#not that I want the people I cared about to be miserable

[thisweknow]

I very much understand your frustration with the "you! are! valid!" Tumblr culture from the mid-2010s, that was something that honestly made me feel so isolated as a teenager. I hated hearing "it gets better!" and watching my life fall further and further apart with everyone telling me that it would all be fine one day. It felt hypocritical. It WAS hypocritical—to tell me my feelings and my experiences were valid and then to just absolutely steamroll me when I expressed my frustrations and fears.

I started to favor the phrase "everything changes" around the time I turned 16. I liked the idea of neutrality, it was something I'd seen as a suggestion relating to body positivity, which I struggle(d) with greatly. The basic premise was that if you couldn't say anything positive, try saying something neutral. Everything changes is neutral. It's not saying it'll get better necessarily, but not that it would be worse, either. It felt like the closest to a truth I could have. What I was dealing with in any given moment wouldn't last forever. Everything changes, my circumstances today are entirely different than my circumstances tomorrow, even if it doesn't always feel like it.

I've let that phrase carry me for years. In the bad moments I remind myself that everything changes, and the world parts that suck won't suck so immediately forever. In the good moments I remind myself that everything changes, and I should hold on to those and savor them for what they are, even if they're peppered in with the worst moments.

It's not to say that I don't remember the bad moments now—I very much do. I can remember a lot of the trauma of my childhood and if I let myself sit with it for too long I can feel what it was like to sit awake at 3 AM sobbing in my room wishing that I was no longer here. I don't think I will ever truly forget that. I can say that those parts aren't the part on my mind anymore. When I look back at my life I tend to look with rose colored glasses at the parts that were good. The moments I spent with my friends, the nights I'd sneak out to ride my bike in the peace and silence of the small town I lived in, the rehearsals for plays that I dreaded going to but loved being in, the way my dog would curl up at my feet and sleep there all night when I was sad—the list goes on. The bad parts are still very much remembered and acknowledged, but the good parts are the ones I think about and the ones I miss.

I know that I struggled for a long time with feeling guilty about having moments I looked back on that I didn't hate. This was especially true after leaving an abusive relationship. I knew the person I had left had been abusive and had done horrible things to me, that I had sustained damages that I wasn't sure I could recover from. Yet I still had moments I looked back on fondly. Moments where I had genuinely cared for my abuser, moments of sweetness and moments of joy, moments of calm and peace that I hadn't had with anyone else. I felt like looking at those moments somewhat fondly cheapened my experiences, as if it was somehow an admission of fraud to acknowledge that even the worst thing that had ever happened to me had its silver linings. It took years of therapy and dedicated self work to finally understand that abuse doesn't happen in a vacuum and that it's okay to miss those good moments, however many there might be, even when we know the overall situation was awful.

It's okay to savor the good things when they come your way. A journal entry from when I was about 17 sums it up really well: I don't want to be happy all of the time. If I was happy all of the time I wouldn't really feel happy anymore, would I? It would just be my normal, my neutral. I want to feel positive at least 75% of the time, that's my goal. I want to feel sad sometimes, too. I want to feel angry and hurt, I want to feel excited and happy and in love, too. I want to experience every emotion life has to offer, even the sucky ones. I don't think I would appreciate happiness if I didn't experience everything else, yknow?

btw you will miss this in 5 or 10 years. memory will smooth these circumstances down like a river stone, and you will find yourself longing for a shade of light or a moment of this particular innocence. you don't know about what happens next, and one day that will be the most alluring thing of all. don't leave it all for nostalgia. have a nice night now, whatever night it happens to be.

