#gore hepburn | Explore Tumblr posts and blogs

moontrinemars · 6 months ago

Text

Tenth Lord in Jupiter Nakshatras

Thanks for your patience in waiting for the next part of the series - I’m glad you guys are interested. As always, recorded for my own benefit, published for yours. General disclaimer is in my bio. Credit to KRSchannel for inspiring this post.

Find your 10th lord here, and find your 10th lord’s nakshatra here.

The 10th house rules our life’s honor. It represents the services we perform for society as well as the reputation we earn as a result. It is associated with the father and the career because traditionally, this is where both our standing in society and the role we performed in society would come from - inherited through the father’s family line. However, in our contemporary world, this isn’t always the case, which is why it’s important to know the grander themes at play.

The three Jupiter-ruled nakshatras are Punarvasu, Vishakha, and Purva Bhadrapada.

Jupiter is a planetary object that represents ascension, expansion, and union. It is the aspiration that guides us to our greatest heights, and the intangible whole comprised of all pieces, parts, and individuals. Channeling Jupiter means to take the role of the collective in our capacity as an individual, such as sharing our experiences to better the understanding of others, or discovering, exploring, and sharing universal truths that connect everyone. This is why Jupiter is associated with the partner. Venus is like the practical partner, who represents our own earthly values, but Jupiter is the soulmate, who allows us to ascend beyond the self, uniting physical with spiritual. Jupiter obscures, elevates, and enlightens, offering both afterlife and a life purpose.

DO YOU HAVE YOUR 10TH LORD IN A JUPITER-RULED NAKSHATRA? THAT MEANS YOU…

Audrey Hepburn, Amelia Earhart, and Kendrick Lamar all have their tenth lords in Jupiter ruled nakshatras. Audrey’s is in Punarvasu, Anne’s is in Vishakha, and Kendrick’s is in Purva Bhadrapda.

… AND THE PUBLIC MUTUALLY TEACH, EVOLVE, AND MYTHOLOGIZE ONE ANOTHER.

This placement produces an individual who is not content to engage with either their vocation or their society as a means to an end. These natives rather prefer to approach their public life, and the concept of the public itself often enough, as deeply meaningful and containing a higher purpose. Here you find individuals who shake up their industry by introducing cultures of open-mindedness and experimentation, as often as you find those who pursue their far-flung, lofty legacies at the expense of their health, relationships, privacy, and even life.

Jupiter's fame is more particular to how its influence manifests than to the amount of or method by which it was accrued. Whether you're looking at canon-defining classics, the celebrity of subculture, or the first individual of a certain kind to succeed in this or that field, you're looking at a Jovian native whose legacy serves to teach the public, and expand how the public defines itself. Of course, anyone can push boundaries, but these natives are most likely to be remembered for the barriers they break, and the lessons they taught in the process.

MORE ON THE SPECIFICS OF PUNARVASU, VISHAKHA, AND PURVA BHADRAPADA BELOW!

IF PUNARVASU RULES THE TENTH LORD, YOU…

Sharon Tate, David Beckham, and Halle Berry all have their tenth lords in Punarvasu. Others with this placement are William Shakespeare, Aretha Franklin, Amy Adams, J. M. Barrie, Debbie Harry, Al Gore, Alannis Morisette, Naomi Judd, Stephen King, Tony Curtis, Eddie Murphy, Gisele Bündchen, Werner Herzog, and Courtney Love.

Take public responses to your behavior personally, even finding it difficult to separate your identity from your reputation at first.

Are likely to be known for your professional value on an individual level, as a matter of skill, rather than as a team member or leader.

May benefit from a mentor who takes you under their wing, or may play such a role to new incomers to your field or workplace.

Count on your inborn charm to buoy you through scandal.

Transform your persona with age to appeal to new expectations.

AND YOU MAY FIND…

Travel is an expected part of your job, and public service you perform in foreign places seems to leave a greater impact.

Early on in life, key marriages and romantic partnerships can interfere with your career and social status, or vice versa.

Engaging in social service, partaking in cultural traditions, and organizing society-wide events, is spiritually cleansing, and allows you to reintegrate your public persona and personal identity.

Others imbue you with moral authority you are not prepared to shoulder, potentially leading to unearned imposter syndrome.

A pattern of being publicly linked to 'someone else': a role you have played, a title you've been given, a superior who enhances your image, a teammate who steals your valor, etc.

PUNARVASU is the Star of Renewal. Industries and career types favored are those involving archetypes, exploration, drama, history, innovation, education, spirituality, relationships, care-taking, healing, delivery, narrative, articulation, influence, and transportation.

IF VISHAKHA RULES THE TENTH LORD, YOU…

Anne Hathaway, Usher, and Billy Idol all have their tenth lords in Vishakha. Others with this placement are Dodi Al Fayed, Steven Spielberg, Susan Sarandon, Winston Churchill, Giorgio Armani, Martin Luther, Patti Page, H. G. Wells, Martin Scorsese, Analeigh Tipton, Joel Coen, Megan Mullaly, Richard Strauss, CM Punk, Georgia O'Keefe, John Cleese, Monica Vitti, Ashanti, and Mary, Queen of Scots.

Naturally come to occupy positions of authority in the industries of your mastery, if not through literal rank than socially/morally.

May find yourself successfully introducing a new movement, genre, belief, or idea before it's celebrated by the mainstream.

Are generous in the world of public service, and will leave a legacy of having cared for and striven for the betterment of your society.

Know how to communicate your ideals and philosophies to a wide audience in a professional setting effectively, even artistically.

May be accused of elitism, pretentiousness, or arrogance, even when you try to cultivate an attitude of humility and modesty.

AND YOU MAY FIND…

Your early professional life is beset with competition, or your chosen industry is somehow affected by martial conflicts.

Members of the public will interpret you either as self-indulgent and petty, or as austere and enlightened, with no in-between.

Opportunities for romance are plentiful for you in social and legal settings, but resulting relationships must be extricated from those wider contexts to establish a happy and healthy marriage.

Your boss often partakes in social drinking with his subordinates.

Jealousy is a common theme, whether you have a reputation for being jealous, others are jealous of and threatened by you, etc.

VISHAKHA is the Star of Purpose. Industries and career types favored are those involving research, politics, competition, speech, ideology, agitation, immigration, criticism, trade, exchange, leisure, intoxicants, production, leadership, personal branding, and style.

IF PURVA BHADRAPADA RULES THE TENTH LORD, YOU…

Marilyn Monroe, Grace Kelly, and Sidney Poitier all have their tenth lords in Purva Bhadrapada. Others with this placement are Kurt Cobain, Laurence Olivier, Michael Jordan, Charles Dickens, Vincent Price, Armie Hammer, Franz Schubert, Gerard Way, John Steinbeck, Kurt Russell, Maya Angelou, Conan O'Brien, Bobby Driscoll, David Tennant, Jay Leno, Rik Mayall, Keri Russell, and OP.

