this: Why do they always punish Theo?

Hell House straight up kills its Theo allegory in a very brutal, overt way, implying she deserves that brutality for her promiscuity. The House on the Hill kills its Theo for being too full of herself, for believing she was entitled to greatness.

Why?

You can make a case for the queer aspects of her probably. Or for misogyny. Or for infidelity. Or for the fact that she appears to choose Luke over her relationship with Ellie. But I notice none of these books punish their Ellie allegory for also falling for Theo. For also aspiring to be something other than a stuffy housewife somewhere. For also falling for Luke, and wanting him to be a part of her happiness fantasy.

In honesty, I really think these authors read Theo and think she's the antagonist. So they write their stories to punish the angry woman who was mean to poor, lonely Ellie. But, here's the kicker, Theadora isn't the antagonist. The house is. Loneliness is. The house leads Ellie to a perfect world, and Ellie, who is the way that she is, cannot fathom a world where that perfection is broken, so she ignores it. So she scares people with her over-attachment. So they try to send her away, because whatever is going on with her, it's not safe and it needs to stop. So she decides she would rather die than leave.

Theadora is only "the bad guy" because she's the one that reminds everyone that the fantasy of this perfect house must break eventually. The Doctor will have to go back to his university that doesn't take him seriously and his wife who takes him too seriously. Theadora will have to go back to her shop with her rotating friends who aren't as close as she'd like, but whom she can't force to stay. Luke will have to go back to his place as the unwanted, failing heir and Eleanor --

Well. Eleanor doesn't leave Hill House.

Everyone gets so mad at Theodora because of Ellie's investment in her. Because Ellie is lonely, and sad, and relatable. The first time I read Hill House, some of Ellie's lines made me want to cry they hit so close to home. All her assertions that when she spoke to people she said too much and was too stupid, she would be better tomorrow. All her quiet chastisements that she needs to be more interesting. All her attachments and how scared she is of being spurned. All her wonder when she looks around at the world and tries to imagine a better life. But it's not Theodora's fault that Ellie doesn't get that. It's Ellie's fault for becoming too attached to something that isn't there, and it sucks, and if this were a story with a happy ending, she would realize that and grow past that, but she doesn't. That's not how the story is written.

On one of the nights when the haunting happens, Ellie and Theo are sharing a room. They are laying in bed and holding hands while the house comes alive around them. Knocking on the walls. Slamming doors. Claws, and whispering, and scraping and screaming. Ellie and Theo hold each other's hands tightly. She hears the torturous sounds of a baby in the other room, a child in pain, screaming for its mother, and she's terrified and she's holding tight to Theadora's hand.

And finds, when the haunting stops, that Theo was out of reach the whole time.

Ellie asks, who's hand was I holding?

[The Haunting of Hill House is a metaphor.]

One of these days I'm going to sit down and write the Haunting of Hill House remake in my head, that I am just egotistical enough to believe I could do well. I would find a more modern metaphor first. Something to do with the loneliness of an infinitely interconnected world. Something to do with how boxed in we all feel, how trapped, and how so many people blame it on computers, even though they should be able to connect us more.

I would build a Hill House where the four characters meet on a forum, the first time they've found someone with similar interests. They would meet in person for this haunting expedition. They too would take in the oddness of a house that rights itself on its own, pretends they were never there. They two would fall in love with each other, and bond, and find community in a group of people who are constantly isolated and are glad to finally find someone they relate to.

They too would have to dear with the objective, lonely horror of realizing this doesn't magically fix their problems. That they were alone in the rest of their lives not just because the world isolated them, but because they're bad at forming connections. They would get catty, and disagree, and worry about the lives they need to go back to, and complain about spouses and partners. And one of them, as is Hill House's tithe, wouldn't be able to cope.

One of them, as is Hill House's tithe, wouldn't be able to leave.

Anyway, not sure where exactly this rant was going. Uh. Nice Sunday we're having anon. Got any niche special interests you've been meaning to unload recently?