[bluem1lls]

HEAR ME OUT!!!! se-mi with comphet reader (angst) 😈😈😈

✧₊⁺ you'd have to stop the world just to stop the feeling

se-mi x fem!reader

✦ synopsis: you're so used to this perfect life. your career and your boyfriend. and it's miserable but is comfortable as it can be. until you met her, and now you'll have to spend the rest of your life waking up to be nothing more than his girlfriend, thinking about her saying "i told you so".

content: angst, comphet! reader, se-mi falls for thano's 'straight' girlfriend

authors note: thank you for the request! clearly inspired by good luck babe by chappell roan because i love to suffer jsjdfkfkj, i hope you like it! im sorry ive been posting more short stuff, the week is vvv rough on me with work but ill do everything i can to not stop posting! even if its a small work

✧₊⁺ your boyfriend was acting weird. i mean, he's a man. the first thing that came to mind was 'he's cheating'

✧₊⁺ if the bastard was cheating you would kill him. it was enough that he used both of your savings to place them in bitcoin, and of course.. lost it all.

✧₊⁺ and you forgave him about that (kinda) but cheating? yeah no. you didn't wanted to be like one of those actresses with a cheating boyfriend everyone knew about.

✧₊⁺ so when you decided to follow him a random night and a man invited you to play a game, you were all against it.

✧₊⁺ you were a prestigious actress for god's sakes.

✧₊⁺ "oh. i thought you wanted to know where your boyfriend was heading?"

your eyes widen. what was this? some hooker shit? a betting house?

fine. you needed to find out where he is.

✧₊⁺ of course you ended joining the game to see where your boyfriend was. you dumbass.

✧₊⁺ waking up in a room full of strangers, was sure an.. experience.

✧₊⁺ confused, you stood up. where was your stupid boyfriend and why was he here?

✧₊⁺ "thanos?" i called him, scared. "baby?"

✧₊⁺ as you saw a group of people gathering around a very familiar voice, your fear turned into anger. you ran, pushing everyone sorrounding him.

✧₊⁺ "are you kidding me? this is where you got in? you fucking idiot" i hit his arm as he stared wide eyed at me.

"b-baby what are you doing here?" he chuckled nervous. "you should go home, this is not safe-"

"i wish! but you know, i was following you thinking you were cheating but what the fuck is this? did you lost more money? why are you here-"

"well, i came to win back the money we lost, dont worry baby. when i win this we'll be free!"

i can't believe this.

✧₊⁺ as you turned around to fumble alone, a girl touched your shoulder.

"oh my god, you're the actress on my favorite tv show! can i get a picture"

oh god. here too?

with the best fake smile, you nodded, and suddenly, the same crowd that was sorrounding thanos was now admiring you.

✧₊⁺ there was no doubt that after the first game you wanted to kill him.

"we die!? you brought us to a place where we fucking die if we dont pass the games!?" i screamed at him

"chill baby... youre making a scene. remember that people are watching"

"well, who cares? theyre probably going to die in like two days! just like us you idiot"

✧₊⁺ but just like that you kept playing with your... lovely boyfriend. and his new best friend apparently. god you needed a girl in here. you missed your girlfriends.

so indeed, your boyfriend got you a girl.

✧₊⁺ "i got you a friend so you can stop being... so angry all the time. enjoy life babe, this is a one time experience"

the second game was about to start, we needed two people more in our group.

i was about to punch him as i looked at her.

oh.

✧₊⁺ "hi..i'm-" hello? why was my brain shutting down?

"i know. i think everyone here knows apparently" she plays with her piercing lip, smiling.

✧₊⁺ that made you so nervous???? she got you smiling and twirling your hair??

oh you haven't felt like this in.. so long.

✧₊⁺ so yeah, with every game and her being the only girl (besides you) in the group, you two got close.

like.. way too close.

✧₊⁺ holding hands, protecting eachother, laughing together. you spent more time with her than with your own boyfriend.

✧₊⁺ in your defense, every single minute with her felt... like something you never experienced with him.

✧₊⁺ "why are you still with thanos if you think he's stupid?" she said, rolling her eyes and manspreading besides me, while i kept complaining about my boyfriend.

"he's nice.. he really is"

"you hate him, i dont think is normal to hate your boyfriend you know?"