Tempt others into rule-breaking and are tempted in turn by communities and livelihoods that circumvent or defy the law.

Signify a movement or change in social norms within your field.

Use your work to provoke others into changing their core beliefs.

Bring elements of the metaphysical, spiritual, transcendental, and philosophical into a more social and/or practical public setting.

Naturally uncover and grapple with a fundamentally darker side of public life and of the public in general, with too much exposure or attention more likely to pose a real, material risk to your health, security, or even life.

AND YOU MAY FIND…

Your look, attitude, and/or impulses are easily congealed into an image or symbol, one that is powerful but restrictive, and your depths may be shunned by the public or authorities as a result.

Anyone who tries to take a conflict with you public will suffer serious consequences as a result, from either your own ferocity when tested, or organized backlash from others on your behalf.

Introduction through the professional and public sphere makes others magnetically attracted to you; however, those who would already be attracted to you are at risk of becoming obsessive.

The pursuit of a specific career or end-goal, specifically through higher education or founding of a philosophy, actually puts you in contact with more opportunities and generates more success in a totally different field or toward a different goal than you plan for.

One of the most rewarding and effective means by which you can perform public service is through contributions to education and community outreach through mentorship.

PURVA BHADRAPADA is the Burning Pair. Industries and career types favored are those involving ideology, sensuality, speculative genres, music, investigation, nature, spirituality, research, administration, promotion, conflict, subcultures, rhetoric, death, and crime.

HOPE THIS IS HELPFUL. VARIATION IN REQUESTS MEANS WE’RE GOING OUT OF ORDER, BUT WE WILL RETURN TO THE OTHERS LATER. FEEL FREE TO MESSAGE WITH QUESTIONS, THOUGHTS, IDEAS, ETC. THANKS SO MUCH. PART 7 WILL BE FOCUSED ON MERCURY-RULED 10TH LORD NAKSHATRAS! ♡

62 notes · View notes

mooniehoneyrey · 7 months ago

Text

𝑀𝑜𝑜𝑛𝑖𝑒'𝑠 𝑏𝑙𝑜𝑔 ღ

• 𝑀𝑦 𝑎𝑐𝑡𝑢𝑎𝑙 𝑛𝑎𝑚𝑒 𝐼𝑠 𝐶𝑜𝑙𝑜𝑚𝑏𝑎, 𝑏𝑢𝑡 𝑜𝑓𝑐 𝑦𝑜𝑢 𝑐𝑎𝑛 𝑐𝑎𝑙𝑙 𝑚𝑒 𝑀𝑜𝑜𝑛𝑖𝑒 𝑜𝑟 𝑎𝑛𝑦 𝑛𝑖𝑐𝑘𝑛𝑎𝑚𝑒 𝑦𝑜𝑢 𝑤𝑎𝑛𝑡 ♥︎

• 𝑖'𝑚 𝑎 𝑚𝑖𝑛𝑜𝑟.

• 𝐹𝑒𝑒𝑙 𝑓𝑟𝑒𝑒 𝑡𝑜 𝑡𝑒𝑥𝑡 𝑡𝑜 𝑚𝑒 𝑎𝑛𝑦𝑡𝑖𝑚𝑒, 𝑖 𝑙𝑜𝑣𝑒 𝑚𝑎𝑘𝑖𝑛𝑔 𝑛𝑒𝑤 𝑓𝑟𝑖𝑒𝑛𝑑𝑠 ♥︎♥︎♥︎

• 𝑀𝑦 𝑚𝑏𝑡𝑖 𝑖𝑠 𝐼𝑛𝑓𝑝 (𝑠𝑜𝑚𝑒𝑡𝑖𝑚𝑒𝑠 𝐸𝑛𝑓𝑝)

𝙼𝚢 𝚏𝚒𝚛𝚜𝚝 𝚕𝚊𝚗𝚐𝚞𝚊𝚐𝚎 𝚒𝚜 𝚜𝚙𝚊𝚗𝚒𝚜𝚑, 𝚜𝚘 𝚋𝚎 𝚙𝚊𝚝𝚒𝚎𝚗𝚌𝚎 𝚠𝚒𝚝𝚑 𝚖𝚢 𝚎𝚗𝚐𝚕𝚒𝚜𝚑 ☺︎︎.

୨ৎ────୨ৎ─────୨ৎ────୨ৎ────୨ৎ────୨ৎ

My favorite sagas

• The lord of the rings

• Star wars

• The hunger games (i have all the books to🤞)

• Twilight (waiting for the books¡¡)

I loveee Ahs

My favorites seasons are Cult, Murder house, hotel, coven, freak show and asylum (and all the others i like the same, i just don't hate none of them)

AND I LOVE SUPERNATURAL

• Also i'm a fan of a lot of stuff (what i mean is almost everthing), i really do like Star wars, the Kick ass comics, the lord of the rings, hanibbal, anything called "nerd" is my thing.

•I love cats, or any animal i just like nature¡¡

ღ

• I freaking love sitcoms The big bang theory, how i met your mother, Brooklyn 99, young sheldon, superstore, almost any of them ^^

I love every age in music, movies and fashion¡¡ (i'm to Lazy for finish this yet😭)

50s:in music Lesley gore, the flamingo's, Nina Simone and Jerry lee lewis, Peggy lee, the poni- tails in fashion (my icons) Audrey Hepburn, Marilyn Monroe, Grace Kelley, Brigitte Bardot, In films singing under the rain and born yesterday

60s: In music the crystals, the ronettes, the doors, the supremes, skeeter davis, and elvis Presley In fashion Twiggy, Sharon tate, Jane Birkin, Shelley Duvall in films Breathless and contempt

𝙼𝚢 𝚏𝚊𝚟𝚘��𝚒𝚝𝚎 𝚋𝚊𝚗𝚍𝚜 𝚊𝚛𝚎...: 𝚋𝚕𝚘𝚘𝚍 𝚘𝚛𝚊𝚗𝚐𝚎,motley crue, weezer, the runaways, 𝚜𝚘𝚍𝚊 𝚜𝚝𝚎𝚛𝚎𝚘, 𝚝𝚑𝚎 𝚍𝚘𝚘𝚛𝚜, 𝚑𝚘𝚕𝚎, 𝚗𝚒𝚛𝚟𝚊𝚗𝚊, 𝙺𝚘𝚛𝚗, 𝚝𝚑𝚎 𝚜𝚖𝚒𝚝𝚑𝚜, 𝚏𝚕𝚎𝚎𝚝𝚠𝚘𝚘𝚍 𝙼𝚊𝚌, 𝙺𝚒𝚜𝚜, 𝚛𝚊𝚖𝚖𝚜𝚝𝚎𝚒𝚗, 𝚝𝚑𝚎 𝚌𝚛𝚊𝚗𝚋𝚎𝚛𝚛𝚒𝚎𝚜, 𝚔𝚒𝚝𝚝𝚒𝚎, she wants revenge.

