#its actually a great horror anthology

[trashbaby1996]

I wasn't sure what to expect but I really like 'Tales From the Hood'

[kuromi-hoemie]

hhhh talking about my writing was fun but 30 tags is not enough.. yes i have 3 major influences but i have minor ones too.. it is a lovechild of my favorite things.. writing is so fun and i have no self control or a concept of pacing myself i will sit there for 16 hours and get hit with every status effect but by god does it all just flow out of me. I've always been a music person yes but i also used to write a lot into early adulthood until The Incident™

but i am ready 2 jump back into it. i think comics are a great middle ground between the two mediums so i don't get As into writing bc i kind of started going crazy last time 🫡 i can take a more structured approach to it that forces me to pace myself and think about it differently. i love art.... i love making things i love knowing how to do things i love knowing how to play things i love having so many creative outlets, even if i don't do a lot of them regularly lol. it is enriching 😳 and nice to know that it's always there to come back to when u want.

[electrificata]

fascinated to know the details of your grudge against the Magnus Archives

oh god ok. so i listened to it in the early days, probably 2017 or 2018, and i remember really really enjoying it, im not an easy scare and that shit had me scared to go to the bathroom at night. and i was listening to it as an episodic thing, i mostly just ignored or skipped the pre- and post-case file plot stuff. but as time went on the overarching plot bled into and eclipsed the case files and it got hard for me to listen around it and i had to stop, and ive never actually found a good horror anthology podcast to replace it for me. ive tried a bunch and none of them are scary.

i really think its a great example of horror storytelling that went too far into the fantasy worldbuilding toolbox and sacrificed anything scary it had going for it. the second i knew about the overarching entities that were causing all my beloved spooky monster-of-the-week episodes they just didnt scare me anymore. im aware theres a gay romance somewhere in here that the fandom shipper types have latched onto, that is also annoying to me.

the best thing that came out of this was a lot of really good conversations abt the nature of horror storytelling with people (respected death 2 theorist lydia heedra was one of them, actually), the worst is that this website cant put this shit down and when im on here i still have to hear about it.

im kind of interested to find myself still annoyed abt this in the year of our lord 2024, maybe its representing some broader trends in storytelling and tumblr fandom that i dont like in my subconscious or whatever. idk

[mmmelahii]

Mel audiodrama rec list!

I'm gay sad and picky, read into that how you may - in no real order - heed each show's TWs

RED VALLEY!! LOVE THIS SHOW TO DEATH. Great beginner audiodrama, such excellent audio and writing and chemistry and woayfhhtm. Cried a lot. A good amount of existential dread. Ough

Woe.begone: lots of wbg brainrot as of late. Genuinely the most scary podcast ever to me - but only if you think about it. Don't get too attached to the ARG format of the first season. Its long, a mind fuck, and not for everyone. It took me 2 tries over a year and a half to lock in properly. Best consumed in a binge as to keep the plot threads fresh in mind. Great discord server <3 cried a lot too

The Grotto: Wbg has great music but Grottos hits different. It makes me want to teeth. I adore the writing personally, but be OK with your pov character sort of being a toxic person. He's trying he really is. This show portrays nuances of grief and mental health issues so well imo. Also great discord server <3

The Kingmaker Histories: Very very charming writing and world building. The world building is alternate history in a way that the fantastical elements occur to you naturalistically as you listen. Lovely lovely cast. Self aware about its tropes and excellently uses em to their advantage. Acknowledges a lot of the darker facets of history in an almost satirical manner to its absolute benefit

The Bright Sessions: Was actually my first full audiodrama! Was obsessed with it for a while. A good comfort listen imo, it's character chemistry is definitely a strong suit; a very human look at fantastical people

Fawx & Stallion: Narm-y but so genuinely charming. I absolutely love the casting choices, I think they're all so perfect for the characters. I'd almost call it a satire played straight, where the main characters behave in nearly caricature levels of eccentricity, but their consequences are shockingly grounded. It's pleasant! Can't wait for the next season

Ethics Town: I'm a philosophy sociology student, legally cannot not recommend. It subverted my expectations for what the format of the story would be tbh! In a neutral way, it just took me by surprise the first time. The world building is very fun and relatively unique, it gets you attached in a way that can really make your stomach drop

The Mistholme Museum of Mystery, Morbidity, and Mortality: SO GOOD AND SO SLEPT ON!! I loved this show so much, its one of those that leave you craving for something to hit you the same way it did. One of my favourite anthology shows, mainly because of how interlinked the over all plot is to all of it, all while keeping the stories so fresh and invigorating. Listen to it!!!

SCP: Find Us Alive: The characters and cast are excellent; and I like how strained and tense the relationships between them get! It's not necessarily comfortable to listen to, but it's investing and leaves you on edge just like the characters would be. I like their personal lives breaching the strict professionalism of their work gradually. No prior knowledge of SCP really necessary

Jar of Rebuke: Really poignant in the alienation it portrays. I love the way Jared experiences the world and himself; his understanding of his own gender, the way that his innate abilities don't correlate to those of others, the way that he never feels quite like he's saying the right thing, it's all such mfmfjdndmdm good show. Unfortunately audio does sometimes tick off my sensory issues

Neighborly: I LOVE GOTHIC HORROR SO MUCH OH MY GOD. I love the narrative structure and the domestic horror of this show. The ambiance and the dreamy story telling all excellent. The one issue I have is that listening to it with headphones REALLY fuck with my sensory issues :((

Blake Skye Private Eye: Really slept on imo! The exaggerated noir setting and pacing are great, unfortunately the audio leveling does mess with my sensory issues :( is someone willing to lend me a better auditory system

Shelterwood: As aforementioned I LOVE GOTHIC HORROR SO MUCH. THE SUBLIME. THE DOMESTIC SUSPENCE. LOVE THAT SHIT. I really love the sound design here. Characters are so so real. Love them. Can't wait for more

Keep it Steady: Fuck fuck fuck man. I cried most of the way through heart brockoken this is so good I love it cant wait for more.

Speed round for podcasts I like to throw on for light hearted (to me) quick, queer fluff

- Love and Luck

- Kaleidotrope

- The Two Princes

- The Lavender Tavern

- Tales from the Low City

- Monstrous Agonies

[flowerbloom-arts]

I suppose you could say they're a... Match made in hell........ (Design from Treehouse of Horror XXV, s26 ep4)

(Over-analysis of ChalmSkinn under the cut.)

Disclaimer: I know I'm overanalyzing silly gags and concepts from a silly animated sitcom that in its current state has what one could only describe as a rough approximation of continuity (and that the spooky anthology episodes in it are non-canon). Just let me exercise some media literacy for a bit.

Okay so like... What is it with Skinner, Chalmers, and being a two-headed creature? What is that meant to represent?? Once is a gag made in humor and twice is a little eyebrow raising, I think.

And it's not like they're using this as a gag because they have a kind of antagonistic relationship and it'd make for easy bickering jokes, it's actually the opposite! These representations of them with a shared body happen as a representation of them getting along!

ChalmSkinn Productions is their own production company that they originally used to submit films to the Sundance festival, and that episode was one where they got along the most, by far, as the two had a shared goal in being successful in the film industry.

(please ignore the video play bar at the bottom, thank you)

Now, the logo for the company when it got introduced as a concept was very different, it was a globe where Skinner and Chalmers' heads would spin on its surface (though, one could argue it's still their two heads attached to one thing which is roughly a similar idea to the shared body thing), but the association still applies. The company is the result of their two heads joining in an amicable way.

Demon ChalmSkinn (that's what I'm gonna call them) on the other hand is extremely fascinating to try and deconstruct into something of thematic implication.

They are... Technically not Skinner and Chalmers themselves? But they are a parallel version of them in this hell school dimension that Bart and Lisa discover and it's full of other demons that parallel characters from Springfield Elementary, so Demon ChalmSkinn might as well be Chalmers and Skinner for the purposes of this Treehouse of Horror segment.

And, given the vague idea of what Seymour Skinner and Gary Chalmers' relationship is like, you would expect the writers, when sticking their heads on the same body, to make them bicker, right? Have the Chalmers head yell at the Skinner had for some reason?

... They don't do that! They don't bicker at all! In fact, they are very much in sync in a non-hivemind sort of way, they don't interrupt eachother and they seem like very pleasant dudes in general (well, except for the part with they skinned Bart, that was a little uncool).

It's like... What are the writers trying to say with this, specifically? It almost feels like the fact they get along well is the joke.

You expect them to not get along? Well, they do. Their relationship in the regular world is so bad that it's better in hell.

And that's weird, right? If that's the joke then it sure as hell (heh) doesn't feel like it gets acknowledged as a joke. Why avoid such an opportunity for easy jokes? It clearly has to be some deliberate representation of something about their relationship, right? Why do they get along more when they're conjoined than when they're apart?

Maybe, just maybe this is saying something about the inseparability of Gary and Seymour, that they are unable to truly break apart from eachother and are actually far more miserable for it. No matter how many times Chalmers fires Skinner or plans on firing him or just gets annoyed at him for being a spineless kiss-ass around Gary, there's just no severing them. Perhaps a commentary on the status quo nature of the show.

One of my mutuals also suggested that these two would actually be happier if they were together instead of apart, that being stuck together makes them more whole and pleasant than just the sum of their parts.

Their relationship has been characterized by this great, invisible divide of some sort, where a blurry amalgamation of admiration and desperateness clash with an apathetic no-nonsense attitude. If they could just somehow bridge that divide and come to a deeper understanding of eachother then... they'll be happier for it, and maybe they'll be... Together. And inseparable.

If the episode Road to Cincinnati is of any indication, their relationship seems to be heading for a dynamic shift, almost definitely a positive one. Now that Chalmers finally sees Skinner as more earnest than placating, maybe we'll see a Chalmers and Skinner that will evolve into something more. Something metaphorically resembling that two-headed demon they are in hell.

[utilitycaster]

you got me. i binged all of midst in two days and it was great, but now i dont have a lot of other podcasts to listen to. do you have other good fiction podcasts you like?