✧₊⁺ you knew. but what else can you do?

you told her. she knew all abouth how your parents raise you to be this perfect actress, with her perfect husband.

and you already let them down with the 'perfect husband'. you can't disappoint them again.

✧₊⁺ so when her touch made you sigh, when she caressed your hair as you stared into her eyes, when she held your hand to feel you close in every game, trying to protect you more than your boyfriend ever did, or when she whispered sweet nothing's to your ear, making you shiver, all you could do was ignore it.

✧₊⁺ of course, when she realized that it was stupid and you weren't actually going to leave your boyfriend and your perfect life for her, she gave up, looking for something (or someone) that could make her feel better.

✧₊⁺ please, she was hot. she didn't need you.

✧₊⁺ she would never admit that in every girl she kissed after that, she was picturing you.

the way she would be biting your soft pouty lips, how she'd show you your boyfriend was nothing against her. she'd kiss you until you were out of breath, her hands roaming through your body, grabbing your waist, your hips.

she bit her lip as she kept picturing your hands wrapped around her neck, going down her back up and down.

✧₊⁺ she was so down bad it was making her stupid.

she had to do something about this stupid.. crush.

✧₊⁺ so was it a surprise when you found her making out with a random girl in the bathroom? not really.

but was it a surprise when she stared right to your eyes while she did it? i mean.. a little.

✧₊⁺ you scoffed, washing your hands.

"that's disgusting. there are bathroom stalls for that" i said to both.

as the girl turned around, se-mi asked her to leave, saying that 'she'd take care of her later'. ew.

✧₊⁺ she turned around, pissed. yeah, maybe you can get in her head for hours and hours, but ruining her makeout session? you were out of limit.

✧₊⁺ "listen princess-"

"don't call me princess after you made out with a random " i mumble, bitter. "and don't scream at me pretending like you hate me"

her eyes filled with anger.

"listen to me, you can fake being this perfect actress with your boyfriend and everyone else" she said, pushing me against the wall, one of her arms on top of my head, trapping me there. "but not with me. you think i dont see your little lustful eyes? the way you stare at me how i bet you never stared at your boyfriend?"

"b-bullsh-"

"yeah. whatever" she scoffed. "lie to yourself if you want, go fuck the entire common room to prove yourself that you're this pretty straight princess that your parents want you to be, but don't play with me" with every word she said, she got closer to me. our heated bodies breathing almost in sync.

"tell me im lying princess. tell me that if i" she grabbed my chin, softly caressing her lips with mine. my body shivering as my hand grabs her bicep, my nails clawing there, leaving 'c' marks, to ground myself. "do this, you dont feel a thing. c'mon. stop me, pretty girl. tell me you shouldn't" she whispered against my mouth.

✧₊⁺ but the truth is that you couldn't move. you couldn't back away, but you couldn't do this to thanos, to your parents. it wasn't fair.

dad? he had all the contacts he wanted. he would destroy your career in seconds. mom? would never let you step your own house again. oh and your boyfriend? would clearly ruin you on the internet. probably leaking everything about you in seconds. your own fans? people are not as open as we expect them to be.

you can't do this. you can't let yourself have this.

✧₊⁺ "im sorry se-mi" a tear fell, almost wetting her face too because of how close we were.

her eyes shut close. she mumbled something under her breath as she quickly stepped away, breaking whatever moment we had going in.

"i dont want you close to me again" she said, turning to leave as i rushed to follow.

"please, a-at least let me have you as a friend se-mi please" i begged her. tears couldn't stop falling to my cheeks.

"i can't" she said, turning to face me. her eyes roaming my features with a hint of guilt and sadness. "how can i be your friend when i'm so.." she stops, pressing her lips together. "i-i picture you in every girl i kiss. i can't be your friend.

i bit my lip as i hug her. she stiffens but slowly lets herself go, hugging me back. her hand on my hair, softly caressing it for comfort.