(𝙸 𝚑𝚊𝚟𝚎 𝚊 𝚋𝚞𝚗𝚌𝚑 𝚖𝚘𝚛𝚎 𝚋𝚞𝚝 𝚛𝚗 𝚒 𝚍𝚘𝚗'𝚝 𝚛𝚎𝚖𝚎𝚖𝚋𝚎𝚛 :��)

𝚖𝚢 𝚏𝚊𝚟𝚘𝚛𝚒𝚝𝚎 𝚊𝚛𝚝𝚒𝚜𝚝𝚜 🩷 𝙻𝚊𝚗𝚊 𝚍𝚎𝚕 𝚛𝚎𝚢 𝚊𝚗𝚍 𝚘𝚏𝚌 𝚑𝚎𝚛 𝙻𝚒𝚣𝚣𝚢 𝚐𝚛𝚊𝚗𝚝 𝚎𝚛𝚊, 𝚋𝚓𝚘̈𝚛𝚔, 𝚖𝚒𝚝𝚜𝚔𝚒, 𝙻𝚊𝚍𝚢 𝚐𝚊𝚐𝚊, 𝚐𝚛𝚒𝚖𝚎𝚜, 𝚕𝚎𝚜𝚕𝚎𝚢 𝚐𝚘𝚛𝚎, 𝚛𝚘𝚜𝚊𝚕𝚒𝚊, Joan jett, 𝙼𝚊𝚛𝚜 𝚊𝚐𝚘, 𝙼𝚊𝚛𝚒𝚗𝚊, 𝚙𝚘𝚙𝚙𝚢, 𝚏𝚛𝚊𝚗𝚌𝚒𝚜𝚌𝚊 𝚟𝚊𝚕𝚎𝚗𝚣𝚞𝚎𝚕𝚊, fiona apple, Kurt Cobain.

𝚒 𝚕𝚘𝚟 𝚏𝚒𝚕𝚖𝚜! 𝚒 𝚕𝚘𝚟 𝚙𝚊𝚕𝚘 𝚊𝚕𝚝𝚘, 𝚊𝚍𝚞𝚕𝚝 𝚠𝚘𝚛𝚕𝚍, 𝚜𝚠𝚎𝚎𝚗𝚎𝚢 𝚝𝚘𝚍𝚍, 𝚔𝚒𝚕𝚕 𝚋𝚒𝚕, 𝚕𝚒𝚝𝚝𝚕𝚎 𝚖𝚒𝚜𝚜 𝚜𝚞𝚗𝚜𝚑𝚒𝚗𝚎, 𝚖𝚛 𝚏𝚊𝚗𝚝𝚊𝚜𝚝𝚒𝚌 𝚏𝚘𝚡, 𝚝𝚑𝚎 𝚋𝚛𝚎𝚊𝚔𝚏𝚎𝚊𝚜𝚝 𝚌𝚕𝚞𝚋, 𝚌𝚛𝚢 𝚋𝚊𝚋𝚢, 𝚍𝚒𝚛𝚝𝚢 𝚍𝚊𝚗𝚌𝚒𝚗𝚐, 𝚝𝚑𝚎 𝚌𝚛𝚞𝚜𝚑, 𝚊𝚗 𝚎𝚍𝚞𝚌𝚊𝚝𝚒𝚘𝚗, 𝚝𝚑𝚎 𝚕𝚒𝚐𝚑𝚝𝚑𝚘𝚞𝚜𝚎, 𝚊𝚖𝚎𝚛𝚒𝚌𝚊𝚗 𝚋𝚎𝚊𝚞𝚝𝚢 𝚊𝚗𝚍 𝚙𝚎𝚊𝚛𝚕!

(𝙰𝚕𝚜𝚘 𝚎𝚟𝚎𝚛𝚢 𝚂𝚘𝚏𝚒𝚊 𝚌𝚘𝚙𝚙𝚘𝚕𝚊, 𝚝𝚒𝚖 𝚋𝚞𝚛𝚝𝚘𝚗, 𝚊𝚗𝚍 𝚝𝚊𝚛𝚊𝚗𝚝𝚒𝚗𝚘 𝙼𝚘𝚟𝚒𝚎!)

𝚒 𝚕𝚘𝚟 𝚝𝚟 𝚜𝚑𝚘𝚠𝚜.. 𝙰𝚑𝚜, 𝚎𝚟𝚎𝚛𝚢 𝚝𝚢𝚙𝚎 𝚘𝚏 𝚜𝚒𝚝𝚌𝚘𝚖, 𝚒𝚗𝚜𝚊𝚝𝚒𝚊𝚋𝚕𝚎, 𝚜𝚌𝚛𝚎𝚊𝚖 𝚚𝚞𝚎𝚎𝚗𝚜, 𝚝𝚑𝚎 𝚋𝚎𝚊𝚛, 𝚏𝚕𝚎𝚊𝚋𝚊𝚐, 𝚜𝚑𝚊𝚖𝚎𝚕𝚎𝚜𝚜, 𝙰𝚗𝚗𝚎 𝚠𝚒𝚝𝚑 𝚊𝚗 𝚎, 𝙳𝚛 𝚑𝚘𝚞𝚜𝚎 𝚊𝚗𝚍 𝚍𝚎𝚡𝚝𝚎𝚛, Pretty little liars, supernatural

𝚒 𝚕𝚘𝚟 𝚋𝚘𝚘𝚔𝚜! 𝚋𝚞𝚝 𝚒 𝚛𝚎𝚊𝚕𝚕𝚢 𝚗𝚎𝚎𝚍 𝚝𝚘 𝚛𝚎𝚊𝚍 𝚖𝚘𝚛𝚎 💔... but my favorites are the trial, the diary of a teenage girl, the stranger, anna karenina, Emma, anuarí, lady windermere's fan

♡To be fair this is just a silly blog♡ (don't take me serious)

I don't have many boundaries, just be nice and kind :) (don't be a creep)

🩷 𝑀𝑦 𝑠𝑜𝑐𝑖𝑎𝑙 𝑎𝑝𝑝𝑠 🩷

I'll edit this every time something occurs to me¡¡

#girlblogging #me #about myself #this is what makes us girls #girlblog aesthetic

76 notes · View notes

crowmaggot · 12 years ago

Text

∞ xanax ⁷⁷⁷ㅤ ⩩ 🐾

tcc ㅤ♡ autoassassinphile ⸝⸝ 𖤐 𝟎𝟗

!! 🦴 𓈈 𝟢𝟦/𝟣𝟫/𝟤𝟦 : ⚠︎

⟢ personal rentry ⭑ et ! 🍷

. WARNINGS ; tcc, sh, traumacore, religion (satanism), mental illness, obsession, hybristophilia, necrophilia, autoassassinophilia and gore.

