#lady frida

[starbelliedgirled]

I wish my life was filled with vividly experience and dalisques comrades to share those experiences with but I am so lonesome. I miss the west coast, oh the west coast you are so missed by my heart. 🪩🌠

[dailyturnip]

portrait of a cleo on fire (someone had to do this)

[dunkinbublin]

frida the snowleopard... ur so cool

(frida belongs to @/starrjoy, go read @/pandoraaucomic)

[starbelliedgirled]

I love you joni

👼🌟🩶

[caw4brandon]

How to End a Story

Stories are often told through two styles. It's either a recollection of something that has already happened. Or, it's an ongoing event happening to the character's life.

The story can be told through just one main character or multiple characters but like all stories. They have to end. Let's discuss the ending of three shows that I recently watched. (I'll try not to get into the spoilers)

- They're Not just Frogs -

< Amphibia > by Matt Braly; follows three girls; Anne, Sasha and Marcy who stole a mysterious music box that transported them into another world of talking frogs, toads, newts and other horrifying monsters.

Our main character is Anne Boonchuy who found her temporary home with the Plantars; Hop Pop, Sprig and Polly. A small family of frogs who took Anne in and helped her better understand the world. The show is good at using little segments to build the world. Such as a mind manipulation sentient spore, the divisions between the main races and the mystery behind the music box.

Story-wise, the show tried to make the flow of events happen at a nicer pace. Season 1 was used on Anne to better understand the world and how things have changed between her friends. Season 2 used that change to add another twist to their relationship. As the seasons progress, the cast slowly expands.

The show eases in the main trio and their new friends. Some episodes foreshadowed what was coming for the characters, and some felt pointless. With a cast that big, it would slow the story down but surprisingly, it felt okay.

You get to spend some time with them, learn what makes them tick, what changed them and how they felt about the current state of the story. As a person who had some regrets in life, I really liked Sasha Waybright's development. She went from someone who took charge to becoming a character who matured into a better person. Giving her time to improve, showed that she improved but is still a work in progress.

As far as the ending goes, I felt a little bittersweet. I liked that it ended and that the big arc of the main trio is resolved but I would really like to see an expansion for how they deal with all the events they went through as it was rather traumatic. Thankfully, we have fan artists for that!

- Eat This Sucka!!! -

It would be impossible to avoid spoilers when < The Owl House > by Dana Terrace was at its peak. Spoilers were happening left and right!

Context, The Owl House follows the outcast teen; Luz Noceda who was meant to go to a summer camp. On the day she was about to go. Luz got distracted by a thief who went through a mysterious door that led Luz into the Demon Realm.

The series takes on a familiar arc where the outsider; Luz learns the ways of the witches but with her own creativity and innovation. Luz also resides under the care of the Owl Lady; Eda Clawthorne, King and Hooty (The house itself)

As the seasons progress, Luz helps the other witches her age improve and come out of their shells. Importantly, she finds new friends she never had in the human realm.

The Owl House is a show of obviously coded Queer characters and individuals that don't fit with the norm. Dana is a genius that never made a big fuss over the fact that some characters are openly Queer. Although the studio; Disney tried to limit the screentime to avoid public outcry.

The show is my first-ever witness to openly Queer characters being completely normal about it instead of being preachy. Perhaps this has to do with the title; Demon Realm.

"Where the general belief of the overzealous conservatives in a so-called Good and Righteous God thinks that's where Queer people and other abnormal people belong."

The main villain; Belos tries his hardest to "purify" the realm by limiting how witches use magic and violently persecute anyone who opposes these new rules. It's a symbolic view of the Puritan tyrant. That their ways are destined to be divine when it was all a ruse to further their own personal agenda.

The show suffered a mess of developments as Disney has a strong Anti-Queer policy with their shows. But Dana, the sneaky bastard that she is. (he says affectionately) Slipped in undeniable proof that the characters are proudly Queer and the Puritian miserably fails.

The ending was pure cinema! The show uses Luz's perspective to show that kids can have their own complexities and what we may think is good may not be what is right for said person. The show also displays good values of being open to change, that it's never too late to right the wrongs and Weirdos Gotta Stick Together.

- The Freaky Friends -

We finally came to my favourite show of this batch. < Hilda > by Luke Pearson is a fun and adventurous show about a young girl who loves adventures living in a world that is brimming with magic. I would like to talk more about it but I've already covered that in [The Beautiful World of Hilda]

For the sake of this post, I'm only focusing on Season 3. The final season of the series. While the show is not as plot-driven as the latter mentions. I think there is much to be said about the breath of fresh air Hilda brings to the table.