"if we get out of here and.. you decide that you're done being his perfect wife, and maybe you want to be happy..with me..i'll be waiting. i promise" she whispers in my ear, kissing my temple.

✧₊⁺ so it goes. after the next game, the nerves make everyone vote to leave and just like that you're actually out.

✧₊⁺ and althought you don't hear from her, you know she's still friends with your boyfriend.

and although she doesn't hear from you, she follows your life like she did. watching every episode of every single show you're in, following you on social media.

and although you guys never cross paths again, if you or your boyfriend ever invite her to 'the wedding', she will throw that invitation to the trash, where it belongs.

✧₊⁺ you miss her every night. mostly, when you wake up feeling cold against the person that's supposed to be your future. you're sure you love her.

and she misses you too. and she knows she loves you. that's why she never tries to contact you again.

✧₊⁺ because she loves watching you smile. even if its not because of her.

[psicheanima]

What do you think about the greater complexities of denji and power’s relationship? some fans argue the romantic undertones kind of throw the common “they’re siblings” understanding out the window and claim that power had feelings for denji, even if denji didn’t. I think these are fair assessments to make but I often see other fans react very poorly because it ruins the “platonic soulmates” thing people have to come to love about them. Regardless, makima is the one who delegated power to little sister status when we all know csm relationships are more complicated than that AND makima has a surface level understanding of human relationships in general. So what are your thoughts?

When you have two feral children like Denji and Power, grown without any form of love whatsoever— friendship, familial or romantic, its undeniable that they will thus explore all these types of love in order to settle on the one that both fits them. They don’t know what boundaries are. They have to go through all these things because they are children who were not taught.

This is why romantic undertones don’t exist for Aki’s relationship with either of them. He is a well adjusted adult who understands that he sees Denji and Power as part of his familial unit. They don’t have this context for society, so they’re everywhere, until they begin to understand their relationship as “platonic” while Denji takes care of Power during her PTSD.

These romantic undertones exist due to our perceptions of romance, but for the characters, it’s different. Power never sees Denji romantically. Ever. She is a devil drawn to warm blood, touch starved, and thus wants to constantly be attached to his body. She is delusionally self confident and crosses people’s comfort zones in what can be perceived as romantic affection, but to her, it is just affection.

Denji initially sees Power as a romantic interest because that’s all women are. They will save him from his miserable loneliness by providing him true, pure ascension. But Power is disgusting, and he isn’t actually sexually attracted to her. He realizes women are flawed beings, that he wants to take care of her, that he loves her in a way he didn’t know existed because he has never been cared for, much less in a familial way. So they are closer than normal siblings would be with one another. The love is big and overwhelming, they don’t know where to put it and both have pre-conceived notions for what it means to love (Denji’s is gendered, hers is violent.)

Nonetheless, Makima was correct in her assessment that Power is a little sister figure to Denji— the thing is, he only got about a few weeks of existing in this dynamic with the darkness devil thing. They could have grown even more healthy, stable and classically “siblings” if given time. What makes this assessment fun is that not even Denji knew he could see women in this way. Makima did not manipulate him to not form a romantic attachment to Power, she knew in advance. It just shows how utterly in control of his emotional life she is. Compare that to Reze, who she simply removes from the table.

They are siblings, they are platonic soulmates, and they do have romantic undertones, in the way we view “romance”, but it’s not that way to them. they are not lovers, or romantic. not even for a singular moment in time. That all exists at once

[waywardangel-wilds]

I don't know why, but the ask you sent me @mollywog disappeared from my drafts??? Anyway, this is to answer that ask: I wish you would write bromance/friendship Peeta and Gale.

"Oh!" Gale throws his hands over his head. "And that's how it's done!"

Peeta watches on, unimpressed, as he absentmindedly texts his girlfriend back: Sorry gonna be home late. Something wrong with Gale.