. DNI ; i dont have one, i dont care who you are.

. EXTRA ; please do take into consideration that my account will contain necrophilia , hybristophilia , autoassassinophilia + more. if any of these paras make you uncomfortable please dont interact !!!

. ABOUT THE OWNER ; refer to me as xanax or puppy ,, either is fine idrc. my pronouns are they/it + any gore/dog neos. pronoun info

i’m 𝗂𝗇 𝖺 𝖼𝗅𝗈𝗌𝖾𝖽 𝗋𝖾𝖺𝗅𝗍𝗂𝗈𝗇𝗌𝗁𝗂𝗉

wanna be my friend? add my disc; agetone!!

. REQUESTS ; i also make moodboards and will do stimboards ! all info is here. everything is opened:)

. MUSIC ; toby mai, neffex, two feet, montell fish, chase atlantic, patrickreza, mayhem, pierce the veil, lebanon hanover, falling in reverse, escape the fate, tokio hotel, insane clown posse + twisted, macklemore, nf and confetti:)

. TAGS ; #.favs (tcc), #.fangs (reblogs), #.alterhuman (therian related), #.traumacore (vents), #.rants (talking), #.<3 (artyom anoufriev), #.drawover (art ?), #.personal (irl pics), #.me (my identies)

. NOTES ;

i love getting attention :3

49 notes · View notes

wildestdreamcatcher · 5 months ago

Text

Monroe Girl

Summary: A look into different periods of Elijah and Becca's relationship

TW: Mentions of alcohol and being drunk, toxic relationships, trauma with relationships, breakups

A/N: This is a long fic with a word count of 2138k

August 1960

I sat in biology listening to the teacher ramble about her life, her expectations for the school year, and some other shit I didn’t really care about. It was the first day of 10th grade, and I was already bored and felt bad. My makeup hadn’t turned out right and I felt like my hair was flat. I looked around the room in boredom, trying to focus on anything but this class, and that’s when I noticed him. He wore ripped jeans, a Harley shirt, and black and white Converse. He had long curly hair and dark skin, he was laughing and smiling while talking to Todd about god knows what.

I knew who he was: Elijah Matthews. He was one of Andrew’s best friends and he always seemed cool. I had talked to him a few times for partner work in class and he always seemed interesting, like someone I wanted to know more about. There were rumors that he was bad, he didn’t care about people but Andrew wouldn’t surround himself around selfish people. I had a hallway crush on Elijah, but it felt stupid to think we’d be together. I was starting to zone out and stare at him when we turned around. He started to smile at me and I blushed like an idiot.

Todd didn’t come to school the next day and Elijah invited me to sit with him on the table. We were sitting there whispering about music and actors we liked. He told me his favorite movie was “Rebel Without a Cause”, he told me I looked like Marilyn Monroe and that he thought I had pretty eyes. The teacher started to scold us for talking so much but we didn’t care, he was the only thing making this class interesting. That same day, Elijah and Andrew had decided to sit with Ruby and I at lunch. Ruby looked really excited when Andrew sat with us and he did too, it was obvious they had crushes on each other and it never made sense why they wouldn’t get together. I didn’t really pay attention to them though, I just paid attention to Elijah and tried not to blush when he called me “Monroe Girl”.

It had almost been a month since this had been happening, but I guess my feelings weren’t one-sided. He had come up to me at the end of the day and asked me if I wanted to go to the drive-in theater with him there was a screening of “Roman Holiday” that he wanted to take me to and he knew that I loved Audrey Hepburn. I said yes, praying to God this was a date and that everything would go well.

December 1960

Elijah and I had been dating for 4 months and it had been as entertaining as I had thought. He liked sneaking out with me so we could hook up and make out in his red Chevy Bel Air, he had a huge collection of vinyls from Bob Dylan, James Brown, Chuck Berry, Frank Sintra, and Aretha Franklin. He liked taking me to movies and getting me gifts, he told me I was the prettiest girl ever. Everything seemed perfect, and I was fucking ecstatic to be with him.

I was sitting in Elijah’s car after Ruby’s Christmas party. He said I looked pretty in my red mini dress with the white tights and gogo boots. He wanted to give me my Christmas presents since he’d b in New Jersey to visit his brothers. I felt special with the way he was looking at me like nothing else mattered, the Christmas songs playing on the radio, the white snow adding to the wintery landscape. He handed me this white and red bag with a heart-shaped locket, a Lesley Gore vinyl, and a card he wrote saying how happy he was to be with me. I kissed him and everything felt right.

“I love you, Elijah.” I could see how he flinched at those words. It was almost as if he was scared. He just nodded and kissed me, like he was trying to distract me from everything.

Maybe he just wasn’t ready to say it back yet and I guess I would wait until he did.

March 1961

I was trying not to be pissed Elijah, not tonight. He was upset because his mom had made him leave so she could fuck her boyfriend without him being a bother to her and now he was getting drunk at this party he wanted me to come to. He did this whenever one of his parents would make him leave the house, I guess so he could get his mind off of everything and so he could stay in a warm house with food and drinks. I was watching him in the kitchen, he was supposed to be getting me the coke I wanted seeing as how I had to be the designated driver because he was going to be too drunk to drive. He was standing there talking to some brunette who was batting her lashes at him, laughing at his drunken humor, he was eating it up too!

I could blame his flirting on the beer he was drinking but it wasn’t the first time he had done this. Elijah liked entertaining people, he liked being flirtatious, his ego was bigger than the fucking sun at times, he was overly confident and it was irritating. He didn’t completely see the problem with flirting with other girls but maybe it wasn’t his fault. He had grown up watching his parents having affairs and flirting with other people openly to piss each other off. It was normal in his household so I guess I couldn’t completely blame him.

I managed to drag him back into my bedroom without him falling on top of me. I felt bad for him: he was going to feel like shit in the morning, not only because of the alcohol but because he was going to have to figure out where to stay. His mom liked having her boyfriend over as long as she could and Elijah would just have to pick up the pieces of that. My parents were nice enough to let him stay for a few days but eventually, he would have to go home.

He sat on my bed, drinking the water I gave him. I wanted to feel at peace with him especially with the way he was holding me.

“Why were you so pissed at the party, Bec? You were pretty much glaring daggers nto me.” He didn’t sound angry, just confused. I was just going to lie to him. This moment felt too nice and I didn’t want to have this argument, especially since he was starting to sober up.

“It’s nothing!”

“No, it’s not. Just tell me how you feel! I can’t fix it if I don’t know why your pissed!!”

A sober Elijah would never push me this hard. He hated arguments, he hated confrontation. It terrified him even if he would never admit that.

“I’m just mad you were entertaining and flirting with that girl at that party! And honestly, I feel like you shouldn’t even have to ask me why I’m upset because it should be so obvious!”