DO I. I am not the Most Podcast Person I know but I definitely follow a lot because I drive a lot and walk a lot and put them on in the background while I do chores. Also, I'm sticking to scripted/plotted fiction here and not actual play but I can provide some actual play podcast recs too, though none are terribly obscure.

Wolf 359 is a completed podcast but a great binge. It also is science fiction and deals with capitalism and corruption and complicated characters and weird space stuff; it regularly makes the "great fiction podcasts" to check out and I think is closest to Midst in that it's also a tightly plotted work that goes to a natural end point.

I frequently talk about and recommend the Silt Verses and the thematic nature is remarkably close to Midst, but the vibe is very different. It has a lot of folk and body horror elements (audio-only, but they are absolutely present). Also covers the "man what if capitalism and religion were working explicitly in tandem" element of Midst with the added dimension of "what if there were many many gods and and they all demanded literal, physical sacrifices". Sister Carpenter is cut from a similar cloth as Lark and I love her dearly. To draw other comparisons would be to spoil it. It's on season 3, which will be its last. It is extremely intense in that when I fell behind I found it tough to binge without taking breaks, but it's really fucking good. (I also recommend this to people who like Candela Obscura, though that's more for eldritch horror vibes).

The Penumbra Podcast is great because it has two separate storylines (it was originally intended to be an anthology, but people fell in love with Juno Steel specifically). I like both, but Juno Steel is the more popular one - it's set in the future, in our solar system but in space, and follows Juno Steel, a private eye. It's extremely weird neo-noir. There is a homme fatale and a fantastic cast of characters, and it's also an interesting ongoing plot. The Second Citadel is more fantasy rather than sf though it's also kind of in that general New Weird bucket and is even harder to describe but I think it's underrated. It's also on its final season but it's been going on a while so it will take a bit for you to catch up.

Within the Wires is also a podcast I've recommended in the past. It's by the people who do Welcome to Nightvale which isn't listed here both because I assume you are aware of it, and because that's an ongoing slice of life sort of thing; there are plots but there's sort of that sitcom-esque "nothing really changes the status quo" element though the earlier era had some more structured stuff. Anyway, Within the Wires is found audio, so each season is different - the first is relaxation cassette tapes, the second museum audio guides, the third voice memos, etc. There are callbacks/connections between seasons at times, and I would recommend listening to at least the first two seasons in full (which are very strong) to get a sense of the world before hopping around later. The reason I recommend it here is because the worldbuilding is spectacularly done in a way that reminds me of the elegance of the worldbuilding in Midst, and because it's found audio, while it's one narrator per season you will get those weird asides and interesting tonal choices.

Tentative rec for Camlann, a roughly modern day post-apocalyptic take on Arthurian legends and the folklore of the British Isles only because it just started and has 3 episodes. I like it, but I don't know what plot it's building to (nor how long it will be; they have funding for one season but aren't sure about future ones.)

[all-souls-matinee]

Quick-bite reviews: V/H/S/Beyond (2024) dir. Jay Cheel, Jordan Downey, Virat Patel, Justin Martinez, Christian & Justin Long, Kate Seigel

I finally decided to stop covering this franchise (last year's '/85' remains unwatched) when '/Beyond' had to go ahead and be pitched as an alien-centric V/H/S with a segment written by my horror enemy Mike Flanagan. I've seen a fair chunk of alien horror movies and never have much to say about them because... they're bad... but I'm always rooting for a good one to come into existence. They're like my now-horrible home baseball team; I KNOW the storytelling optics aren't there, it wouldn't be a problem if we could assemble the perfect cast and crew and have infinite time and infinite money. The original V/H/S actually had a memorable piece of alien horror so that's encouraging? It wasn't good but it was memorable! It was there! My feelings on Flanagan only made for extra incentive; if I couldn't have a good alien horror movie at least I could have another alien horror movie to be performatively mad at.

Mike Flanagan has been forgiven; alien horror has made it to first base.

Beyond is still very much a V/H/S movie so was never going to be my thing, but I think it's successful(!) because every segment understands that the job of a V/H/S movie is to feel like a theme park haunted house. The usual buckets of gore and barf and what have you are coordinated this time around, showman-like. The frame story, notoriously the worst part of even the best anthology horror, re-grounds the aliens when segments stray and is a great example of how to lovingly and effectively mock cable-cum-YouTube documentaries. The creature design and bad acting of the first segment are fun enough, while the second segment is a commentary on Mumbai's Film City that feels like homage to and improvement upon the original V/H/S. The third segment goes crazy; UFO attack on a skydiving plane?? and then aliens with interesting designs chase everyone in broad daylight and rip them apart into Halloween decorations??? That's what we've been waiting for! The momentum is building! Then there's Justin Long's abysmal segment. Most unfunny comedy torture-horror I've ever seen, made me think I was going to have to rate this even lower than past panned V/H/Ses, Saw 18 directed by Doug Walker, etc., etc., until, finally, we lose the haunted house angle and Flanagan takes center stage.

His alien story is so good I didn't want to believe it was him writing it, and so painfully UNBEARABLY Stephen King I knew it couldn't be anyone else. Clever sci-fi concept that does my favorite thing in the world by focusing on the UFO itself, eye-rollingly maudlin over American family values, intentionally funny in places, and scary!!! I said 'no way' out loud when I realized how it was going to end; timed just right, not too early but still well before the protagonist. I'm giving Flanagan so much credit because it's the kind of short story I would've been completely enraptured by as a kid, but on film its function is really thanks to director Kate Seigel and near-solo actress Alanah Pearce. They use their medium (infrared camera!) and place in the framework to full advantage, which is why I'm glad it's a little treat within a schlocky horror anthology instead of a short film in its own right.

Buy a ticket? With these V/H/S reviews I always say 'no it's bad don't watch it unless you already like the franchise,' and THIS time... still no lmao. It isn't quite good enough to merit a recommendation, but that's on high highs and low lows rather than the kind of mediocre stickiness of past entries. If you're interested in going through a haunted house (these things continue to hit right at my limit for gore and body horror) to include one gnarly alien story and one interesting one? You could do worse. Not a home run, but first base. They hit the ball <3

[compacflt]

When it comes to historical research, do you research for things that DON'T exist? For example, foods that are common now but didn't exist in the average American restaurant or grocery in the '80s or '90's? Words, phrases, and entire concepts that are commonly accepted today but unheard of to the average American when Mav and Ice were at Top Gun?

Your writing is so unbelievably good.

not really because I don't care about food, I care about the literary device that is "taking communion." i.e. it doesn't matter what they eat, it only matters that they're eating together, for the plot.

And, okay, showing my little-kid bias, but was there actually stuff in grocery stores in the 80s/90s that wouldn't be there today/vice versa? brands might change, like okay Pringles might not exist but you still have potato chips; and obviously specialty stuff like what you find in your average Asian market might not be commonplace, but, like, were the 90s all that different from today, American-food-wise? its my assumption that they weren't, but I also wasn't alive in the 90s, so. Um, ectocooler Hi-C, maybe? that's the one 90s food I know.

attitudes of course are what change. today's concept of being so QUICK to publicly label sexual identities would be extremely foreign, for instance. obviously people did label their sexualities in the 80s & 90s, people were definitely calling themselves bisexual and such, but probably not the people ice & mav would be hanging out with, in the Reagan-era navy. which is what my fics are about. that's the whole point.

and, also, COMMUNICATION changes. I have never used a payphone in my whole life so I actually have no idea how they work. but they were ubiquitous "back then," and lend themselves to amazingly interesting conflict (omg I don't have enough change to call my boyfriend maverick who's mad at me!!!) which is why I lean on payphones so much in my writing. honestly, im gonna be real, the invention of the cell phone makes telling stories about miscommunication so much harder. instant-speed communication would make certain stories less interesting, which is why a lot of horror movies default to the "no cell service" trope to isolate their characters, or why some teen dramas have the characters reject cell phones on principle (Alyssa or James having a phone in 2017's "The End of the F***ing World" would solve most of their problems, which is why Alyssa smashes hers in the first five minutes and James basically says he views them as a cancer to society--if they had phones the story would be boring, so the writers took away their phones).

I also feel like people used to treat society differently "back then," i.e. Going Out was much more of a thing when there were 10 channels on TV and no one had cell phones, so you Went Out and had drinks & met strangers & interacted with general society to an extent im not sure we do anymore. So that experience is way more fun to write about in the 80s than today. (u can't see me but im seething with jealousy over ppl who were born in ~1965)

idk. im not sure I did a great job reproducing the zeitgeist of the 80s/90s in my fics, bc I wasn't there to have knowledge of what they were like. I got most of my presupposed knowledge about that time period from reading Calvin & Hobbes anthologies as a kid. oh well.

[djwiththejd]

The Fall of The House of Usher (2023) Episode 2

I'm back, back in the New York Groove ~

Like I said before, I'm writing this because I need a hobby. I do feel like after sleeping on everything I typed up for with episode 1 that I can do with a reorganization of sorts. I simply cannot point out every one liner, clue, and reference to something obscure in this show without developing carpal tunnel.

So, with that, I'm going to change the layout of how I type up this episode and see if I like it better. At the moment of writing this, I have already finished Episode 2 and I'm chomping at the bit to write about it. SO without further ado, some analysis I was too tired to bring up in my first post.

Firstly, once I saw that The Murder in The Rue Morgue had its own episode title, I got the gist that each episode would be focused around the death of each sibling. I sincerely hope by now that this isn't a spoiler however, as the entire family has to die in order for the fall of the House of Usher to actually come to fruition. Luckily everyone in the family except for possible Lenore and Juno are shit people. So anyhow, the 8 episode layout where Episode 1 begins with the introduction, six episodes in the middle each center around the death of a sibling, and then the last episode will probably be reserved for the death of the twins. What's great is that you can assume that structure is what is intended and still be surprised by plot twists and modernization elements to make the story new, fun, and exciting. It's the journey, blah, blah, blah.

ALSO, I've never seen any other piece of Mike Flanagan's works, so this is my first time delving into a horror anthology. I am sure I liked Hill House things when it first came out bc people were very funny about it on here, but I was too much of a chicken to watch it.