Hilda has a special place in my heart for how she managed to bring wonder and joy into my viewing experience. This season, took on a more ominous turn where the adventures get deadlier and the stakes get higher in this little world of the blue-haired adventurer.

Season 3 was commented on by the viewers as "underwhelming and inconclusive" and that it tore its own "fan theories" apart. Personally, I loved that the showrunner revealed everything and also nothing because that's the point.

Hilda is not about a big mystery, it's a pure adventure and curious exploration of the mythology surrounding Trollberg and the rest of the world in Hilda. The feeling of fulfilment but also, melancholy that the series has ended is in my opinion, the best conclusion.

Admittedly, I didn't know how to end the post. I just wanted to get my thoughts out about these three shows and how it ended. It feels like the end of another era. A close to another chapter for animation and the stories it can tell.

These three shows; Amphibia, The Owl House and Hilda proved that animation is still taking new heights but still maintains the charm of what stories are. A good ending where the arc may be over but the adventures will still carry on.

It's been a fun and tear-jerking journey with Hilda, Luz and Anne. Their worlds are unique and brimming with excitement that I haven't felt in years and a desire to catch up more.

I'll miss them dearly but hey, such is the life of an adventurer. Don't be sad that it's over. Be happy that it happened and above all. Go make your own stories!

[notesbynataly]

[edwardsissyhandsthtdanceslikeabb]

Blink Twice is an encapsulation of dubiousness to me, not only in the thinking it inspires, but in the layers you’re left grappling with, and then the inferences one has to resonate with after that.

and nothing evidences that more than the intangible nature of the disturbing angle to me, as its muddied in the layers of complication and nuance that lurk beneath. i mean the movie itself paints over the tragedies with cynicism, is entirely dedicated to weaponizing intuition and comfort against you.

i’d never read it as disturbed, and it too, never lets you mourn in turn. bc its insane at its inception, warped by frida’s fanatical infatuation with slater, bordering preying, a reverence for one's kill. and lures us with psychedelic, sugary visuals, with the indulgence – on food, luxury, substances. on billionaire brainrot fodder, perpetuating their power, craving proximity. inviting it into our homes, our heads. the movie *wants* you, most of all, to understand frida’s hunger. and its that thirst i most resonate with, not for a lack of empathy, or even technical prowess, but the basal intrigue it cemented in me instead.

bc it’s a movie that’s nearly primal for me. it scents cycles and desensitization, roles and autonomy, a self-infliction of decay, and disorients you before you’re allowed a proper lungful. there are only questions. shifts. a russian doll of detail and poison, and the inviolability that invoked, ironically only ever paralyzed my thinking, serving creative rot, over any epiphanies or nuance i could hope to be enlightened to.

the animalistic cruelty of desire is not there to be contextualized, but understood. felt. a relationship as inextricable as frida and slater’s. with slater likely parasitizing her algorithm, wielding his techbro power to further entrap her. like how we routinely indulge in the same. you rewind the movie, and pick out signs of danger, slater snickering at frida praising her memory, the supposed water he drinks and its snake-venom hue, the recurring jingling of a necklace, and like frida, have the fantasy demystified, wonder how there was *ever* an illusion of safety.

so watching an analysis video which posits that slater smokes the venom, that he indulges all suffering except his own, just as frida remembers the doctor’s blinks of warning, while burying the suffering they foresee, that they have seen, is watching frida emulate slater, and slater her.

it’s the movie’s thesis statement: there is no healing, there is no forgiveness, only embrace, only numbness, apathy. and when a stray tear glistens on slater’s face, he mourns not for the men, for paternalistic, patriarchal dominance, but for his friend. the only one he claims. he mourns their intimacy, their unity — grieves the good time™. a good time unattainable within trauma, within memory.

yet this pleasure, love, are perverted into captivity, and all i ended up thinking of was: “i love you means you’re never ever, ever getting rid of me.” that slater thinks he knows best, thinks he’s doing good by unburdening her, yet scars her all the same.

as bodies are made immaterial to him, dispossessed of sanctity or autonomy and so their desecration harmless. as slater makes frida a conduit for physical harm while lavishing her emotionally, and yet also exploiting their bond, feeding on their closeness for the labor of love and pain it provides. bc the one thing he needs, the one thing he cannot sacrifice, is her closeness, her intimacy, as it validates his ethos of forgetfulness, reflects it back at him. thusly, frida is reduced to a vessel of experience just as he was, just as he reduces himself to, oversaturated in good times™.