Katniss's reply is immediate: 😞

"Are you in or you still too chicken shit?" Gale grins, dropping back into the booth across from him to take a long drink from his beer.

"I'm just a better gambler than you." He replies dryly. He looks back at the dartboard briefly while Finnick shoves his way out over Gale to take his turn.

"He's just chicken shit," Finnick adds in, shoving Gale's head out of the way when he doesn't let him out of the booth immediately.

"Thanks for that," Peeta picks up his beer and takes a drink. He turns back to Gale. "So?"

"What?" the other man replies.

"Why am I here?" he asks exasperatedly. "You know I have a job, right? Those things people do? For money? Yeah, not optional for me."

"Ugh, you're such a killjoy." Gale groans throwing his head back against the seat. He's a little drunk. "I don't know, I just wanna hang out, okay?"

"I'm leaving," Peeta stands and yanks his coat on. He's been here for the better part of the night and he still has no idea why Gale made it seem like he was in the middle of a crisis. He's never answering his texts again.

"Wait!" Gale calls after him with a stressed look to him. "Fine. Sit down."

"Madge," he drums his fingers against the table, "is leaving me."

Peeta blinks at him, shocked. Gale and Madge are high school sweethearts. They were going to get married by the end of the summer. Peeta already bought a suit.

"Oh shit," he sits back down. "Are you okay?"

Gale shrugs and takes another drink, his eyes taking on a troubled look. "I'm fine."

"Do you wanna come back to the house? You and Katniss should prob-"

"I'm not gonna talk to Katniss about this." Gale cuts him off, dropping the bottle back to the table with a thump. "She's on her side."

"There's no sides," Peeta shakes his head.

"There are." Gale rolls his eyes. "Girls side with each other."

"Women," Peeta corrects. Gale glares at him. "Sorry, too easy."

Gale groans, dropping his head to his hand.

"Uh, what happened?" Peeta asks. He's never seen Gale so, openly emotional? "Did you guys have a fight? or-"

"We had a fight." Gale interrupts again. "I'm a work-obsessed maniac who doesn't even want to have kids, I'm just marrying her because it's what we're supposed to do. Apparently."

Peeta raises his eyebrows, "that's rough."

"It isn't true!" Gale insists. "I want to get married. And yeah, I care about my job, but so what? I worked hard to get where I am, what am I supposed to do? Fucking-"

"What's going on?" Finnick asks, having returned to their table with another round of beers.

Peeta shoots him a look meanwhile Gale groans and drops his head to his hands again.

"Madge dumped him," Peeta hisses. Finnick's face pales.

"Oh, fuck, I'm sorry man." Finnick puts the beers down slowly like he's worried they'll explode. "That's-- I'm sorry."

"My ma's gonna kill me," Gale moans miserably.

Peeta smiles involuntarily. "Listen, maybe it's nothing."

"She said she never wanted to see me again!" Gale argues, his eyes like an accusation.

"Yeah but, maybe it was just a fight? You both probably said stuff you didn't mean." Peeta says. "Maybe you both just need to cool off for a bit. Talk it out in the morning."

Gale scoffs, "yeah right."

"No! Come on, we all do it." He looks over at Finnick for some encouragement. Finnick looks at him like he just threw him a hot potato without any prompting. "Right? You and Annie argue all the time, don't you."

Finnick jumps as if physically struck. He looks at Gale's miserable face and blanches. "Uh, yeah. All the time."

"What could you and Annie possibly argue about?" Gale asks derisively.

"Stuff." Finnick shrugs. "You know, whose turn is it to do the laundry, why is Finn saying the f-word so much. Just stuff."

"Wow, tough." Gale rolls his eyes. "Mellark?"

"What?" Peeta looks at Finnick for a lifeline but he just shrugs at him. "Me and Katniss?"

"No, you and your mother. Obviously you and Katniss." Gale bites.