Anyhow, now we move onto the next bit, background and plot!

So first, I have not read The Masque of the Red Death. I am literally just copy/pasting the first paragraph of the plot summary from Wikipedia, hyperlinks and all:

The story takes place at the castellated abbey of the "happy and dauntless and sagacious" Prince Prospero. Prospero and 1,000 other nobles have taken refuge in this walled abbey to escape the Red Death, a terrible plague with gruesome symptoms that has swept over the land. Victims are overcome by "sharp pains", "sudden dizziness", and "profuse bleeding at the pores", and die within half an hour. Prospero and his court are indifferent to the sufferings of the population at large; they intend to await the end of the plague in luxury and safety behind the walls of their secure refuge, having welded the doors shut to ensure no one enters or leaves.

Unfortunately, the episode does not start with our young prince Prospero. It starts with a flashback of Dupin in 1979 taking a photo of an exhumed and empty grave. At this point Dupin's plaque titles his as "Junior Fraud Investigator," and apparently isn't a police officer. The most important bit here is how Dupin pushes back against his boss and the boss asks him: "Say you win. If you could catch them all, take all of it, all the greed, the foulness, the rot in the world and sit down across from it, what would you say?" and then it immediately cuts to Dupin in that dilapidated childhood home of Roderick and Madeline Usher, and Dupin gets to ask "Was it ever going to be enough?" There's more there, but the callous way Roderick responds indicates that the mask has come up again briefly. He's defensive about Ligodone, he's defensive about his wife, he refuses to explain why there is no number of dollars in the world that will make him and Madeline feel satisfied with their success.

It was also important that in the past, Dupin tells his boss that "This world needs changing." This is the same ideal that the twins have, but the intent and the implication behind those same words these people said at approximately the same time culminates in them leading very different lives. For now, that's all I have to say on the matter.

Now, moving on. Perrie's corpse appears behind Dupin this time. This time Dupin does turn around but sees nothing, so we can assume that the corpses are just visions. The ghosts of Roderick's past coming back to haunt him, quite literally.

So when we first see Perrie in this episode, he's introduced in bed surrounded by naked bodies, sex toys, etc. I'm sure it is meant at first sight to shock the senses, but personally I couldn't stop thinking about how we are visually seeing Perrie being "boxed in" this hedonistic cage of his own making. This is Perrie's own bed, the people he chose to spend his time with, but as we see in the episode when we look at how his family interacts with him and how Verna speaks to him, Perrie has basically put himself into a box of his own deadly sin, Lust. In this vein, I wonder if I can do an analysis of each child as one of the deadly sins, omitting Pride. Pride has historically been seen as the worst sin, or the highest sin that brings forth all the other sins, so if I did do this analysis, I would immediately take Pride out of the equation only because I would ascribe it to the twins as the head of the family and as the parents of all of the other sins. I haven't watched the other episodes yet so I'm not sure if this analysis will keep up going forward but for now I have a general idea which sin I would ascribe to which child.

So moving on with the plot, Perrie wakes up and comes out to two people in his apartment and I recognized one of them! Molly Quinn, famously known for being Richard Castle's daughter and also the daughter of the other RV owning family in We're the Millers. She's a fond part of my childhood, and I'm loving her haircut. However, we see a weird, almost violent display of power when Perrie thinks his expensive eggs were eaten by his "friends" and I put friends in parentheses because I'm not entirely sure yet if Perrie does see these people as his friends, lovers, or even equals.

They discuss disappointment at Roderick vetoing supporting the Prospero club venture he had pitched, and Perrie says it might have been an overall good thing. He gets a call from Frederick, lovingly saved in his phone as Dickwad. Apparently he's supposed to be shadowing Frederick, but as soon as he walks in, his immaturity and naïveté derails the entire meeting with the Feds over Fortunato's poor environmental business practices. This enrages Freddie, and he accuses Perrie of being the mole informant. The continuous bit that Freddie struggles to differentiate between the two is actually quite funny, especially because Perrie has just shown his ass to not be the brightest bulb in the bunch, but even he can keep those two different concepts straight in his head. Freddie really says some demoralizing shit to Perrie though, you can tell he sees himself above the other children, similarly to how Tamerlane's musings about the informant likely being "one of the bastards" from the first episode. Just because Roderick says you're family doesn't necessarily show that the children saw it the same way even when paternity is established.

Perrie lays out the details for the sex and drug-fueled club event to his two lackeys, and Verna briefly pops up on the roof of the building before Perrie looks back and sees that she's gone. We cut to the Rue Morgue, and Victorine and Alessandra lose another monkey. Victorine takes it hard and Alessandra tells her the last thing they should be talking about right now is human trials. However, we see that she's lying through her ass to her father, who is fast tracking this process because he's the person who needs that surgery.

Cut to Perrie asking Leo for drugs. So many drugs. Leo has funny quip in heres, but he's important because he tells Perrie that he's "better than a dealer, smarter than a DJ," and that "this is beneath you." Leo sees potential in Perrie that I saw a glimpse of when he was crunching numbers and setting entry fees for the guests. It is a shame that Perrie doesn't choose to listen to him in the end. And yes, another funny viagra quip.

We cut to Bill T. Wilson's...workout video? So that's what BILLT nation is. I will say the half-confused, half-concerned, half-disgusted, half-almost fascinated face Camille has is priceless here. We then cut to her watching a testimony from an alleged whistleblower at the Fortunato trial. Camille's willingness to find something about this whistleblower if there isn't anything to find speaks a lot about how she is as a PR manager. Ruthless, merciless, and focused on the ends to justify the means. The informant issue is eating at her because it was a factor she could not see or control. She zeroes in on Vic's clinical trial because she thinks it stinks, and we know it does, but she's got some ulterior motive that we don't know yet. The guy was admittedly fair in asking what Vic did to her, but it was one of those things you keep inside and never voice because Camille 100% has the ability to ruin you. Her glare was iconic. I was scared but also a little excited. I was hoping for some action but we cut to Perrie again instead.

A drop of water from the ceiling drips and lands on a phone. We talk about how to access the party, Molly Quinn uses her vocal fry to whisper sing an ad-libbed version of WAP, and we see the sprinkler again while Perrie asks about the water. We move to discussing the sprinklers to "make it rain" for the party and the guy for it says the sprinklers are shut off and Perrie calls bullshit because they dripped on his phone. He has this entire bit about hooking up the sprinklers to the filtered water tanks on the roof, etc, and starts talking about "The Golden Rule." I know this rule well, and while Perrie doesn't get to finish saying it before we cut to Roderick, I can confidently say as someone without money that money can solve many, many problems. So yes, whoever has the gold, does make the rules.

Roderick tells Dupin about the comic where he read about it. Before he can also finish saying "rule" Perrie's corpse appears to stand before him, and WOW he looks horrific. The SFX team deserves major props for this work, because he looks like a human anatomy model. 100% my money is that there's acid rain in the sprinklers/in the water tanks in the roof, and I'm probably right, but once again, the beauty of good media/literature/stories isn't about guessing the plot twist or the ending of the story before you get to it, it's about enjoying the process as you go along. I'm having a great time.

Roderick switches to something called CADASIL. Cerebral autosomal dominant arteriopathy with subcortical infarcts and leukoencephalopathy. (The subtitle person for this deserves a raise.) It is apparently a hereditary form of vascular cognitive impairment. "Before it kills you, it causes symptoms very much like dementia. Affects thinking, problem solving, spatial reasoning and memory. It can even cause hallucinations."

Ah. There it is.

Roderick has this. And there's no cure. And he's refusing all the medications. AND the only hope is preventative. THE EXPERIMENTAL SMART HEART MESH HE SPENT $200 MILLION ON THAT HIS DAUGHTER IS WORKING ON?! Ah, so he is spending the gold to make sure the rules can work for him. Even if it means cutting corners and costing lives. Amazing how much money can really take away your sense of humanity though.

He brings up Rufus Griswold and that unfortunate cemetery business. What I laughed at was the dry, subtle way Roderick just calls Gris "the original gangsta." I had to rewind to make sure my eyes and the subtitles weren't playing tricks on me. So apparently all of this, as we are finding out, starts there. In Gris' office. With the Gris himself, "the original cocksucker."

Oh, it is a flashback. Young Roderick goes in to talk to Gris, but what about? Gris pours himself a drink and acerbically mocks the FDA. The "Fuck Dicks Association." Roderick is clearly not used to this kind of vibe, but he plays along poorly, not that it seems to matter much to Gris. Then again, this is a man who succeeded the helm of Fortunato. When he talks, he expects others to play along, he doesn't care how badly they do it as long as he's the one speaking and in charge. Roderick tries to make a pitch but Griswold is unhappy to hear it. He's about to kick Roderick out but decides fuck it, he's already here. Might as well just pretend to listen and kick him out. Obviously he doesn't say that, but I did debate for most of high school. Some judges walk in biased and you know you've lost before you even open your mouth. This happens with WASPy soccer moms judging their kids' debate tournament, this happens with judges on a local and federal level even though we pretend it isn't true, and it is certainly happening right now with Roderick Usher about to try to pitch something to Rufus Griswold. It is a shame Roderick doesn't know it yet.

He pitches ligodone, the same drug that dupin is in modern times currently trying to nail Fortunato and the Ushers for for falsely advertising as everything Roderick is pitching to Gris now. It is a really good pitch, very idealistic. I think Roderick may believe ligodone is the cure for everything, but I'm hooked on his line "this world...needs changing." He's as idealist as young Dupin at this time. I am so committed to seeing what goes wrong.

The pitch continues, Griswold pushes back, and Roderick suggests that Fortunato will become a miracle and Griswold will become the new Messiah. This piques my interest. We've got the ultra-religious mom, the children being allegories for the deadly sins, and a reference to the head of Fortunato with ligodone as the next Messiah. It certainly invokes a sense of hubris with inevitable downfall. But then Roderick brings it back to his mom and how much pain she was in. It really throws me for a loop because I think the humanity of it all is really at the bottom of Griswold's mind.