good times masquerading as truth, which slater exposes a latent contempt for, as he emasculates the remaining boy for his cowardice, his complacency, despite his glaringly disoriented, unaware state. regardless of any violation he too may have suffered, when we’d seen him scooting away from another man on the ground, enfeebled and vulnerated. in spite of slater’s aggrievement by his own lapses in memory, his own embracing of that which violated him, and violated also, those he cares abt. but slater is relieved of any loneliness by this flagelattory camaraderie, of the perpetual loss of significance, when frida remains a fixture in his suffering, when she constantly violates her boundaries too.

and we too strain our boundaries, test our empathy with the narratives we are inclined to accept. frida the girlboss or frida the fallen angel? akin to the tests slater sets for her, handing her clarity just to see what she dares remember. the good time™, the willing participant, the indulged, or the languished? seeing if she’s really forgiven, or rather, forgotten instead, drawn to indulgence despite how its hurt her. when she endangers jess in turn, desperate to feel valued, to *feel* power — in it all, is the powerstruggle.

and yet, also a relationship, as jess protects frida despite it all, and frida wakes up to the deception bc of her love for jess. while the island, the staff, embrace frida as if she has always been, will find her way around just as she will find a way to enlightenment, handed venom as if it were benign, as if the island itself wanted her freed. pests, predators, turned to salvation, just as poison becomes a cure. the cure. and when the island has been said to be the garden of eden, enlightenment is truly then, the original sin. the genesis of awareness.

and thusly, frida reclaims power by hurting him, fed his own poison. frida now the snake, frida refusing to leave the island still. denied healing, alienated from it, and so stuck still. bound. bound too, as we watched them enjoy every intimacy except the physical, sharing the pain and trauma they’d been subjected to with a nearly ironic a-sexuality, transcendent of it. with slater seeing her as his best friend. exempt from death and equally so from release.

and that twisted, appropriative bond, the repurposing of trauma, and so feeling a sick sense of ownership over it, love for it, are equally present in frida keeping him from death.

her newfound, bleach white luxury, the disappearing stains and panopticon of elitism, are not horrific until they are, and you either embrace it, or you let it hurt. and frida, red rabbit running, red rabbit caught in slater’s sick, trivializing game, already likened to livestock by her name, decided to become the hunter instead. made high on the chase.

unlike slater who provides and subjects experiences onto others, now there is frida who takes and caters experiences for herself. all congratulatory. all good.

thusly, the movie is the trip, it’s delusion and entanglement and the self-eating snake, and trying to sterilize that is as futile as it is sacrilegious.

[yorgunherakles]

asıl ihtiyacım olan şey yok: insan sıcaklığına sahip değilim.

jean louis fournier - widow

[soath]

i’m not a diehard chetney fan. but i do believe in their beliefs. and i think he should live forever in aeor with a jolly staff of aeormatons headed up by FRIDA, bringing joy to the children of the world. and he should wear a bloodstained fur cloak and one of gelidon’s scales like a codpiece and hookup with shadowgast. this is a moderate opinion, shared by the average Chetney enjoyer, i think.

[dailyturnip]

this is basically what happened right?

[rock-a-noodle]

Rules: Make a poll of your favorite female characters (no limits - as many or as little as you want) and see which your followers like the most! Stole this.

And tagging-

@bizarrelovesquare @melancholywave

[starbelliedgirled]

fuck bitches on letterboxd yes I have ladybird as one of my favorites but bitch you have the Garfield movies on there what the fuck are we talking about

[rayroseu-reblogs]

WHOEVER CREATED DELICOS NURSERY HAS UTS TARGET ON LILIA SILVER AND MALLEUS FANS OAHEIUDIWIDHD

episode 1 and im already locked in 💀💀✨✨

[priestgirl]

st ★ rstruck !

[me-and-i]

1997

[vintagestagehotties]

Hot Vintage Stage Actress Round 1

Frida Leider: Venus in Tannhäuser (1915 Halle); Brünnhilde in Die Walküre (1928 Bayreuth); Isolde in Tristan and Isolde (1933 Met)

Dorothy Gish: Fay Hilary in Young Love (1928 Broadway); Helen Storer in Mainly for Lovers (1936 Broadway); Mary Surratt in The Story of Mary Surratt (1947 Broadway)

Propaganda under the cut

Frida Leider:

Dorothy Gish: