#mentions eleanor

[poured-my-past-down-the-drain]

RAT!!!!

[helenofblackthorns]

Eleanor being a Rosewain is the kind of lore drop that means absolutely nothing to the average tsc reader but to the few who know far too much about the series its a gold mine. like welcome back Michael Wayland haunting the narrative you were missed <3

[moony-2001]

With the announcement of two new original stories by Rachel herself, I’ve been oscillating between “let her try cooking again” and “we’ve already seen what she did to the Greek pantheon she should be relegated to lunchables”

[sleepyminty]

An observation with this genre of ‘little sister’

[meatball-soup]

guys

this is the mattress i found in aoi's room

... and then.. quincy's..

it doesn't help that arthur said this in one of his KIM chats

[kirkshouseplant]

Peter and Wade are that couple that have a fridge that looks like it was filled by children(Milks of various flavors, grape juice, etc.)

However when asked about it they blame it on Ellie. Saying it's for her when she stays with them on the weekends.

It's not because of the weekends.

[poured-my-past-down-the-drain]

Horizontally spinning rat

and I’m spiiiinning ‘roouuund like a balleriiinaaaaaa🕺🕺

[andr0nap-wf]

i do find it interesting that you can choose to share everything we know about wally with the hex.

its a memetic entity, the more people acknowledge it the more dangerous it becomes. like its safe to assume they will have to deal with wally in the future but WHY put them more at risk, why give him more entrance points?

i personally chose to avoid talking about it since my drifter knows the risks but it seems like its somewhat unavoidable (you can talk around it but you cant drop the topic entirely without just ending the chat). i do wonder if this choice will reflect on the future updates

actually now that i think about it, what did everyone else see? in that one scene after the car crash. we saw wally as ourselves/the operator, albrecht most likely saw himself too and wally copies the appearances of people he had contact with. did the hex see rusalka?

much to think about

[zal-cryptid]

So since the toyfolk have relations with each other, do some of the toyfolk have "intimate" relations, and if so how

I had, unfortunately, thought about this while worldbuilding and have an answer prepared:

Due to their toy bodies, it's difficult for some Toyfolk to develop a physical attraction for one another. However, some others are a bit freaky.

I hope this helps with everyone's fanfics.

[poured-my-past-down-the-drain]

This just in: trade deal >:)))

New ask game

Make a character using this Picrew, and put the song you relate to the most. I’ll start!

@floralcavern @oliviartist @cringelordofchaos @going-goober @achilleslefttoe @starry-skies-116 @the-worm-machine @chalkymalky @mossycobbld @ithinkimightbeagoose @wheeler-fan

[fenharel]

DRAGON AGE: CANON WORLDSTATE

CARI AMELL ✨ (blood mage, spirit healer, battle mage ❤️: zevran arainai) ELEANOR HAWKE ✨ (spirit healer, force mage ❤️: anders) ALVA LAVELLAN ✨ (knight enchanter ❤️: solas) DAPHNE MERCAR ✨ (spellblade or deathcaller ❤️: lucanis dellamorte)

i was tagged by @shadowglens and @arlathen to make my da ocs in this picrew, thank you so much 💜

im tagging @rkyloren @luttare @faerune @stephschoices @queennymeria

@alvsanne @abelas @thedeadthree @leviiackrman @risingsh0t

@thefathersbride @solasan & you!!

[six-improbable-things]

One of my favorite things about Charles and Eleanor’s stories is that not only do they mirror each other, but they end up swapping places. In season 1, Charles arrives with a crew of outsiders and holes up in the fort, against the will of the pirates. Meanwhile Eleanor is the rallying force of trying to keep things at least somewhat as they were. In season 4, Eleanor ends up in the same position (outsider crew sheltering in fort), while Charles fights to return to an earlier Nassau.

[starbr1nger]

Uh, hello? I hope my connection's well? Hi. Hey!

The second commandeer of the Hex dragged me here. She said people can ask me stuff..

Now why would she think I'd want that.. But, then again, it certainly beats being bored half of the time.

So, feel free to ask, or send stuff my way. :) It's nice to meet you all, by the way. Names' Nebulae.

Psssst, hey, over here! click this! ↓

Aoi here! I did a little something to edit this in, since Neb's not making it any better for herself.

Basically this is about why I asked her to make the account. I just want her to interact with more people, she just seems a little lonely. I try to keep her company, but I'll need the others' help too.

Please trust me when I say she's a kind-hearted person, and to not be scared! Even if she does look terrifying with her gloomy outfit. (；^ω^)

So, please don't be afraid to talk with Nebulae, 'kay? Just don't act creepy or something or I'll deal with you myself. >:(

// OUT OF CHARACTER

NOVA IS ONLINE

( otherwise known as @warframeinfested )

recently updated at ; Feb. 9 2025.

Hehe, did I surprise you?

I've been wanting to do a Nebulae roleplay account in a while!