"Um, I don't remember anything specific." He fiddles with the label on his beer. "But yeah, mean stuff sometimes. Like..." he trails off. "Oh right! The other day she called me an idiot."

"Did she actually mean that or was she joking?" Gale asks with disinterest.

Peeta turns sheepish. "Okay, so she didn't mean it, but we really do fight all the time!" He insists. "It's just not that big of a deal! We cool off and move on, which is what you and Madge can do tomorrow."

"Tell me you and Katniss have actually had a real fight in the past year and I'll go." Gale challenges. "I dare you."

Peeta sighs, "Fine." He drums his fingers against the table while Gale's eyes bore into his skull. "We fight about money."

"Money?" Gale asks.

"Oh, that's a tough one." Finnick scratches at his beard. "Annie and I too, before I got the new job. That sucks."

"Yeah," Peeta agrees. "I don't know, we just move on. Katniss doesn't want to feel like she depends on me for anything, but I always tell her that she can, I'm not going anywhere or anything but she's-"

"A pain in the ass?" Gale offers.

"Stubborn,” he corrects. “And independent.”

“That’s married for pain in the ass,” Finnick intercepts.

“Yeah, she can be a pain in the ass,” Peeta admits. “But I love her. So, whatever.” He shrugs. “I just deal with it.”

“Oh, I see.” Gale turns to Finnick. “He just rolls over and takes it.”

“I don’t,” Peeta rolls his eyes.

“I think what Peeta’s trying to say,” Finnick interjects. “Is that sometimes you just gotta deal. Meet in the middle. It’s an argument not a war. At the end of the day you still gotta like each other.”

“I don’t know, I just don’t have the fucking patience, you know?” Gale rubs a hand through his hair. “I just- I get all defensive and… I guess I’d just rather hurt her before she hurts me?”

“That’s really unhealthy,” Finnick says. “Just so you know.”

“If you want to get married you have to stop thinking about her as someone who’s gonna up and leave,” Peeta adds.

“What are you talking about? You’re not even engaged.” Gale snaps.

“Well…” Peeta trails off, playing with the beer label. “I asked.”

“What?” Gale snaps.

“Congratulations!” Finnick exclaims at virtually the same time, slapping Peeta’s shoulder. “That’s huge!”

“She said no,” Gale reads his expression.

“She said she’d ‘think’ about it.” He corrects, still playing with the bottle. “She’s not ready.” He shrugs.

“Oh,” Finnick whispers awkwardly.

“What?” Gale frowns. “That’s stupid. Does she think she can do better? She can be such a fucking idiot-“

“Okay, don’t talk about her like that,” Peeta interrupts. “She’s allowed to say no, okay?”

“And you’re just okay with this?” Gale stares at him like he’s insane.

“We’re not going to break up over it, if that’s what you’re asking.” He snaps. “I knew what I was getting into when I got involved with Katniss Everdeen, alright?”

“Damn,” Gales leans back against the booth.

“So yeah,” Peeta’s voice calms. He lays his hands on the table. “Come on, you can sleep on my couch and call Madge in the morning.”

Finnick puts a hand on his shoulder, “it’ll all work out.” The older man smiles at him.

“Thanks,” Peeta says with some annoyance. He stands. “Gale?”

“Fine,” his friend grumbles, yanking on his coat upside down. “But I don’t wanna deal with your girlfriend, keep her away from me.”

“I’m sure your beloved cousin wants nothing to do with you either,” Peeta replies dryly.

[ere-the-sun-rises]

I've got a story about this exact situation.

| | |

I had to read "The Stone Angel" by Margaret Laurence in Grade 12 English. It's hard to describe - a kind of day-in-the-life-of/character study/old-woman-tells-you-her-life-story kind of book. It's not about anything, necessarily - just a run through of one woman's version of the human experience. She tells her story as it happened, occasionally interjecting regrets or observations from her vantage point in the future. An interesting narrative design, and a compelling one.