I was like word vomit was just coming out. He looked shocked and confused like he didn’t think he was doing anything fucking wrong and it felt infuriating.

“I was just fucking talking to her! You seem annoyed when I just sit in the corner and don’t do shit at the parties!”

“You weren’t just talking to her! You were looking at her the same you look at me so what I’m supposed to think when you don’t automatically shoot down girls who are batting your lashes at you or asking for your number?”

I started crying and I hated it. I didn’t even want to have this argument! I wondered if he thought I was jealous or possessive now. I didn’t want to stop him from being nice, I didn’t want him to stop being social or having friends but it didn’t seem like he was just being nice to her. Elijah didn’t yell: he seemed meeker than normal. He just let me cry and kept apologizing to me.

“Do you love me, Elijah?”

“Of course I do.”

Maybe he did love me. After all: I was the girl whose picture was kept on his nightstand, and whose clothes were on his bedroom floor, he called me his “Monroe Girl”, he let me drive his car and wear his clothes. I was the girl who he wrote songs for. Besides he never did anything like having sex with other girls. He just flirted with them.

October 1962

I wanted to cry right now. Elijah and I had just left this Halloween party and it had ended horribly. We went together as an angel and devil, and now I started to think his devil costume was fitting for tonight. He flirted with another girl, after promising me he would stop. It felt like we had been having this argument for the 2 years we had been dating, and there were only so many times I would let this go. Tears were steaming down my face as I walked into my house while he trailed behind me. I got lucky my parents weren’t home.

“You promised me you would stop this shit but it never fucking ends, now does it?!”

“I was just being fucking nice to her, Becca!! Why is that hard for you to fucking understand?”

“You always say that! Like I’m just a bitch who doesn’t want you to be happy and socialize! I’m so fucking tired! And you know what’s the worst part of this, Elijah? In the 2 years we’ve been together, you’ve never once told me you loved me!”

“What do you want me to be? I can’t be your fucking prince charming, I can’t be a perfect angel for you! Do you want me to change all my personality for you? And why are you acting like I don’t fucking love you?”

I felt heated and distraught. Elijah made me happy but he also made me so fucking stressed, angry, and devastated and I wondered if this would last another month.

“What am I supposed to think? You’re always acting a fucking fool in front of me, you’re flirting with other girls like I’m not in the same Goddamn room, you’re pushing me away like I don’t even fucking matter! I love you so much, Elijah. I’m in love with you and I want you to feel the same way! I’d marry you if you fucking asked yet you don’t even bother to speak to me unless you’re moaning my name while you’re fucking me!”

I knew that the last part was probably too far but maybe he needed to hear it.

“Look me in the eyes, Elijah! Look me in the eyes and tell me you love me, that you’re in love with me. That the words you write in your songs about me are true!” He wrote in his songs that I was his girl, that he couldn’t live without me, and that I meant the fucking world to him!

“I’m not going to lie to you, Becca! I’m not in love with you, I’m not in love with anyone, I don't think anyone is actually in love! It doesn’t fucking exist! Do you think that people like my parents are in love, do you think that marriage is going to work? It doesn’t work out, Rebecca! You’re either gonna spend the rest of your life pretending that what you feel is being ‘in love’ or regretting the rest of your life being married to someone you hate!”

I felt gutted when he said that. He sounded cold, angry, and I couldn’t even blame it on alcohol because he hadn’t had a fucking drop of anything but coke.

“Elijah, I am not going to be the one you project your fear of relationships onto! I thought you loved me, I thought I was gonna fucking marry, but you don’t feel the same way and I won’t settle for a man who doesn’t love me like that. Somewhere out there is a man who will love me the way I love him and clearly it’s not you. It’s over, Elijah. I’m done!”

He didn’t even fight, didn’t protest, he just left and told me “I hope you find that man, Becca. I’m sorry it’s not me!”

I cried when he left. I had given away 2 years of my life with this man and now it was all in a little over an hour. I hope I’ll be ok.

@sadlonelyyogurt @blowflygrls @vommitgirl

#rebecca james #becca james #elijah matthews #ceanna's ocs #cece's ocs #ceanna's writings #tw toxic relationships #tw neglectful parenting #tw trauma #tw alcohol #tw drunk

6 notes · View notes

nitrateglow · 2 months ago

Text

Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

44 notes · View notes

moonlight · 7 days ago

Text

i was tagged by @celine-song to do a URL song title tag game, tysm lera 😘

melting — kali uchis

ode to the mets — the strokes

one point perspective — arctic monkeys

no one noticed — the marias

lose my breath — destiny’s child

i love it — icona pop, charli xcx

glory and gore — lorde

hard times — ethel cain

timefighter — lucy dacus

tagging: @brandonlees @obiwan @talesfromthecrypts @audreys-hepburn @swkywalker

#tag games #txt

5 notes · View notes

fawning4leif · 14 days ago

Text

⊹ ࣪ ˖ 💌 ’Be m𝓎

Be m𝓎 bab𝓎!’´ˎ˗

Intro/about me ♡︎ !

Hii !! My name is dolly sometimes I go by doll.<3 welcolm to my blog!

Im 🔴under 18🔴 so pls dont be creepy (you will be blocked if u do so!)

I mostly post headcannons,relatable content,diary entrys,pictures,basically just girlblogging ♡︎

I adore old movies and audrey hepburn shes my biggest inspiration.

My hobbies:writing,reading,baking.

My fav movies are:dirty dancing,sleeping beauty,the outsiders,over the edge,a bronx tale,american spycho,just married,where the heart is,girl interrupted,my girl,anything audrey hepburn and matt dillon to be honest.

My fav shows are:desperate housewives,malcolm in the middle,buffy the vampire slayer,gilmore girls.

Fav artists:tyler,the creator,lana del rey,dolly parton (i was namex after her),Elvis presly,the beatles,ritchie valen,2pac,stacy Q,Britney spears,metallica,hole,Nirvana,guns and roses,blondie,artic monkeys,the smiths,the cranberries,amy whinehouse,eminem,fleetwood mac,the teenagers,olivia newton john,jeff buckley,Aaliyah,Tv girl,Lesley gore,leif garret,Avril lavgen

I l♡︎ve the 60s and 80s.

⁻ᵐʸ ᵒⁿᵉ ᵃⁿᵈ ᵒⁿˡʸ ᵇᵃᵇʸ!

-♡︎

3 notes · View notes

byneddiedingo · 2 years ago

Photo

Katharine Hepburn, Montgomery Clift, and Elizabeth Taylor in Suddenly, Last Summer (Joseph L. Mankiewicz, 1959)

Cast: Elizabeth Taylor, Katharine Hepburn, Montgomery Clift, Albert Dekker, Mercedes McCambridge, Gary Raymond, Mavis Villiers. Screenplay: Gore Vidal, Tennessee Williams, based on a play by Williams. Cinematography: Jack Hildyard. Production design: Oliver Messel. Film editing: William Hornbeck, Thomas Stanford. Music: Malcolm Arnold, Buxton Orr.