So, lemme crack my knuckles and tell you the basics of my drifter.

Nebulae uses she/they, and my use of their pronouns may be inconsistent, which is okay since they don't have pattern when it comes to it's usage.

Aoi & Nebulae — Aoi may be the closest friend Nebulae has yet. They call eachother best friends.

Nebulae won't admit it but they've grown to like On-lyne after Aoi suggested the band to them numerous times.

Amir & Nebulae — They're close-enough friends, with a little bit of that kind of tension since Nebulae has a habit of teasing the poor guy, all of it leaving him a flushed mess.

Quincy & Nebulae — Ah, ahem. Sometimes, it feels like walking into something when these two are talking. I swear..

They do have some misunderstandings, since no one's perfect, but hey— they make up..somehow, and not in that way. SOMEHOW.

Eleanor & Nebulae — They're friends! They get eachother. They understand one another. The fear of hurting people, and restricting themselves from it. Nebulae understands deeply, especially ever since that day that...

(ignore how I ran out of colors for these two LMFAO)

Leticia & Nebulae — Surprisingly, they get along. Like, very well..at least, in chat. Nebulae doesn't want to bother Lettie in real time, considering Lettie is always the one to end their conversations, but the Drifter does come up to chat and check in on their medic.

Arthur & Nebulae — Mainly professional for the time being, not sure if they're friends yet. But, his trust is certainly a win for Nebulae.

Nebulae actually doesn't know that Arthur thinks of them as a bestfriend. —A

Surprise OCS ! Won't tell the names yet, except for my Operator, Neutron. You'll have to ask Nebulae, or they may spill the beans themselves.

Neutron (they/them) — Truly, the closest thing she has to a family. It's silly..no, it's sad that another version of herself in a totally different life and time is the closest thing she has. Regardless, she treats the "angsty" teen well.

??? — Another family, celestial member..-ish. The two of them are pretty cool, so as long as it isn't trying to cause destruction.

??? — It's the oldest amongst the bunch. Nebulae finds them pretty annoying, since they're relentless when it comes to teasing and treating them like a bunch of kids.

??? — check them out here!

..pssst, did you know, there's a biiig chance Nebulae may had a past lover

NOVA HAS GONE OFFLINE

[michaelmellz]

“its been almost a year since-” WRONG!! JEREMY BEARIMY, BABY!!

[poured-my-past-down-the-drain]

ooc note :3

erm! Tommy 2 misses you :]

Ooc:

AWW 🥰🥰🥰🥰 I saw that they said they were on vacation!! I hope they’re enjoying it :)) I was wondering why I hadn’t seen their username in a while, I was starting to get a bit worried. Glad they seem to be on a fun trip <33

[campgender]

Cold War Hollywood cinema & the threat of the femme to the binary

Conclusion to Cold War Femme by Robert J. Corber (2011)

transcript under the cut

“[…] It didn’t want her to leave, and her poor bedeviled mind wasn’t strong enough to fight it. Poor Eleanor!” But Theo rejects this interpretation and provides an alternative construction of Eleanor’s desire, which does not deprive her of sexual agency: “Maybe not ‘poor Eleanor.’ It was what she wanted, to stay here. She had no place else to go. The house belongs to her now, too. Maybe she’s happier.”

In this way, the movie indirectly challenged the discourse of female homosexuality that circulated in American society during the Cold War era. In associating Eleanor’s sexuality with the supernatural, the movie suggests that it defies explanation. As a feminine woman who has made a lesbian object choice, her desire cannot be attributed to a pathological identification with masculinity. Rather, it requires an explanation that acknowledges her diference from the butch Theo.

The movie’s deviation from the Cold War construction of the lesbian surfaces more fully in its refusal to contain Eleanor’s desire. In the Cold War era movies tended to adopt one of two strategies for containing the threat the femme allegedly posed to the dominant social order. Some movies, like All About Eve, masculinized the femme’s identity by drawing on an older model of sexuality to mark her as a lesbian. In suggesting that the femme’s femininity rendered her lesbianism invisible by disguising her identification with masculinity, these movies assimilated the femme’s desire to the Cold War discourse of female homosexuality, which attributed the development of lesbian identities to a pathological rejection of femininity.

Other movies, like Marnie, contained the femme’s desire by ultimately realigning it with the institutions of heterosexuality. Rather than attribute the heroine’s perverse sexuality to a rejection of femininity that glossed over the diferences between her and the butch, these movies instead rendered her lesbianism “artificial” by attributing it to a traumatic childhood experience. Also drawing on an older model of sexuality, these movies assumed that the feminine woman who made a lesbian object choice was less deviant than the masculine women who did and thus could reorient her desire.