We cut to a new location and a crying baby. we see Madeline first and then a woman with the crying baby. We quickly figure out this is Roderick's wife Annabel (hur hur Annabel Lee) who consoles him for not winning his pitch. Madeline looks out of place, uncomfortable being there and more focused on things outside of the domestic sphere like Roderick's failed pitch. When we cut to the silent time after the baby is quiet at night, we see Roderick in the middle of these two women, with Madeline at his right hand side. When Annabel expresses remorse about the familial ties Roderick has with Fortunato, with his mother and father, Madeline seems shocked that he would have told his wife about such a detail? Like ma'am, that is your brother's wife. I just get this codependent vibe from the two of them that really gives me the ick. Annabel really does her best to bring them back to humanity by saying money isn't everything, but Madeline is not buying it. Madeline is completely jaded, turned off by men, turned off by love, basically anything where human emotion can show off even a sense of vulnerability. and she's just kind of disrespectful towards Annabel. (There's a bit here about AI writing movies and TV shows, I see that insert, I acknowledge it, I will move on.)

Madeline starts salivating at the thought of using algorithms to mimic human consciousness and ho it speaks to immortality. This is the first time I've seen her care about anything since I've seen her in this house, so I'm writing this immortality bit down as a note for later.

"Fuck that tiny little man in his big office with his tiny little ideas. WE are going to change the goddamn world, and if Fortunato won't help us get there, we will trample them on our way."

Ah. Spoken like a true capitalist, Madeline. Annabel can't fight off this insatiable, almost rabid thirst of Madeline's to move forward, and clearly since she isn't in the present with us, clearly Madeline must have won Roderick over to her side either by force or by choice. Shame, since Annabel was the paragon of virtue and humanity in this argument, and just goes to show how almost inhuman Madeline has become in this pursuit to change the world.

In the present, Madeline is talking to Lenore about answering a bunch of questions. Apparently she's making an Ai-approximation of Lenore by havingher write a journal every day for four months, answer 10,000 questions, and have it worm its way through the internet and collect all of her virtual data. This is impressive, actually. I'm doing some research on AI right now for an old law school professor so I've learned a lot about AI in the past few months and I have some background on this AI approximation that Madeline is trying to create. I might write a separate post about it altogether.

Back to Madeline. She assumes everyone wants to live on after they die, like the ancients. She had her Ancient Egypt phase, I see. This is Madeline's Roman Empire. She unboxes the mummification tools the Ancient Egyptians used to scoop out the brain, but there's a bunch of other artifacts behind her as well, propped up like trophies. She calls it her "immortality collection," so it isn't about Ancient Egypt, her hyperfixation is the concept of immortality.

Pym comes in and tells her she was right about something. Perrie's bank statements show that he's spending less. It either means he's "coming down in his old age" or that he's spending more cash. If so, he's dealing, pimping, or taking a payout in cash from the Federal government. Juno doesn't have her own accounts, she's co-signed on Roderick's. MAdeline here treats Juno with derision, calling her "the child bride" but ma'am. Once again, the common denominator here is that your brother picked these women to marry! Those are his decisions, deal with it! Either way, she's also intent on finding the informant.

Lenore walks in on Juno and Roderick being handsy in his office, but they quickly settle themselves. Juno is hilarious here, but it does highlight that Juno and Lenore are closer in age and interests than anyone else in this household. Blegh. Ok, maybe Madeline's comment about the whole child bride thing was on point. Juno is such comedic relief here, I'm not gonna lie, this actress is stellar, and I love her Irish accent. I think after all that tension and analysis, it was good to have a break. These things are too long, I need to shorten them for Episode 3.

Oh, cut to Perrie trying to drop off documents for Froderick. Dickwad. Frederick. Freddie. Morrie answers the door and tells him she's sorry about how Freddie can be. She tells Perrie she gets it, and idk, am I getting "battered wife" vibes here or is this just an act to try to get him to warm up? Perrie instead decides to be a degenerate and invite his shitty's brother WIFE to his expensive orgy. She scoffs and rebukes him, but he pulls some psycho manipulation about sex that as a demi person I can't relate to, but I appreciate her being all "How dare you!" about it. I still think if the show is going to put moving music in the background on it that she's going to end up going though, so maybe an early RIP to Morella Usher? Perrie's a whole ass freak, but Morrie is considering it, so wow.

Cut to Tamerlane. She's watching Bill set the table and then the bell rings. Off screen she invites a woman in who asks if a wig works for her? Ok, so this girl looks a bit like Chloe Fineman from SNL, but she just walks in wearing a wig and says hi to Bill like she's done this a million times before. Is this some type of roleplay? Ok, they're paying her in cash and Tamerlane is explaining her roleplay? She wants a romantic, intimate dinner? But she wants this girl to pretend to be her? Wait, she's sitting down and watching? Ok, so Tamerlane is sitting down and watching a hired girl pretend to be her, watch Bill treat her like he treats her, and Tamerlane gets off by watching it all as a third party observer? Her sexual fantasies literally start at dinner. I mean I just said Perrie's a whole ass freak, but Tamerlane kind of is one on a whole other, more voyeuristic, self-insertion level. I am confusion.

Cut to Camille watching Bill's workout video and kind of following his workout in a fascinated way? I'm also confusion. Anyway, her interns walk in and she turns it off, but then asks for updates on Vic's clinical trials and is frustrated that Toby can't get any results. She then goes into background of the testing facility "Roderick. Usher. Experimental." R.U.E. So she sets up the bit about the Rue Morgue. My favorite Poe short story. Tina goes into the paralytic nerve agent but Camille is uninterested. She looks through photographs and then..gets up to join them in bed? I had to rewind again. I didn't even realize they were undressing while debriefing her. And Camille's wearing a rope bra. And they're her interns! Besides the ethical and workplace violations from the freaking PR person for Fortunato, this whole family is FULL of sexual deviants. Wtf. I am confusion. AGAIN.

Cut to ships in a bottle. Frederick is showing Lenore how to make a ship in a bottle for Grampus Roderick. Morrie is headed out and apparently she's going to the orgy party. Great...

Everything is stuffed into lockers and masks come on. Perrie is overlooking this domain like the young Prince Prospero from the story. He gets excited when he sees and realizes his dickwad brother's hot wife showed up to his orgy. Morrie plays dumb, but Perrie tells her to try some drugs and one of the twelve bedrooms before he says he will find her later.

Cut to security cameras. Perrie points out all the famous/famous adjacent people who showed up. He reveals his plan to use the security footage form this hedonistic orgy to blackmail everyone who arrived at the party. Suddenly, inviting his dickwad's brother's hot model/actress wife makes a lot more sense, and he says it out loud. He drops a tidbit about Freddie is afraid of using elevators. Mght be useful for later. He then proceeds to give his lackeys ecstasy through mouth to mouth and they all head out to continue partying before a woman in a skull mask walks through the door. We know it is Verna, but Perrie doesn't know who she is. Verna and Morrie briefly make eye contact before Verna slips away and Perrie follows her to ask her who she is.

Verna finally removes her mask and she and Perrie somehow end up in a private bedroom. I don't know if the red lights are indicative of the seventh room in the original story, but if it is just a stylistic option, it also looks fitting. Verna tells him he can take off his mask. He asks her if she knows him, and she says she knows everyone here because this is her kind of party. She talks about the music, the lights, the beautiful flesh. She really leans into "the smells of it." And no, it isn't what you would think. "All the sweat, the perfumes, the lotions, the musk. sex, yes. But with a dash of Rome."

Verna asks him to tell her, and not lie, if this party is everything he wanted it to be. He says, "Not yet. Almost." She responds that "nearly realized is the sweetest. It is better...in the moment just before than in the moment after." She tells him he did it, and there's still time. For what? He asks. Verna responds..."To stop it."

She tells Perrie "Things like this, all things in fact, have consequences." He tells her that's not what is happening here based off of his invite (even though he KNOWS he plans to blackmail everyone in this room later.) Verna responds there are always consequences and talks about him. About choices that lead to consequences, and how his existence is a consequence. I wrote down the whole speech because those sequence of choices will likely be illuminated once the entire series is over, so I want that to reflect upon during each episode.

It is a shame, because even though Verna tells Perrie that tonight he is consequential, he doesn't even realize how serious she is. She gives him a chance to take it all back, and then the two of them could have had fun, and that she's got a weakness for bad boys. She tells Perrie "you are a pretty, pretty little thing" before she disappears into the party again. Perrie chases after her but she's gone. He takes something, puts his mask back on and returns to the party. Verna is seen whispering into the ears of the security guards, the bartender, etc before she appears behind Morrie and tells her to "Go. Now." So Morrie is given due warning. Now the decision is up to her whether to leave or stay as midnight approaches. Morrie stays, and has to deal with the consequences of her choices.

The acid rain in the sprinklers rains down and proceeds to basically liquify the entire party. Everyone looks like anatomical models, but Perrie is still moving a bit. Verna approaches his melted body and whispers "You beautiful boy" and kisses him on the lips as he dies before placing her skull mask on his face. And that's the end of the episode.

There's a lot there. I feel like I have to immediately start Episode 3 in order to recover from the whiplash of all of that, but this is going up now. I think for Episode 3 I will take it "scene by scene" as I plan to watch the entire episode in full since Rue Morgue is my favorite short story and I wanna see how it plays out with Camille. If I'm lucky I'll get Episode 3 up today but I am very much at the whim of my moods and medication.

Overall this was a good episode, we saw everyone else's freaky sex interests and I do think Perrie gives me "lust" deadly sin vibes, especially because his penchant for lust is what got him killed. Verna calling him beautiful before and after the acid rain is intriguing. She could be saying his demon-esque look is appealing because she herself is a demon. I got a google notecard/ad type of thing for an article saying that Verna is the Raven because it is an anagram, but I'm interested in seeing other explanations as to what Verna could be. She could be the literal devil that the twins made a deal with to get where they are, I'm not entirely sure. I just want to get through this series with as little spoilers as possible to see how accurate my guesses are.

