#icons jessica davis

[m1ssingirl]

Ashley Chris

Jess Mike

Emily Matt

Sam Josh

𝐔𝐧𝐭𝐢𝐥 𝐃𝐚𝐰𝐧 𝐂𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐬 𝐌𝐚𝐭𝐜𝐡𝐢𝐧𝐠 𝐈𝐜𝐨𝐧𝐬 ⊹ ࣪

Until Dawn (2015)

“You need to go down to the mines.”

[jossamology]

josh washington - until dawn remake (2024)

( hd icons ) by @jossamology ❝ like or reblog if you used my icons!

make sure to credit me.

[tinyvault]

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[out-of-body-xperience]

Sex & the City

[popculturebaby]

Sex And The City (s1ep9) 💋

[player380]

Until Dawn Icons

— Sam Giddings, Ashley Brown, Jessica Riley, & Emily Davis

[joshocunt]

charlotte york 3x04 icons/pfp

like or reblog if you save

[djkerr]

The “TV lawyers” take the stage at the Emmys.

🎥 @deadline via Twitter/X

[angelicalgraphics]

‧₊˚ ☁️ NEW POST ࿐ ♡ jessica davis from ‘13 reasons why’ like or reblog ﹕─ 𓈒 ♡̷̷̷ if you save, give proper credits 🪽🪞🤍

[kxedeharas]

mike until dawn icons !

ˏˋ°•*⁀➷  ⇢ ˗ˏˋ  𝙢𝙞𝙠𝙚 𝙪𝙣𝙩𝙞𝙡 𝙙𝙖𝙬𝙣 𝙞𝙘𝙤𝙣𝙨 ˎˊ˗ ꒰ 🕸️ ꒱

✖ 〉.   ❝ like or reblog if you save / use ❞

♪ ！ ﹒feel free to request icons / wallpapers / headers﹕❍

[m1ssingirl]

#𝐁𝐄𝐒𝐓𝐈𝐄𝐒𝟒𝐄𝐕𝐄𝐑♡︎

[jossamology]

⸻ until dawn halloween headcanons!

in honor of halloween here's a halloween-themed headcanon set for each until dawn character.

samantha giddings.

sam chooses a diy nature-inspired costume like a woodland fairy, using biodegradable glitter and repurposed fabrics. think leaves, twigs, and soft, earthy greens.

she insists on going to a local pumpkin patch to pick out the perfect pumpkin and spends hours carving designs.

while the others plan for parties, she hosts a low-key gathering with candles, cozy blankets, and homemade pumpkin spice lattes.

loves classic horror but gets super into psychological thrillers. hereditary is her top pick, and she’s the one pointing out foreshadowing before everyone else catches it. josh washington.

josh goes all-out building a haunted maze in his backyard, complete with hidden speakers, fake cobwebs, and scare actors he hires just to freak his friends out.

dresses as something horrifying, like a blood-streaked serial killer. full commitment to fake blood and smudged makeup.

has a camera ready to capture each friend’s reaction when they’re scared out of their minds. keeps a scare montage video just for fun.

he's surprisingly good at carving pumpkins, but his designs are intricate horror scenes, almost like horror movie posters in pumpkin form.

ends halloween by watching obscure, disturbing horror movies that leave everyone else uncomfortable. mike munroe.

shows up dressed as a suave vampire or some other classic monster, aiming to look cool and a little dangerous.

takes his friends to a haunted corn maze and enjoys it way more than he lets on, constantly teasing the jump-scare actors and testing his bravery.

organizes a frat party bonfire in the woods with s’mores and ghost stories. he’s the one lighting sparklers and throwing on extra wood to make the flames bigger, he drinks to much and forgets he's the host of the party.

pulls classic halloween pranks, from fake spider webs to jumping out of dark corners. the type to keep a scary mask in his bag just to mess with people.

after a few drinks, he’s belting out rocky horror picture show songs around the bonfire with zero shame.

jessica riley.

jessica’s costume is elaborate, trendy, and slightly dark, like a glamorous vampire or a witch in haute couture. she’s all about looking spooky-chic, she went shopping early for the best costume.