In adopting these strategies, Hollywood cinema refused to acknowledge the femme’s diference from both the butch and the straight woman. The Haunting adopts a diferent strategy: it kills off its heroine. It thereby indirectly validated the new system of sexual classification, which privileged object choice over gender identity. Eleanor’s femininity neither masks an identification with masculinity, nor indicates that she can be incorporated into the institutions of heterosexuality.

Unlike many of the heroines we have encountered in this book, Eleanor’s attempt to realign her sexuality with the law fails. She displaces her desire for Theo onto Dr. Markway, whose paternalistic interest in her she mistakes for love. But in so doing, she replaces an accessible object of desire with an inaccessible one. She does not realize that Dr. Markway has a wife (Lois Maxwell), until she shows up unexpectedly at Hill House to inform him that newspaper reporters are on his trail and to persuade him to abandon his experiment, of which she disapproves.

Mrs. Markway’s appearance precipitates a crisis in which Eleanor imagines that she wants to take her place in the house. Mrs. Markway disappears into the house after being terrifed by a supernatural experience in the nursery, the “cold, rotten heart” of the house where she has insisted on spending the night, and she gets lost searching for her husband. Eleanor increasingly takes on Hill House’s “sick” and “deranged” identity, indirectly confrming the perversity of her desire. In one of her voice-overs, which punctuate the movie, she remarks that she has begun to disappear into the house “inch by inch.”

When Dr. Markway insists that she leave the house while he and the others remain behind to search for his missing wife, she exclaims, “I’m the one who’s supposed to stay. She’s taken my place.” But Hill House cannot incorporate the normative Mrs. Markway, and it ejects her. By contrast, Eleanor’s death in the fnal scene insures that she retains her place in the house as a “kindred spirit.” Eleanor crashes her car into the tree when Mrs. Markway—who in a fluttering white nightgown looks like a ghost—frightens her by darting across the road, and she swerves to avoid hitting her. Despite her normative gender identity, Eleanor cannot be incorporated into the dominant social order.

But even as it acknowledges Eleanor’s diference from both Theo and Mrs. Markway, The Haunting provides a psychoanalytic explanation of her “abnormal” sexuality. Eleanor’s history bears an uncanny resemblance to that of Abigail and her paid companion. After Hugh Crain dies abroad, Abigail continues to inhabit the nursery, which suggests that his death arrests her development by preventing her from resolving the Oedipus complex.

She dies an old woman in the nursery when her companion has a tryst with one of the local “farmhands” on the veranda and fails to hear her when she knocks her cane against the wall. The tryst emerges as a violation of the companion’s homosocial bond with her mistress. After Abigail’s death, the companion lives on in the house in “complete solitude,” and haunted by her role in her mistress’s death she eventually commits suicide by hanging herself from the railing of the circular staircase in the library.

Abigail’s death has the same impact on the companion as her father’s death had on her. It arrests the companion’s development by turning her away from heterosexual romance. This representation of the companion’s relationship with her mistress reinforces the association between lesbianism and the supernatural in the movie. The nursery emerges as a site of perverse female desire, Hill House’s “cold, rotten heart,” which explains Mrs. Markway’s terror when she attempts to occupy it.

The representation also provides an explanation for Eleanor’s deviant sexuality by drawing a parallel between her and the companion. Eleanor feels guilty about her mother’s death and increasingly identifes with the companion. Like Abigail, Eleanor’s mother pounded on the wall of her room when she needed her. The night she died, Eleanor ignored her pounding and went back to sleep. Eleanor’s identification with the companion suggests that her guilt about her mother’s death has arrested her development; hence her desire for other women.

Tis treatment of Eleanor’s sexuality suggests that the feminine woman who made a lesbian object choice posed an even greater threat to American society than the Cold War construction of the lesbian indicated. In the Cold War era, Hollywood movies tended to promote lesbian panic by underscoring the femme’s ability to pass as a “normal” woman. Reinforcing the association between lesbianism and communism in Cold War culture, these movies attempted to show that the femme’s resemblance to the straight woman enabled her to spread her “abnormal” sexuality throughout society while escaping detection.

By contrast, in insisting on her diference from the butch and the straight woman, The Haunting attempted to show that the femme threatened to destabilize the binary construction of gender and sexuality. As her choice of the paternalistic Dr. Markway as a father substitute indicates, despite her identification with femininity, Eleanor cannot resume her Oedipal journey, which her relationship with her mother has interrupted.

Nor does her death in the fnal scene contain her “monstrous” desire. Her closing voice-over confirms Theo’s belief that Hill House now belongs to her, as well as to the other female ghosts who haunt it. Echoing Dr. Markway’s opening voice-over, Eleanor informs the viewer, “We who walk here walk alone,” as an image of Hill House appears on the screen.

In this way, The Haunting showed that in trying to repress the femme’s diference as a subject of desire, the Cold War construction of the lesbian had failed to counteract the threat she posed to American society. At once similar to and diferent from the butch and the straight woman, the femme continued to haunt the normative construction of American womanhood.