Suddenly, Last Summer is a film with a rare distinction: Both Katharine Hepburn and Elizabeth Taylor received Oscar nominations as best actress for their performances in it. It says something about the film that these two performances are the most memorable thing about it -- and not always for the right reasons. The only other nomination it received was for art direction. There were none for Joseph L. Mankiewicz's direction or for the screenplay credited to Gore Vidal and Tennessee Williams. In fact, Williams had nothing to do with the film, and according to John Lahr's fine biography, Tennessee Williams: Mad Pilgrimage of the Flesh, he later called it "an abortion." It was Vidal who accomplished the task of expanding Williams's one-act play into a two-hour film. What Vidal and Mankiewicz actually accomplish is a kind of parody of Williams's style at its most florid. They take the film beyond the play's single setting in the jungle-like hothouse and dilute and dissipate the intensity of the play's great scenes for Catherine (Taylor) and Mrs. Venable (Hepburn). Vidal himself regretted the decision to film the attack on Sebastian, which in the play is only described by Catherine, but it's likely that producer Sam Spiegel insisted on showing Taylor in her revealing white bathing suit. Hepburn at this point in her career couldn't help being a collection of familiar mannerisms -- the haughty head-tilt, the reedy vocal production -- but she holds the screen like no other actress. Taylor, however, fails to evoke Catherine's vulnerability and she begins her great final narrative on too high a pitch, then has to sustain it to the point of shrillness. Montgomery Clift, as the doctor who tries to resist Mrs. Venable's attempt to eradicate Catherine's memories with a lobotomy, is clearly a damaged man, suffering the effects of alcohol and drugs after his near-fatal car crash in 1956, but Taylor was insistent on casting him, over Mankiewicz's objections, which continued well into filming. Taylor and Hepburn both mothered him, and they resented Mankiewicz's sometimes harsh treatment, to the point that, according to several accounts, when Hepburn finished her final scene she spat at the director.

#Suddenly Last Summer #Joseph L. Mankiewicz #Katharine Hepburn #Montgomery Clift #Elizabeth Taylor

15 notes · View notes

terrorpenned · 2 years ago

Text

DOSSIER : VICTORIA WINTERS

Studies in: parasitic obsessions with the past, entanglements with old families, Jane Eyre and Mrs. de Winter, the genre-dysphoric protagonist, transmutable identity, hauntings by the women of the narrative.

FULL NAME: Victoria Winters AGE: early 20's BIRTH DATE: March 4th, 1946 ETHNICITY: white, American GENDER: cis woman ROMANTIC ORIENTATION: biromantic SEXUAL ORIENTATION: bisexual RELIGION: Protestant, but not devout SPOKEN LANGUAGE: English CURRENT LIVING CONDITIONS: in a room at Collinwood OCCUPATION: governess, tutor

RELATIONSHIPS

PARENTS: unknown (Betty Hanscombe and Danny Taylor) SIBLINGS: none SIGNIFICANT OTHER: Burke Devlin (present, presumed deceased), Peter Bradford (1795)/Jeff Clark (present), Barnabas Collins (ish, present) CHILDREN: none

PHYSICAL TRAITS

EYE COLOUR: blue HAIR COLOUR: brunette HEIGHT: 5'6″ BODY BUILD: thin TATTOOS + PIERCINGS: no tattoos, ear piercings NOTABLE PHYSICAL TRAITS: hair often tied back into a half-up ponytail with ends flipped. favors comfortable clothing like loose cardigans and jackets. captivating, haunted-looking eyes : sometimes more like a spirit, than a girl.

PERSONALITY

INTELLIGENCE: mixed bag, definitely not the brightest. very book smart, especially when it comes to history, which is a fixated interest of hers –– to the point it is regarded as an unhealthy obsession by everyone else. she can name every president in US history in order, one of her only party tricks. once she begins working for the Collins family, she undertakes study of their own family history as well, especially the story of Josette Collins. quite decent at mathematics, geography, and basic science, as well as teaching them, and overall makes David a fine tutor: his aptitude and questions help her learn more too. socially, though, she struggles with a lot of social cues, and very frequently gets herself into a lot of trouble by oversharing with the wrong person, or misreading situations with those she's close with, or misreading situations period; in a modern era, she might be diagnosed on the autism spectrum. the intensity of her obsession with the past tends to put people off. while she’s often oblivious, she’s not completely helpless, and has successfully solved some complicated supernatural mysteries and managed to save David’s life, but she also stays on at Collinwood after repeated kidnappings so… not the sharpest tool in the shed.

LIKES: fresh coffee (hot and iced), sherry, soda, the smell of the sea and sounds of the waves, old books, family stories and oral histories (including ghost stories), antique stores - old jewelry and paintings, knitted cardigans, pop music: (including The Beatles, the Monkees, Lesley Gore, the Everly Brothers), some classical music, namely for piano, and jazz (she doesn’t have a large record collection of her own, so usually ends up either listening to the radio or borrowing Roger’s) , music boxes, movies of old Hollywood - Gene Tierney, Marilyn Monroe, Rita Hayworth, Jane Russel, Audrey Hepburn - equally noir (Rebecca, Wuthering Heights, Niagara, The Phantom of the Opera, The Bride of Frankenstein, The Invisible Man) and technicolor musicals (The Court Jester, Gentlemen Prefer Blondes, Mary Poppins). The writings of Austen and the Brontë sisters, radio dramas. She doesn’t watch much television, but she does enjoy The Twilight Zone. Museums: art or history, it doesn’t matter. she tends to prefer older art to modern art in general, but she does like photography and surrealism

DISLIKES: any hard liquor and for the most part, drinking in general, though she’ll occasionally have some champagne or a glass of sherry out on a date; the smell of cigarette smoke (cigars and pipes are better, though she doesn’t smoke herself and generally dislikes the habit), canned food - especially fish, she’s quite sick of it by now, and she doesn’t care much for crab, shrimp, or oysters; the cubist movement, most non objective art (though she has a secret soft spot for Rothko). I wouldn’t call it an outright dislike, as she appreciates it in other women, but she doesn’t have much interest in keeping up with fashion or hair/makeup and she hates shopping for her own clothes (though she’ll happily shop for David, or accompany Carolyn out on a shopping trip). any horror film with a lot of gore and on-screen violence. the only history she’s not much interested in is military history. and she tends to be uncomfortable around firearms and the thought of war in general: though she’s never going to be a passionate political activist, she is staunchly against the war in Vietnam, and opposes the draft.

DISPOSITION: quiet, naive, goody-two-shoes. can occasionally be too blunt and too honest (to her own harm). “this may as well happen.” extreme fortitude in the face of continual Shenanigans that would rival Marcus Aurelius.