stays in to watch mean girls with a couple of her girl friends referencing every qoute.

spends half of halloween snapping aesthetic photos of her outfit, snacks, and décor, making everything look flawless.

gets her halloween nails done a week before and flaunts them on her social media platforms.

matt taylor.

he’s the guy bringing pumpkin spice lattes and fall-flavored treats for everyone, unapologetically embracing the season.

suggests doing a couples costume with emily, probably as a famous horror duo. secretly excited about how they’ll look in photos together.

convinces emily(and maybe the whole group) to go on a haunted hayride, keeping a brave face while sneaking glances to see if she’s scared.

volunteers to help with halloween décor, placing spider webs and fake spiders around. he’s got a collection of led bats and ghost lights.

emily davis.

dresses as a chic witch, complete with a designer hat, intricate lace gloves, and knee-high boots. halloween is just another reason to look flawless.

sets up a dark, enchanted photo booth with crystal balls, black roses, and velvet. her instagram feed is a whole halloween masterpiece.

makes sure to get billions of stunning couples photos with matt, each one more perfect than the last. their matching costumes and chemistry are on point, making everyone else a bit envious (and they know it).

emily hosts a halloween themed sleep over with velvet pillows, and black satin sheets for an ultra-cozy but gothic sleepover vibe. the girls chat and laugh till they fall asleep, each secretly keeping one eye open.

chris hartley.

dresses as a ghostbuster or some iconic horror nerd costume, complete with all the gadgets. he’s fully committed to the nostalgia factor.

brings his gear and talks about doing a "ghost hunt." sets up his phone to record “paranormal” activity around the bonfire.

insists on watching horror classics with everyone, pausing every now and then to geek out about the movie effects or the backstory.

after everyone else goes to bed, chris and ashley stay up playing with the ouija board, half-joking but also half-believing they might make contact. they end up spooking themselves and get so scared swearing to never use it again.

ashley brown.

dresses as a character from classic gothic literature, like mina harker from dracula, complete with vintage lace and dark, dramatic makeup.

she knits little ghost ornaments and diys her own creepy decor, like mason jars filled with “witch’s brew” and spiderweb doilies.

loves telling ghost stories, candle in hand, with just the right amount of dramatic pauses and eerie expressions.

ashley, catching her breath and laughing nervously, gives chris a playful whack on the arm for scaring her so bad. “not cool, chris!” she says, but she’s grinning as he pulls off the mask, clearly proud of his successful prank.

insists on having a stash of halloween candy just for herself. she’s all about chocolate, especially reese’s and kit kats, and jokingly guards her stash from the others, even hiding a few extras in her bag.

hannah and beth washington.

hannah and beth take turns posing in different eerie setups around the cabin, snapping dramatic photos of each other in candlelight, near fog machines, and with props like antique lanterns. they especially love capturing a few shots that look like something out of an old haunted portrait.

both love the idea of exploring the mountain at night, so they plan a late-night “ghost hunt” under the full moon. they bring flashlights and spooky stories to tell along the way, daring each other to walk just a little bit farther into the woods.

beth and hannah sneak into the room with a giant rubber spider and place it right on josh’s chest. when he stirs and opens his eyes to find it staring back at him, he lets out a yell that has the girls stifling laughter from behind the door.

they have a slight obsession with candy corn and will spend halloween night indulging in it, trading their favorite types of candy and making candy corn-themed treats, like popcorn balls or cupcakes.

[tinyvault]

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[kimberlyshaws]

[giddlywinks]

Tease #17: As The Moon Uncovered Herself (Part 2 of 2)

P.S. I'd kill for a larger number of tags.

The poem ("God's Secretary Overworked") is by Page Lewis from her collection Space Struck. It's life changing.

"Are you watching me, Good Friday?"

"Fuck around and find out that I love you as I love myself."

"The wind tunnel inside my soul is begging to sing to you."

"Moan Deeper"

"I think I'm funny, Jelly Goop."

"When you're not around..."

"You make me love people again."

"Here's a summary of everything that ever really mattered..."

It did work out in the end, didn't it?

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.