I hated every fucking moment of reading that book. I bitched and moaned and resented it for taking up my life.

The worst part was, ironically, the protaganist. She was the most bitter, vile, wretched and judgmental shrew I'd ever had the misfortune to read about. I loathed her and being forced to see through her eyes. She would say and think unhinged and cruel things to people who loved her and cared for her. Had she been real before me, I would have slapped her so hard she'd get whiplash. She was repulsive, and even the really shitty things that happened to her - like two abusive husbands who left her broke and shamed - could not summon my pity or empathy. I didn't think she deserved what they put her through, but by god, she certainly didn't deserve to be happy.

And then ... the ending happened.

She skips back and forth between describing her past and narrating her present, where's she's an 80-something living with her second son and his wife. She tells you early on that she's doing this mental exercise because she's been diagnosed with dementia, so she wants to remember everything as it happened.

She decides to wander the neighbourhood and gets lost for three days. She finds and makes friends with a homeless man who lets her share his cardboard and newspaper bedding. They swap some stories about their lives. She thinks about her life on a park bench during the day, sitting in the sun and enjoying the warmth after a cold night. She finally admits she's been ungrateful (and unrepentantly evil) to a lot of people in her life (especially her second son and especially especially his wife). Then, in the middle of a thought, the sentence stops short and the rest of the page is empty. It took me a moment to register what had just happened. I re-read the last few sentences a few times before it clicked.

She died.

An elderly woman, riddled with dementia, lost and unable to find her way home, died out in a public park, alone.

Except I was there.

I'd been there with her the whole time. I left the house with her, followed her through the little city she lived in, listened as she told me her whole life story. I had been with her to her final breath and thought - the only one who was. Someone random. A stranger who, until this very moment, had reviled her and sought only to escape her miserable fucking life - I was who she died with. Not her son who loved her so much or her daughter-in-law who spent years looking after this frigid bitch, not anyone from her past - me. Just ... me.

I was shattered. I sat on my bedroom floor, staring at and rereading her last, unfinished words. I knew she had more to say and only now, once she was gone, did I want to know them. All the resentment drained out of me and I was left by myself for the first time in weeks, hollowed out and sad. Sad for all of it - the misery her husbands put her through, the elitist pride she saddled herself with, the disdain she showed everyone around her, the heartbreak of her son when he inevitably found her body. So much time and energy ... all wasted by her. She couldn't realize much she had until she's elderly and lost, and through a confluence of chance and her own high-handed sins, she dies here. With nothing by ghosts and no one but a distant stranger who never talks back.

I closed that book and stared blankly at the cover art. I just watched that woman die. And this transcript of her thoughts is all that's left of her now - sitting on the floor between my legs and staring silently back at me.

| | |

I only read this book once, and I'm unlikely to ever read it again. I hated her, and I'd probably hate her even more now that I'm an adult with more adult perspectives on the things in her life.

I think everyone should read it.

It's a miserable slog with a repugnant protaganist and it broke my heart so thoroughly that I still remember it a decade later. I've never had a book - before or since - strip me bare with all the things it didn't say. The pathos is extraordinary and devastating. The absence of her words, the unfinished thoughts in her mind ... haunting.

I said that this book isn't about anything, because it isn't. But "The Stone Angel" is something ... her tombstone. It's simultaneously what it is to die and to watch someone die. To feel loss, even for someone you might hate. She's dead, and her death doesn't take her wrongs with her or undo her own suffering - it's just silence. Loss. Maybe even grief.

But that's the point, isn't it? To feel grief, one must have empathy, sympathy; feel affection or pity or both. This book made me feel grief for a fundamentally unpleasant fictional woman simply by letting me experience her life with her.

You'll hate reading this book, and I think you should.

I straight up do not trust you if you did not enjoy a single book you had to read for English class. I know they assigned some real stuffy stinkers and the curriculum varies across districts but not one? Not The Outsiders? Not The Picture of Dorian Gray? Not Fahrenheit 451? Not even Frankenstein? Damn. That’s crazy.