Biography:

“Because she’s lost and lonely. Because she looks in shadows.”

For eighteen years of her life, Victoria Winters lived in the Hammond Foundling Home in New York City. At a few months old, she was dropped at the freezing doorstep with nothing but a note: “Her name is Victoria. I cannot take care of her,” and she was given the name Winters in honor of the season. Though she waited for her birth parents to come back and take her into the fold, no one did; neither did anyone have any clues about her past, and her family, or any place where she might belong, despite her desperation in the search. Her one link was the anonymous gift of $50 every month, postmarked Bangor, Maine, that came regularly until she turned 16 years old. Once she turned 16, she took a job at the foundling home helping to take care of and tutor the younger children, and she became a favorite of her students and staff alike.

Her work at the orphanage continued for two years. Shortly after her eighteenth birthday, Victoria received a letter from Elizabeth Collins Stoddard requesting her to the great old house of Collinwood, in Collinsport, Maine, to serve as governess. No one at the foundling home was able to give her any answers as to why she was thus requested: no one knew the Collins family. Victoria seized on the job eagerly as an opportunity to learn more about herself, and her past, convinced that the answers lay in the bay of the old fishing town. She took a train from New York to Bangor, and never looked back (despite everyone begging her to)

With the Collinses, Victoria found the home, and the family she had longed for in the howling old house. Once used to sleeping in iron cots, Vicki is given Mrs. Stoddard’s former childhood bedroom, and treated much as one of their own within weeks of her arrival. Carolyn, the heiress beating at the walls of her ivory tower, became a proto-sister and her fastest friend. Elizabeth, the matriarch and ghost in a house of ghosts, treated her much like her own daughter. Roger, Elizabeth's wayward brother, though initially hostile, became immensely fond of his son’s governess … probably more than he should have been. David, her student, proved more trouble than she expected, and was the source of some of her earliest severe trials in the house, both threatened and realized: including aiding and abetting her kidnapper, as well as locking her away in abandoned rooms at Collinwood himself. After sustained effort, she was able to finally befriend David, a little worse for wear but staunchly resolved.

Though not for Roger's lack of trying, the man that captures her attention is Burke Devlin, a handsome, well-travelled and wealthy businessman, whom she was soon to learn was an avowed enemy of the entire Collins family. Wrongly convicted of vehicular manslaughter ten years ago, Devlin had returned to Collinsport to take his revenge out on the man who had gone free in his stead (and who had married the woman he loved), Roger Collins. Burke doted on the pretty, doe-eyed governess and though her loyalties were technically with her employer… she wasn’t long to resist his charm. The two of them became engaged, initially despite the Collins wishes, but eventually with their blessing, and even intended to buy a house on the Collins property: a beautiful old house called Seaview.

"What am I?" "It's a toss-up between a chocolate malt and champagne."

Eventually, the ghosts of the Collinwood estate and the wailing of the widows materialize themselves into tangible spirits, overshadowing Roger’s legal troubles and ten-year-old wounds. First, it is the ghost of the murdered Bill Malloy, covered in sea weed and dripping salt water onto the basement floor. Then, the ghostly bride of Jeremiah Collins, Josette, who makes herself Victoria’s spectral protectress when she is once again kidnapped and locked away on the Collinwood grounds. Then, Roger’s estranged wife, Laura, who reveals herself to be far more than an unfit mother, but a reincarnated phoenix, who attempts –– unsuccessfully, due to Victoria’s intervention –– to kill David. And then there is Barnabas. The Collins ancestor, lately returned from his coffin, who adores the past and scorns all modern amenities, charms Victoria, and she never suspects that the young women dying all over town might result from his gentleman’s hand. Conveniently, Burke Devlin’s plane goes down over the jungle right before they are to be married, making way for Barnabas to hypnotize his way into Victoria’s heart.

The defining event of her stay at Collinwood –– more than the murders, the many, many kidnappings, and the rotating circle of suitors –– is her travel back to the year 1795 in the midst of a séance, where she is able to pay witness to the early Collins family history herself and the earlier existence of Angélique Bouchard ( though, importantly, missing the evidence of Barnabas’s monstrous transformation ). Victoria is tried and hanged as a witch, which jerks her back to the present, after which she becomes obsessed with finding her lost love from the past, Peter Bradford, and miraculously succeeds, though Barnabas, as per usual, regards this engagement as just another inconvenience.

A note on Vicki’s parents: even though it’s the dominant theory, I won’t be following Liz as Vicki’s mother, at least on this blog, for these purposes (unless written as an au!). Instead: Vicki is the daughter of Betty Hanscombe, a former servant at Collinwood who was a lover of Elizabeth’s. Her father was Betty’s husband: a loveless, normative marriage. As the Collins family hushed the affair, Betty was institutionalized at Windcliff for homosexuality, a victim of American hysteria in the Lavender Scare. The intensity of the aversion therapy and other “treatment” received worsens her mental health, and though she is released before Vicki’s birth, Betty commits suicide only six months later at Widow’s Hill. Betty’s husband absconds to New York and abandons Vicki at the foundling home, leaving her with the note. Elizabeth, through the use of private investigators, is able to locate Vicki and send her regular payments, and later, to bring her to Collinwood under her personal protection. She feels an immense connection to Vicki both out of her love for her mother, as well as her tremendous guilt for her part in her fate. She’s also willing to let her suspect she is her mother, because it distracts from other secrets she’s not ready to disclose; nor is the town at large (including Sam Evans) willing to discuss what exactly happened to Betty, so it’s simply said she went away and died soon after.

3 notes · View notes

widowshill · 1 year ago

Text

DOSSIER: VICTORIA WINTERS.

RELATIONSHIPS

PARENTS: unknown (Betty Hanscombe and Danny Taylor) SIBLINGS: none SIGNIFICANT OTHER: Burke Devlin (1960's, engaged, presumed deceased) Barnabas Collins (ish, 1960's, formerly engaged... sort of) Peter Bradford (1795)/Jeff Clark (1960's, married, deceased ... kinda?) CHILDREN: none

PHYSICAL TRAITS

EYE COLOUR: grey HAIR COLOUR: brunette HEIGHT: 5'6″ BODY BUILD: thin TATTOOS + PIERCINGS: no tattoos, ear piercings NOTABLE PHYSICAL TRAITS: hair often tied back into a half-up ponytail with ends flipped. favors comfortable clothing like loose cardigans and jackets, midi skirts, or mock neck sleeveless dresses. captivating, haunted-looking eyes : sometimes more like a spirit, than a girl, as if she lived in another time entirely.