[theboarsbride]

ok sorry in advance for bothering you, feel free to tell me to get lost, but i was wondering if you, the resident expert, have any monster romance recs that aren’t way too. nsfw i guess? maybe it’s just me but i’m having a hard time finding any. like i’m more interested in the slow burn and the romance but the genre seems to be mainly fast paced erotica and i just can’t get into it

OOh!!! No need to be sorry, I'm always happy to answer stuff like this and talk about (cleaner) monster romances!! I'm honored you'd consider me an expert, though! 🥺💛I feel like I don't actually talk about monster romances all that much!

But I agree that it can be hard to find a monster romance that isn't erotica. Not that erotica isn't good, I just like seeing slow burn romances, too!

I wish I could provide a longer list, but here's what I got so far! (and if anyone finds this and wants to add onto this list, feel free to do so in comments, tags, reblogs, etc)

I will provide links/titles to these stories, say the genre(s), provide a short synopsis in my own words, and then say why I recommend it below the cut!

Axiom's End by Lindsay Ellis | sci-fi, alternate history, conspiracy fiction, action/adventure

"An alternate history novel set in 2008 where whistleblower Nils Ortega leaks information to the public that the US government is secretly harboring extraterrestrial refugees. Cora Sabino, Nils' daughter, finds herself developing a connection with one of these aliens after inadvertently becoming the sole communication between humans and aliens."

This series is fucking great!! Admittedly, the monster/alien romance take more of a backseat to the larger plot, and mostly focuses on themes surrounding humanity, human rights, language, trauma, etc. Ellis does such a great job at writing characters that are just so... human, and deep. There is so much complexity and nuance that goes into this series, and just... it's so good! Definitely recommend if you're more into the super slow burns, alien romances, alien action movies like Michael Bay's Transformers series or Independence Day.

"The Courtship of Mr. Lyon" and "The Tiger's Bride" in The Bloody Chamber by Angela Carter | Gothic, feminist fiction, fairytale retelling, horror, anthology

"'The Courtship of Mr. Lyon' follows the romance between Beauty and Beast after Beauty's father takes one of the lion-faced Beast's white roses while taking shelter following a car accident; in 'The Tiger's Bride' a young woman is sent to live with a mysterious masked man after her father gambles her away in a game of cards."

Honestly this book, though a collection of short stories, is one of my all-time favorite books! Carter's writing style is so, so gorgeous and lyrical, and she provides such fantastic, dark, moody, gory, horrific feminist fairytales. Her story "The Bloody Chamber" is also worth checking out! Honestly, this whole book is great!

Beauty: A Retelling of Beauty and the Beast and Rose Daughter by Robin McKinley | Fantasy, romance, fairytale retelling

"Classic Beauty and the Beast retellings."

Despite both being BATB retellings by the same author, both are so, so good in their own ways! While Beauty is way more classic and straightforward in its retelling, the characters are so endearing, the fantasy world is enchanting, and the writing is so *chefs kiss*. Rose Daughter is much the same, only slightly more adult in its tone and writing style - and its ending!

The Shape of Water by Guillermo del Toro and Daniel Kraus | Romance, historical

"A mute janitor working in a high-security government facility falls in love with an amphibious creature."

Yeah, yeah, this is basically the novelized version of the movie lmao. I've not read the whole novel itself, but it's not half-bad!! It's decent enough - though I still feel like the movie to be better. Still worth checking out, I think!

Frankenstein's Monster by Susan Heyboer O'Keefe | Historical

"A sequel, of sorts, to Mary Shelley's classic novel. What becomes of Frankenstein's monster after Frankenstein dies? Where does he go, left to wander the earth?"

Not really a romance, per say, but there are SOME elements of romance! Mostly, this book follows Frankenstein's monster following the OG novel, who he all meets, and it is very much a character study on the monster! It's super fascinating, but its writing style is super similar to Mary Shelley's, so this very much reads like a classic novel. Honestly, I love how O'Keefe was able to mimic Shelley's style so well! But, again, romance is way more lowkey and this is more of a character study than anything else. Definitely reccomend if you loved the OG Shelley novel!

Beauty and the Beast by Megan Kearny | Webcomic, romance, fantasy, fairytale retelling

"A retelling of Beauty and the Beast."

Beautifully illustrated and wonderfully told, this comic is just SO GOOD!! It very much has the same vibes as Robin McKinley's novels, and is steeped in a cozy fantasy atmosphere! The characters are so loveable, the story intriguing, and just AAAUUGGGHHH SO GORGEOUS!!

Netvor: Beauty and the Beast by @rosesnwater | Fantasy, romance, fairytale retelling

"Aceline Capet swears to slay the monster Netvor that lurks in the forest surrounding her village - and ends up becoming entrenched in the world of magic and monsters and Fae."

LEGIT JUST UGH!!!!!!!! THIS NOVEL IS SO FUCKING GOOD!! Legit this is one of my all-time favorite reads from this year! If you love fantasy featuring actual, lore-accurate faeries and super intriguing slow burn romance with endearing characters, please please PLEASE check this out!!!!!!! I SWEAR YOU WONT BE DISSAPOINTED!! Definitely recommend if you love fantasy movies like Legend, Labyrinth, Thumbelina, Howl's Moving Castle, Disney's Beauty and the Beast, etc. or books like Naomi Novik's Uprooted, Shakespeare's A Midsummer Night's Dream, Robin McKinley's work, etc.! It also currently being rewritten as a(n equally beautiful) webcomic that should definitely be checked out as well!

That Which We Call Beast by @raph-fangirl | Historical fiction, romance, fairytale retelling

"A young woman is seeking marriage, and comes into contact with a mysterious bachelor that hides himself from her behind a veil."

Basically if Jane Austen wrote Beauty and the Beast! Definitely a well-written slow burn! It's not completed yet, but with what's available to read it's legit so beautiful!! The prose is so well-crafted, and it legit feels as though I'm reading an Austen novel! Definitely recommend if you love films like the 2005 adaptation of Pride and Prejudice!

Then uhhhh not to toot my own horn but if you wanna read a Victorian Era Gothic romance-horror BATB retelling with a pathetic meow-meow of a monster I offer my story The Monster and the Butterfly- 🤲🥺

These are all the recs I have for now! Again, if there are any you'd like to add, whether they be published, a friend's online work, or your own work!! I hope these are helpful and satisfactory enough for ya!

Again, I love talking about monster romances, thank you so so much for this ask!!!! 🥺💛

[hostess-of-horror]

I'm having so many ideas and not enough energy to do or finish any of them AAAAAAAAAAAA-

Just so that I don't just wallow in my inability to get off my ass and do this shit, I'm going to type it all down!

1. The Haunted Mansion movie (done right!)

- This one is actually based on a slew of Discord convos between me and AJ (@sneklover). It was mostly just me ranting about how God awful Disney's live action remakes are getting and what I would've done if I were to make the iconic attraction a film or t.v. show.

- I have seen the original live action Haunted Mansion movie with Eddie Murphy but not the newest one, BUT MY POINT STILL STANDS! Both are literally the same thing where the story focuses more on the Foolish Mortals than the Happy Haunts and I do not like that.

- If I were to film a Haunted Mansion movie/show, I would make it an anthology horror movie. Think Tales From The Crypt or Creepshow but with Master Gracey telling the stories behind iconic characters such as the Hatbox Ghost, Constance Hatchaway, the two Dueling Ghosts in the ballroom, etc. At some point towards the end, Master Gracey would then tell his story, of how he inherited the mansion, was cursed as the Ghost Host by the mansion itself, and how he tried in vain to lift the curse.

- I remember telling my mom about my idea and, while she loved it, did say that Disney would not like it because they want to put out a more broad demographic. "They're not catering to us," she said (paraphrased). Which makes sense, I just jokingly mentioned to AJ how Disney wouldn't hire me for stuff like this lmao.

- My Haunted Mansion would be a love letter to the Gothic Horror genre and dark humor. An old Louisiana mansion that's haunted in more ways than one, its owner an unwilling slave on the brink of insanity, and all the tales of death kept within its walls. And these tales are nothing short of harrowing, as well as hilarious!

2. Vincent Price x Self-Insert Fanart

- I love this old man so fucking much I wanna kiss him I wanna dance with him I wanna cuddle with him I wanna slowly drive him into insanity so that I can see him smile lovingly at me I wanna be the harbinger of his downfall and his eternal bride aaaaaaaaaaaaaaa- 🖤🖤🖤😩🙌🥴🥴🥴

- So yeah, pretty much what it says on the tin. I was inspired by the very talented @theboarsbride for the idea and Corman's The Masque of the Red Death, starring the Handsome Devil of Horror himself Vincent Price, and wanted to make an AU.

- Masque AU where Francesca (the main character) does give in to the dark side, but of her own volition, transforming into the Red Death. The Red Death is both a Reaper and a Resurrection - a purveyor of plagues and a damsel turned demon. A Bride in Blood...

- It's basically a sort of rewrite of the original ending and now it's sorta... 🌶️spoicy🌶️ so, um.... yea. smexy monster lady x human stuffs.

- ANYWAYS...!

3. Walt Disney's The Great Mouse OC

- I've been wanting to do something with the GMD fandom for a long while now, and I think a hypothetical OC from an hypothetical sequel fanfic would be a good introduction!

- So, in a nutshell: She's a mad scientist spider who is the new secondary villain of said sequel. She has no name as of yet, but she is mute (either from an injury or is simply nonverbal), extremely passionate about her grotesque experiments, and very, very lonely. Unlike Ratigan, the Greatest Criminal Mind, she is more somewhat spontaneous, preferring the tasks of stitching her family together over anything tactic. In other words, she's the brawns while Ratigan is the brains (and brawns). Her goal in villainy is to build and destroy - to build her long lost family and to destroy all of micedom.

- While she is the one who caused the whole case, the main focus on the story is mainly the ✨tension✨ between Basil and Ratigan. In other words, opening up old wounds... by resurrecting the dead!

- Yup, Sherlock Holmes: Furry Edition is now becoming a Gothic horror story. Heavily inspired by Little Nightmares II, Jack the Ripper, and Mary Shelley's Frankenstein, the sequel is a tale of murder and madness, with a bloodcurdling case and a rivalry that won't stay dead.