PERSONALITY

INTELLIGENCE: mixed bag, definitely not the brightest. very book smart, especially when it comes to history, which is a fixated interest of hers –– to the point it is regarded as an unhealthy obsession by everyone else. she can name every president in US history in order, one of her only party tricks. once she begins working for the Collins family, she undertakes study of their own family history as well, especially the story of Josette Collins. quite decent at mathematics, geography, and basic science, as well as teaching them, and overall makes David a fine tutor: his aptitude and questions help her learn more too. socially, though, she struggles with a lot of social cues, and very frequently gets herself into a lot of trouble by oversharing with the wrong person, or misreading situations with those she's close with, or misreading situations period. in a modern era, she would be diagnosed on the autism spectrum. the intensity of her obsession with the past tends to put people off. while she’s often oblivious, she’s not completely helpless, and has successfully solved some complicated supernatural mysteries and managed to save David’s life, but she also stays on at Collinwood after repeated kidnappings so… not the sharpest tool in the shed.

LIKES: fresh coffee (hot and iced), sherry, soda, lobster, the smell of the sea and sounds of the waves, old books, family stories and oral histories (including ghost stories), antique stores - old jewelry and paintings, knitted cardigans, pop music: (including the Monkees, Paul Revere and the Raiders, Lesley Gore, the Everly Brothers), some classical music, namely for piano, and jazz (she doesn’t have a large record collection of her own, so usually ends up either listening to the radio or borrowing Roger’s) , music boxes, movies of old Hollywood - Gene Tierney, Marilyn Monroe, Rita Hayworth, Jane Russel, Audrey Hepburn - equally noir (Rebecca, Wuthering Heights, Niagara, The Phantom of the Opera, The Bride of Frankenstein, The Invisible Man) and technicolor musicals (The Court Jester, Gentlemen Prefer Blondes, Mary Poppins). The writings of Austen and the Brontë sisters, radio dramas. She doesn’t watch much television, but she does enjoy The Twilight Zone. Museums: art or history, it doesn’t matter. she tends to prefer older art to modern art in general, but she does like photography and surrealism

DISLIKES: any hard liquor and for the most part, drinking in general, though she’ll occasionally have some champagne or a glass of sherry out on a date; the smell of cigarette smoke (cigars and pipes are better, though she doesn’t smoke herself and generally dislikes the habit), canned food (she feels obligated to like sardines but they're just ok); the cubist movement, most non objective art (though she has a secret soft spot for Rothko). I wouldn’t call it an outright dislike, as she appreciates it in other women, but she doesn’t have much interest in keeping up with fashion or hair/makeup and she hates shopping for her own clothes (though she’ll happily shop for David, or accompany Carolyn out on a shopping trip). any horror film with a lot of gore and on-screen violence. the only history she’s not much interested in is military history. and she tends to be uncomfortable around firearms and the thought of war in general: though she’s never going to be a passionate political activist, she opposes the war, and the draft

Biography:

“Because she’s lost and lonely. Because she looks in shadows.”

For twenty years of her life, Victoria Winters lived in the Hammond Foundling Home in New York City. At a few months old, she was dropped at the freezing doorstep with nothing but a note: “Her name is Victoria. I cannot take care of her,” and she was given the name Winters in honor of the season. Though she waited for her birth parents to come back and take her into the fold, no one did; neither did anyone have any clues about her past, and her family, or any place where she might belong, despite her desperation in the search. Her one link was the anonymous gift of $50 every month, postmarked Bangor, Maine, that came regularly until she turned 16 years old. Once she turned 16, she started helping at the foundling home to take care of and tutor the younger children, which became an official position at 18.

Her work at the orphanage continued for two years. Shortly after her twentieth birthday, Victoria received a letter from Elizabeth Collins Stoddard requesting her to the great old house of Collinwood, in Collinsport, Maine, to serve as governess. No one at the foundling home was able to give her any answers as to why she was thus requested: no one knew the Collins family. Victoria seized on the job eagerly as an opportunity to learn more about herself, and her past, convinced that the answers lay in the bay of the old fishing town. She took a train from New York to Collinsport, and never looked back (despite everyone begging her to)

With the Collinses, Victoria found the home, and the family she had longed for in the howling old house. Once used to sleeping in iron cots, Vicki is given Mrs. Stoddard’s former childhood bedroom, and treated much as one of their own within days of her arrival. Carolyn, the heiress beating at the walls of her ivory tower, became a proto-sister and her fastest friend. Elizabeth, the matriarch and ghost in a house of ghosts, treated her much like her own daughter. Roger, Elizabeth's wayward brother, though initially hostile, became immensely fond of his son’s governess … probably more than he should have been. David, her student, proved more trouble than she expected, and was the source of some of her earliest severe trials in the house, both threatened and realized: including attempting to frame her for his father's murder, aiding and abetting her kidnapper, as well as locking her away in abandoned rooms at Collinwood himself. After sustained effort, she was able to finally befriend David, a little worse for wear but staunchly resolved. their bond became significantly closer after David realized that his governess, too, could see the ghosts of Collinwood.

"What am I?" "It's a toss-up between a chocolate malt and champagne."

The defining event of her stay at Collinwood –– more than the murders, the many, many kidnappings, and the rotating circle of suitors –– is her travel back to the year 1795 in the midst of a séance, where she is able to pay witness to the early Collins family history herself and the earlier existence of Angélique Bouchard ( though, importantly, missing the evidence of Barnabas’s monstrous transformation ). Victoria is tried and hanged as a witch, which jerks her back to the present, after which she becomes obsessed with finding her lost love from the past, Peter Bradford. she miraculously succeeds, but her marriage to him (known in present day as Jeff Clark) is ill-fated. Jeff/Peter disappears back into the past, and Victoria is forced to pick up the pieces.

A note on Vicki’s parents: I won’t be following Liz as Vicki’s mother, at least on this blog, for these purposes (unless written as an au!). Instead: Vicki is the daughter of Betty Hanscombe, a former servant at Collinwood who was a lover of Elizabeth’s. Her father was Betty’s husband: a loveless, normative marriage. As the Collins family hushed the affair, Betty was institutionalized at Windcliff for homosexuality, a victim of American hysteria in the Lavender Scare. The intensity of the aversion therapy and other “treatment” received worsens her mental health, and though she is released before Vicki’s birth, Betty commits suicide only six months later at Widow’s Hill. Betty’s husband absconds to New York and abandons Vicki at the foundling home, leaving her with the note. Elizabeth, through the use of private investigators, is able to locate Vicki and send her regular payments, and later, to bring her to Collinwood under her personal protection. She feels an immense connection to Vicki both out of her love for her mother, as well as her tremendous guilt for her part in her fate. She’s also willing to let her suspect she is her mother, because it distracts from other secrets she’s not ready to disclose; nor is the town at large (including Sam Evans) willing to discuss what exactly happened to Betty, so it’s simply said she went away and died soon after.

#➤ victoria winters. ┊ because she’s lost and lonely. because she looks in shadows.

0 notes