- In this fanfic, I interpreted that Ratigan did die in GMD and so that he could be resurrected by my OC in the sequel! I also wanted to have Fidget resurrected but AJ doesn't like to think of her lil guy dead, so... Yeah, Ratigan is the Frankenstein's Monster and Phantom of the Opera of the plot. (POTO because I thought of the sequel's climax being set during an opera)

- Meanwhile, Basil and Dawson are having a Very Bad Time, with Basil constantly being haunted by the professor and Dawson mentally reliving his days at the regiment.

- Disney will never hire me.

[burningexeter]

Let's give this show more attention, shall we?

Here's a damn solid amount of all the different kinds of media that I like to think both can definitely fit well in and could legitimately share the same universe as what is in my opinion the best children's horror anthology series of all time and one of the best horror anthologies ever made in general, R.L. Stine's The Haunting Hour: The Series, which you can both read and see below for yourself right about here:

First off, here's what I mean by including the show, in my mind every episode of the entire series (at least most of them which we'll immediately get to) are all set in the same universe as each other since none of them over-step each other. However, not all of them will be for the fact that they don't fit and they suck hard in terms of quality and I've narrowed it down to five exceptions with the following reasons.....

- Red Eye, because it never lives up to its potential and has a cartoonishly written bad mother who never gets her comeuppance.

- The fucking cheese puff one, because the episode is all around trash and everyone hates this one even the creators/showrunners themselves.

- The G rated Critters rip-off, because like I said it's a shitty Critters rip-off and also has an abusive asshole father who never gets his comeuppance at all somehow.

- Mrs. Worthington, because even though it has a great performance from Margot Kidder, it never lives up to its great premise and again has an asshole mother who never gets her comeuppance.

- The leprechaun one, because it's just plain ass and AGAIN has an asshole adult (in this case, grandfather) that never gets his comeuppance.

Other than those shitty five, every. single. episode. are all set in the same universe. All of them are in the same twisted world — the Lilly D. trilogy, Scary Mary, Flight, Dreamcatcher, Creature Feature, Swarmin' Norman, the Pumpkinhead duology, Long Live Rock and Roll (AKA Doom Metal) and so on, so forth.

Also, I'm making a big deal out of the adult assholes that never get what's coming to them in a HORROR ANTHOLOGY SHOW is because in this universe we're talking about, everything is fair. Doesn't matter how old you are, your gender, your race, if you're a bad person than you end up getting what you deserve.

Second, now for the actual shared universe —

• Michael Dougherty's Trick r Treat & Krampus

• Mark Waters' The Spiderwick Chronicles (2008)

• Stephen Sommers' The Mummy (1999) & The Mummy Returns (2001)

• Steven Spielberg's Indiana Jones Series (1 - 4)

• Jeff Kline's Transformers Prime & Transformers Prime Beast Hunters: Predacons Rising

• Troy Wagner & Joseph DeLage's Marble Hornets

• Warner Bros.' Wizarding World Series (Harry Potter 1 - 8 & Fantastic Beasts and Where To Find Them)

• Julius Avery's Overlord (2018)

• Matt Reeves' Let Me In (2010)

• Leigh Whannell's The Invisible Man (2020)

• M.J. Bassett's Solomon Kane (2009)

• Tim Schafer's Brutal Legend

• Remedy Entertainment's Alan Wake & Control

• Andrew Stanton's John Carter (2012)

• Andrew Davis' Holes (2003)

• Gore Verbinski's Pirates Of The Caribbean Trilogy & Rango (2011)

• Jon Turteltaub's National Treasure Duology

• Joe Johnston's The Rocketeer

• John Carpenter's Big Trouble In Little China

• Brad Bird's The Incredibles

• Adam Andrewson's The Chronicles Of Narnia Duology

• David Lowery's Pete's Dragon (2016)

• Zack Snyder's Legend Of The Guardians: The Owls Of Ga'Hoole (2010)

• Travis Knight's Wildwood (2025)

&

• Jordan Peele's Get Out & Nope

[doctorstrangereview]

Strange Tales #148

Cover Date: September 1966 On-Sale Date: June 9, 1966

"The Origin of the Ancient One" is something a lot of readers were probably clamoring for (maybe.) The ancient sorcerer who has been a mainstay of series since its inception is a bigger mystery than the main character. We find that his history is intimately tied to our arc's villain, Kaluu. One would think that the origin of such an important character would include his name, but no. We will need to wait another 38 years to find that out in Epic Anthology #1. (Sneek Peek: It's Yao. Young Ancient One. Get it? Yeah, it fell flat for me, too.) The colorist was more progressive than usual for the time. The Ancient One, Kaluu and all the Kamar-Tajians have the same flesh tones as Doc. Maybe sickly yellow ink was in short supply that month.

Picking up from the end of last issue (but skipping over the mystery eyes that were peeping into the Sanctum) Doc and The Ancient One are staring at the empty lectern that held the Book of the Vishanti. Despite the fact that they are in Doc's Sanctum, the are surrounded by starts and planets. Ditko reserved the craziness for when characters travelled to different realities. Everett is just being weird.

Doc attempts to conjure an image of Kaluu. It doesn't work and Everett uses the opportunity to draw some more weirdness, this time very derivative of Ditko. Especially that snake jaw.

The Ancient One gets impatient. As I said last issue, he is out of character as written by Denny O'Neil. Ditko and Lee always wrote him as maintaining an aura of serenity and it's gone here. He keeps coming across as a jerk. He pretty much tells Doc that he's not being serious enough about the threat. This is actually unlike Doc who usually is careful take a measure of his foes before engaging them. This, combined with Everett's open and "billowy" style is a bit disconcerting. The Ancient One is like "Shut up, Doc! I guess I have to tell you how it all began as I appear to have kept my entire history secret from you even though you were my student for years and years and this is actually pretty important."

Picture it, Sicily, uh Kamar-Taj, 500 years ago from whatever year this is. Well, Marvel's history is still pretty new yet and they haven't instituted their sliding time line to keep Reed Richards and Ben Grimm from being centenarians. So this is probably contemporary with the year it was printed or close to it. Anyway, OAO (Old Ancient One, get it? Yeah, it sucks too, sorry.) tells of his people, a bunch of simpletons who were great artists and farmers. Ancient and Kaluu were different. They found a bunch of old scrolls and scream MAGIC! Ancient One is like "I'm gonna help our people so hard!" and Kaluu is like "I'm gonna conquer everything around me so hard!"

Kaluu then leaves so his farmers can train to be soldiers and be strong enough to ferry him around on a sedan chair. The Ancient One does nothing but hang around under the "keep your friends close and your enemies closer" doctrine he learned by peering into the future and watching The Godfather movies (except that last one where the biggest horror is Sophia Coppola's "acting".) The not-yet-Ancient One stands next to Kaluu and helps out his conquest.

"The people need a king," says Kaluu, "it should be you but it's gonna be me because I'm greedy and power hungry and stuff." It gives Everett the opportunity to draw some more weirdness and give the two sorcerers a giant classroom globe that, for some reason, shows the Americas even though we're in the far east.

An interlude brings us back to the present and Doc asks why Kaluu's magic is so much more powerful and the now-Ancient One says it's because Kaluu's been hanging out in the dimension of Raggador. This is a convenient excuse to switch to camera two and check out Raggador for ourselves. Present day Kaluu has exchanged the bare-chested barbarian-sorcerer look for a spiffy new outfit. He needs to impress that stolen Book of the Vishanti after all.

Back at base, the Ancient One, still sitting on his flying carpet above a magical jungle gym continues his tale.

The people of Kamar-Taj are puppets barreling through nearby villages like Sherman through Georgia. Kaluu looks in on a nearby unconquered village and thinks "I have a clever plan! If we steal all their food and crops my farmer-soldiers can spend all their time training to be nasty and evil! Oh boy, I am so smart!"

After they conquer the village, the not-yet-Ancient One finally decides to speak up. "We got enough now, man! Let it go!" Elsa gives good advice in this matter. Kaluu isn't satisfied and says he's gonna turn not-yet Ancient One into his personal slave, but instead freezes him like a statue. Kaluu gives his army spiffy new armor and goes on with conquering dragging his frozen buddy along in a cart. As the months (years?) go by, everyone else is doing the Kamar-Tajians work for them. Like those guys from Well-E, they turn into a bunch of cute, roly-poly lay abouts.

Apparently eating grapes right off the bunch is a universal sign of hedonism. While the not-yet Ancient One appears helpless, he has his own clever plan and has called down a spell/curse on Kaluu and his Kamar-Tajians. Things don't go quite as planned and suddenly a nearby serving girl is struck dead. This is soon followed by the complete collapse of Kaluu's empire in record time. Kaluu bolts, swearing vengeance, but is too polite to actually shake his fist. The not-yet Ancient one is freed from Kaluu's spell, which had the ironic effect of protecting him from his own curse.

While not explicitly stated, it appears that Kaluu is cut off from our dimension. Unfortunately, when Dormammu and Eternity blew themselves to bits, the barrier fell and badda bing, badda bang, Kaluu is here. Thus endeth the tale of the Ancient One. And endeth the tale this month. We will continue in the next installment. Lee/Ditko were much better at endings than O'Neil/Everett. The last panel is very anti-climactic.

I think this was a story many regular readers would have been interested in. When I discovered what was in this issue (published before I was even a twinkle in my daddy's eye) I sought it out and managed to snag a copy at a reasonable price. I was surprised that the serene, grand mage had such a violent past. Also, that his powers were very DIY "we found some old scrolls lying around, let's learn magic" instead of the more traditional sought out or stumbled onto a magician and become a disciple. Characterization for the regulars we have seen so far still seems off. Looking back, I think I like this less traditional origin for a beloved character and that his hands aren't as lily white as we previously suspected. Kaluu is still barely seen. He seems a one-note character so far. We'll see more next issue. When Kaluu returns in a couple of decades he is given some depth and is actually cool and somewhat likeable. Next issue awaits!

[adarkrainbow]

I recently spoke of Pierre Dubois and evoked the confused and convoluted enigma that are his world-famous Encyclopedias - beautifully illustrated, a masterpiece of fae art, a Renaissance of the fair folk, a deep mine and fabulous treasure of folkloric, literary, mythological references... But also a very convoluted, invented, reinvented, unfaithful-yet-faithful work that freely uses the poetic license and the "storyteller license" to recreate a fairy world that sometimes has little to do with actual folkloric material. And that's because, as I said and as too many people seem to forget, Pierre Dubois is a storyteller and a writer before anything.

Today I want to briefly evoke his purely literary work, not his encyclopedias, or his books about ghosts or trolls, or his manual of elficology, or his anthologies of collected fairytales. His purely literary work - but still deeply inspired by folklore and fairytales. More precisely a short story collection of his called "Comptines assassines" (Murderous nursery rhymes):

This book is actually a sequel to a previous short story collection called "Contes de crime" (Crime fairytales ; a pun on "Grimm fairytales" because in French "Grimm" and "crime" sound similar). Both collections are based on the same key concept: take a fairytale, a nursery rhyme, a fairy-legend, and twist it into a dark short story - sometimes a crime, sometimes a horror novel, sometimes simply disturbing reality.

For example, in Comptines assassines, Dubois tackles twice the topic of "Let's follow the crimes and mad mind of a fairytale-inspired serial killer". Once in his "Puss in Boots" short story, where the titular cat becomes a fairytale-obsessed serial killer of the Interwar era deeply involved with the motif of the Great War mutilees ; and another in his "Bluebeard" short story, making the Bluebeard character a current day serial killer mixed with the Halewyn legend (and it is left unclear if he isn't the ACTUAL Halewyn) who picks of prostitutes and places them in the Bluebeard scenario pretending a "bizarre, excentric role-play game" when in fact he just wants them to end up like Bluebeard's victims... And there's also some really weird and bizarre stories, such as his "Croquemitaine" story (the French bogeyman), which is a Sherlock Holmes story about the titular detective ending up on the trace of a child-killer who somehow returned as a monstrous ghost thanks to a medium's ill-organized seance - and Arthur Conan Doyle actually meets Sherlock... Its typical Dubois bizarreness.

The reason I wanted to speak of this collection specifically is because, as a collection of short story, it truly allows to present the best and the worst of Dubois as an author, since some of his short stories are truly brilliant, and others sadly badly done. I say sadly because Dubois always has good and interesting ideas, and he always cleverly plays of tropes and motifs and archetypes... But the executon is very often lacking.

And this precise collection has two story that are perfect opposites. "The old woman who lived in a shoe" and "The Musicians of the town of Bremen".

"The old woman who lived in a shoe" is the longest short story of this collection, so long it is basically a novela. And the basic idea is very efficient: in an old-but-not-too-distant England, various people of the high society with apparently no relationship to each other are brutally murdered. Here's the twist however: they are murdered by nursery rhymes characters, or by "Alice in Wonderland" ones. And the police, soon driven mad by this insane investigation, ends up calling forth a "fairy detective" expert in supernatural cases (who was involved in a previous story in "Contes de crime"). This is a strong and solid basis, and it works for the most part. Take each of the murders - because the investigation is for a first part pushed on the background, onto quick recaps summaries and "what happened" aftermaths, the better to highlight the dead end and mad frustration of the investigators. The murders are all very interestingly set - each victim is fleshed out in one given scene, each one evokes various archetypes, stereotypes or just "types" of the English society and the English literature, and then the encounters with the nursery-folks are all set in a brilliantly disturbing "fantastique" way, always simple and short but very efficient. The whole thing is told with a distinct British humor, sometimes slight, sometimes very heavy, and Dubois shows here his immense love and great passion for everything British (he always keeps in his bibliographies a section for all the English books of literature or folklore he read).

But here's the problem: this thing is... too much. Too long, too flowery, too flowing, too extensive, too bloated. That's one of Dubois' main vices and one of his greatest writing flaws - he doesn't know when to stop. He writes too much, he extends everything, he describes all with so much detail. We can at least forgive him for the series of murders opening the novel because each one, with such an exorbitant and extensive style, manage to present us a full, lively, complex portrait of each character and scenes, that is always brilliantly cut short by the childishly simple and yet completely reality-breaking supernatural of the murders. We can forgive that - but when the "fairytale detective" gets on the case... By Jove it is all too much. If this had been a novel, I think it would have worked much better - there would have been time to breathe, space for the sentences to flow right, but here everything is so crammed it boils and erupts like a volcano. And while the conclusion is interesting in theory, I do think its handling was... between muddled and dubious. Not to give too much spoilers, but Dubois wanted clearly to mix together the motif of "The old woman in the shoe had many children - and these children were nursery rhymes folks" ; the idea of "The fairies are pissed off humanity are destroying their land and take revenge" ; and an exploration of Lewis Carroll's life and how his Alice work haunts England today. But the result is... let's say it is a difficult result and touchy subject, as Dubois tries to explain Carroll's obsession with little girls by the involvment of a fairy in his life, and the whole handling of this is... Well it needs some careful reading and contextual considerations, because I couldn't tell if Dubois was actually making a big blunder by handling badly the topic, or if he actually did something that could work in some very bizarre way. And I will not insist on how Dubois, in his famous habit of mixing everything, insisted on mixing together the Alice books and the nursery rhymes of England as a whole into one and same world, making it so that for someone who hasn't read Carroll they could believe you'd find in Alice books Mother Goose or Old King Cole...

So yes that's the bad - but what about the great? The great is "The musicians of the town of Bremen" and I am really sad this story wasn't translated in English for me to share with you (or maybe it was?). To give you the simple but brilliant effect of this story I will recap it, but to avoid spoilers if you want to read it I'll put it under a cut.

Contrary to what the title says, the story isn't a rewrite of "The musicians of Bremen" but actually a "mix fairytales together" tale, and Dubois shows here his immense love, passion and knowledge of fairytales in one clever and poetic story - in an effort that reminds me of his Elficology Manual.

Say hello to George Boutonnet, a 20th century man with a frankly... Not happy life. Despite being an adult with a job, he stll is under the control of his old and tyrannical mother who, for example, insists on him having regular dinners with her to which he should never be late and always bring the same food. His mother's bad influence had already started as a kid, when she forced him to listen entirely and repeatedly to "L'Enfant et les Sortilèges" (Ravel's The Child and the Spells) - which deeply traumatized him, especially the scene when the child is punished by living furniture and wild animals and can only scream "Mommy!". He spent a childhood stuck between doing all his homework correctly under the stern eye of his mother, and brief moments of carefully looking at her precous books of fairytales - but these fairytales did not allow him any escapism either, because it was the Gustave Doré's illustrations, that scared him (he preferred Félix Lorioux as a child), and all the stories of Perrault, Grimm, madame d'Aulnoy and the countess of Ségur left him even more depressed - while all those virtuous girls and brave boys and couragous knights defeated the ragons and won eternal love, he couldn't escape his harsh and stern life... And so he grew up to become a middle-class office worker, always careful, prudent and meek, tyrannized by his bosses and his mother, living alone without any romantic potential, and having an extremely strict and precise schedule where every daily activity is timed precisely.

Except one day, when his alarm clock doesn't work, he wakes up too late, and this results in him going into a frenzy panic as he tries to stich up his schedule - because today is the day he is supposed to arrive on time to eat with his mother, and bring her cake. In his chaos and panic, after finally getting the cake and crossing with his car the wood that separates his home from his mother's, he needs to stop in the forest to pee. And... this turns out to be a revelation for him, because all his life, he kept crossing in his car the wood without ever actually stepping his foot in it. His mother never took him to the woods, too "wild and dangerous" - she didn't even taught him how to recognize flower species. So when he finds himself there, surrounded by unknown flowers, bizarre insects, and all those forest scents he never felt before, he can't help it, he walks around, he explores, feeling like a kid again. And as he walks around he sees... Little Red Riding Hood. Or rather a girl dressed exactly like her. Amused, he has a talk with him where he reveals he knows everything about her - much to the girl's amazement, and when she asks him how he knows her identity, he claims to be a wizard, which the girl immediately believes. And when he keeps joking (because he believes it is all a joke) about the wolf - this time Little Red is confused as there's no wolves in this forest, and she flees the man thinking he is one of those bizarre and nasty adults that like to mess up with kids' head.

Boutonnet, confused, ends up walking down the path Little Red Riding Hood came from... And discovers a fairytale village. THE fairytale village - with castles and beautiful landscapes and cute little houses and superb towers... Boutonnet thinks it's some amusement park, some local fair - but when he meets Gepetto in his workshop who is sculpting what will become Pinocchio (in fact it is Boutonnet himself who suggests the name Pinocchio), he starts realizing... Maybe something else is up. He tries to evoke Pinocchio's future misfortunes and misadventures, but Gepetto wants to hear nothing of those weird stories - claiming Boutonnet is just like "all those other folks from behind the hill", always coming in whith disastrous warnings when the truth is, nothing bad ever happens here. What truly convinces Boutonnet's however is when Gepetto summons Puss in Boots, who promptly asks the man to become his master, and when the latter agrees the cat literaly changes by magic his 20th century clothes into a fairytale-prince outfit.

Thus convinced he is truly in the world of fairytales, Boutonnet becomes the subject of a tour with Puss in Boots as a guide, to find himself a wife among the numerous princesses, queens and fairies of the area - and he gets to enjoy a wonderful, colorful world of talking flowers and singing frogs directly out of Lorioux's drawings, seeing the Goat with her seven kids, and Polichinelle, and the baron of Münchhausen, and fairies, and Hans my Hedgehog, and Riquet with the Tuft, and the seven dwarfs, and Tom Thumb... This is where Dubois' narrative style works the best, as his over-flowering, extensive listing and complex scene descriptions fit perfectly this "wonderful panorama of fairytales" we are supposed to see - and it is an abundance of fairytales and nursery rhymes references, and tons of puns based on popular culture, and fascinating description of fairy castles, and an abundance of baked goods, candies and cakes that Boutonnet gets to stuff himself with... And Boutonnet is in Heaven because it is everything his life is not - magic everywhere, everybody looking at him with respect and kindness, as much sugary treats as he can eat, cool clothes. An especially important part is that his name (which can translate as "Small-Button" and was a source of mockery when he was a child) is here fully accepted as a typical fairytale name.

Boutonnet is also very impressed by the beauty of the fairytale princesses - notably, after one breathtaking sight of Cinderella, he gets to encounter Snow White herself, described in such passionate, positive, romantic terms you feel like you have the perfect fairytale and mythical princess in front of you. Snow White is indeed the "fiancee" Puss in Boots wants to have Boutonnet fall in love with - and it works as they go for a promenade into the fairy woods and the wonderful village, and Snow White's kindness and beauty and gentleness and purity touches Boutonnet right into his heart... Even better (or worse depending on how you see it) - Boutonnet realizes that this fairytale village is stuck into the perfect moment, into the apex of happiness. Snow-White doesn't know what Boutonnet is talking about when he talks of her wicked step-mother, Little Red Riding Hood is going into the woods with no idea of what a wood is, when Puss in Boots is asked about cemeteries he is horrified as nobody dies in this valley... He is happy at finding a world of ultimate happiness and perfection, but he is slightly worried about how things might unfold if the stories haven't truly happened yet...

Snow White invites Boutonnet to the village's grand feast at the castle - where music will be given by the titular Bremen musicians, and after this invitation (and before Puss in Boots prepares for him a new outfit), Boutonnet has a brief moment of lucidity in the euphoria. He realizes that it is all mad, that such a place cannot exist, that if he returns to the real-world his mother will be mad at him and he'll be taken for a crazy person - but this is also mixed with a deep sorrow within himself, as he is told nobody ages, nobody dies, everything is happy in the fairytale valley... The sorrow that, as it turns out there was a place where wishes came true and dream became reality, there was a wonderful place of chilhood love and eternal youth, but he got denied this place, people tricked him into believing it wasn't real and forced him into living a horrid life...

As dusk starts forming at the horizon, Boutonnet considers leaving the valley and returning to his car and fleeing the forest - but the forest now smells quite unpleasant, of damp humidity, and rotting wood, and all sort of other unpleasant smells of "reality", and he ultimately get smooth-talked again by Puss in Boots into joining the grand festivities of the night. And what grand festivities! A huge banquet with mouth-watering dishes one after another ; and a whole array of old, aristocratic dances for the ball ; and music, so much music ; and Boutonnet sits right next to Snow White and gets to enjoy a soft, discreet, blooming romance between the meal and the dances, surrounding by fantastical beauties and fabulous riches...

... But as the night advances, the guests starts looking a bit less happy, a bit more shameful, things get more quiet. Boutonnet looks around and upon seeing so much beauty can't help but ask: Where are the others? The villains, the wicked ones, with their iron teeth and blue beards and hooked noses and warts and crooked chins... He notices there is some horrible sounds seemingly coming from the palace's door - but Snow White pretends it is "Just the wind" as the Bremen musicians try to cover it up with their music... And yet it is not wind, Boutonnet hears it growing louder and louder. It is scratches, screeches, screams and howls, the sounds of beasts and madmen. Boutonnet asks for explanations, and Snow White ends up sadly telling him the truth (and Boutonnet for the first time feels her hands are as cold as snow):

Once upon a time, a long time ago, fairytales were as Boutonnet heard of them. Snow White feared that every item was poisoned, Little Red Riding Hood didn't care cross the woods because of the wolf, princesses and sheperdess kept being killed by dragons, while brave heroes a la Jack and the Little Tailor kept killing giants, trolls and other gargoyles - and overall it was a constant battle of mutilated limbs, beheaded corpses, spells thrown left and right and constant pyres to burn people. It became so bad that the two side, the heroes and the antagonists, the goods and the villains, gathered one day to sign a peace treaty because they were so exhausted of living a "life of fairytale"... And the pact was such: the good folks and the heroes could live in the valley by day peacefully, while the villains and monsters ruled over it by night. This is why today Hansel and Gretel can eat gingerbread houses without fear, and why the three little pigs build their home in whatever material they like, and why Little Red Riding Hood visits her grandma every day...

But outside? What Boutonnet is hearing at the door of the castle? Its the wild hunt of the villains: Snow White's wicked stepmother is there, and so is the Big Bad Wolf, and Baba Yaga, and the Bogeyman, and the Ogre and the Ogress, and Frau Trude, and all the others: the dragons, the witches, the wicked dwarves, the ghouls, the trolls, the cyclops, Père Fouettar and so many monsters...

Boutonnet, puzzled wonders: But... If they are all outside, unable to attack or touch the good folks and the heroes... How do they survive? What do they eat? What do they kill, harass, maim and scare? Do they turn onto each other?

And Snow-White, sorrowfully but still so charming and beautiful, confesses to him: Alas, my beloved... They feed of strangers.

And the fairytale "good folk", to preserve their peace, throw Boutonnet outside of the castle, into the claws of the monsters and witches and ogres, and he only has time to scream one thing - the same word the little child screamed in "The Child and the Spells" - Mommy!

[intertexts]

HI ROS !!!!!! coming into ur inbox this lovely afternoon with a random question bc i like your taste in things. I need a new work podcast bc im caught up with most of my other ones. I've got TWO saved because of you so I thought I'd get ur opinion: which one first. hello from the hallowoods or skyjacks :] ik u like them both (and I DO plan to get thru them both eventually but I need 2 do them one at a time or else I'll explode)

OH GOD. INSANELY HARD QUESTION!!!!!!!! FUCKED UP!!!!!!! umm. ok. ok. they're both still currently ongoing, hfth has 160 episodes so far & skyjacks has something like 230. hfth has a sort of anthology structure with many different key characters and protagonists and plot threads that all get woven together through vignettes, skyjacks is just one overarching narrative. that's the quick comparison.

-hfth: good if ur still the kind of guy who gets really emotional over casual trans & queer rep in the year of our lord 2024 despite it being "everywhere now" and "not a big deal." (me LMAO) it's not like, a podcast About That, & it's kind of reductive to say that as the first thing about it, but like. it is deeply and fundamentally and lovingly a gaytrans show. it's horror, but like, the horror equivalent of spiced tea before bedtime, more strange and warped and delightful surrealism than much else. doesn't leave u with the Residue (neutral!!! feeling awful after u finish a horror thing is like frequently part of the appeal!!) that heavier horror does. anthology with overarching plot & it's really really fun to figure out the way all the pieces fit together. there are very endearing terrifying eldritch gods and gay sad little demons and ghost boys and older butches and sentient skulls inside a weird tank body. many very resonant themes and motifs. tons of really great character work, i can think of off the top of my head at least five or so characters u will love, very fun show. makes me miss living in the woods!!!!

skyjacks: okay man. you KNOW this is my favorite ttrpg show of all time. c'mon. okay. yeah despite the insane way pd has taken over my brain (& it is a REALLY good n fun show i think) & the way im constantly talking about friends at the table as a seminal actual play show that does some of The best writing in any of the space & is easily the Best, etc. skyjacks is so fucking good. james d'amato is an incredible gm, the sound design is really lovely, the worldbuilding is. my favorite. sometimes i just sit and kick my feet around giggling and smiling and thinking about spéir. its so fucking sick it feels like folklore and fairy tales and historical romances. there are huge birds u can fly on instead of horses. the sea is angry and has spit you out. the gods are dead and the stars have fallen out of the sky. pirate story, also, btw. u will fall in love with the uhuru. maybe partially why i haven't started riptide bc skyjacks is already The pirate campaign to me. i also already know Exactly which pc u will latch onto. honestly the pcs & their dynamics are also all really compelling, nobody at the table fucking misses.

anyway. TERRIBLE answer to this question ummm i would listen 2 the pilot of both of them n then choose! they're both two of my all time faves!!! enjoy!!! :3333

[rafaellaberso21]

Sweet Home series review: watch it or skip it?

The story is compelling enough to make you want to know how it ends. There are some attempts to develop the characters in order to explain their motivations.

Adapted from the same-named web-comic, Sweet Home is an action-packed struggle for survival as humanity approaches extinction. A group of eccentric apartment complex occupants are compelled to work together when people begin transforming into creatures outside. Naturally, cabin fever, anxiety, and paranoia consume our characters. This is exacerbated by the fact that a few individuals are falling prey to the infection they are attempting to eradicate.

When the creatures do make an appearance, Sweet Home delivers four consecutive episodes of frenetic action. We don't actually pause and learn more about the characters we've been following until the middle of the show. This is a metaphorical long inhalation preceding a climactic season finale that leaves the door wide open for a second season.

Several key characters are at the center of this conflict, along with a strange collection of supporting characters who are along for the chaotic, bloody journey. Reclusive and despondent The primary character is Hyun-Soo, but he is accompanied by the mysterious Sang-Wook, the musician Ji-Su, the firefighter Ji-Kyung, and the religious Korean language instructor Jae-Hun.

However, there are a great deal more characters here, and this large cast is one of the show's major flaws. Given the number of characters vying for screen time, Sweet Home has little time to distribute character development and growth evenly and must slow down in the middle to flesh out the characters further.

In a sense, this allows you to recover your breath after the relentless action, but it also feels like it should have occurred much earlier so that you could have understood who these characters are and what they're fighting for.

In fact, the show's slightly erratic pacing is one of my greatest complaints. Considering the limited number of characters to work with, Something Kingdom and Love Alarm can get away with short running periods. However, the cast here is nearly as large as one of the larger Korean drama productions, and given that those are typically 75 minutes each, the shortened running time is certainly noticeable.

Sweet Home makes up for its lack of complex characters with graphic violence and gore. This is not a display for the faint of heart, as blood literally spurts from orifices and covers features and walls. Additionally, some of these moments feature extremely close-up shots. If you are prepared for some extremely brutal violence, you should have no problems with this one.

Sweet Home may not be the next big thing like Kingdom, but it is a perfectly original slice of monster horror. If you're prepared for a dramatic finale, Sweet Home is a promising and gratifying horror anthology if you watch all ten episodes. It's not without its flaws, but this is another excellent horror that hopefully will produce bloody tendrils and be renewed for a second season!