[stupidlittlespirit]

You asked for some cute fun asks, so I've appeared to help!

If you've ever played (or watched someone else play) the Swooning Over Stans game, there's a scene in Stan's route where you go to a 70s dance night with him. It's very fun and flirty~

Ever since then, I've wondered if Ford would enjoy going for a dance like that with his s/o. I can definitely see him getting SUPER nervous about it beforehand because he's having flashbacks of his prom night disaster and thinking he's going to totally bomb it. But maybe his date would coax him to just have a little fun, let loose.

I agree with your thought that he'd be the kind of guy to like old classic crooner music (and now I'm swooning for real just thinking abt it), but maybe some 70s funk can get him going, too. Now every time I listen to that stuff, I can't help but picture Ford trying to teach his date how the dances really went (and possibly failing miserably but laughing over it)

GOD yes, I played Swooning when it first released and it was wonderful. I've played it through on both routes about 10 times each lol. I still can't believe we were gifted such a gorgeous game by all of those talented people for free.

I know exactly what scene you mean. That was such a nice touch.

I daydream about this fucking scenario with Ford a lot. It's so silly but I do it when I listen to that kind of music and it's really nice haha Very normal of me, I know, so expect a long answer to this under the cut:

I'm going to set this within GF, but at a function beyond the town he might struggle a little more unless he knew the people there.

I think Ford would be (naturally) nervous beforehand for the reasons you mentioned. He's not very fond of social interaction that isn't super necessary, though post portal he is definitely better at that than he was, and the thought of doing something that holds bad memories would be very daunting for him, to the point that he'd probably refuse at first. More so with the excuse that he doesn't have time or doesn't care about stuff like that than admitting he's nervous.

Mabel would definitely encourage him to go and Reader would mention that they'd enjoy having some fun/seeing him have fun as well, plus they'd certainly miss Ford if he stayed at home. They would understand his hesitation around the event but a little gentle comforting from them around the knowledge that they'd be there to support him would go a long way, I think.

"There's no pressure to stay if you get there and don't like it," and "We can just go home, you're in control of the situation and I'll be by your side no matter what," kind of thing. I think he'd find that very soothing and helpful, just to be reminded that no one will force him. Eventually, he'd give a little and agree on those terms. Plus, Mabel would guilt him a bit because she wants to see him to be included haha.

Once he got there, he'd be a wallflower to begin with. That's fine, obviously. He needs time to settle in. Maybe a drink or two, as well (I know how he feels LMAO) before he can really get comfortable. He'd look to Reader for comfort but he'd also not want to prevent them from enjoying themselves, so he wouldn't insist they stay with him all the time.

I don't think he'd refuse to engage with other people; he'd be reasonably accustomed with the townsfolk anyway so he'd know them and their demeanours a bit more than if he was at a totally new function or with people he had never met. He wouldn't start general conversation (unless it was with Fiddleford), though.

He'd definitely be more inclined to hover around the edge of the party rather than step straight in like Stan would, but if people came up to see him and say hi (and they would because the family is known and liked) then he'd be able to hold good conversation. Post-Portal!Ford is going to have developed his social skills a great deal from his time away and I think he'd be more willing to hear what other people have to say and engage with them.

When he was younger, I think he might have only really been interested in talking about the topics he knew about because they felt safer for him, they were something he was good at talking about, but obviously when you're that smart it's nigh on impossible to find that level of conversation with others so he would have considered himself a failure in terms of social ability purely because he struggled to connect on that aspect, when really he'd just be expecting a bit too much from the general populous. That, combined with general awkwardness and a lack of knowledge on how to make menial conversation would have made it really hard for him. He does talk about that in TBoB, actually, with the joke he makes about pie in the diner. It doesn't land because the waitress doesn't have that level of understanding. It's a funny joke though! He is good at talking to people, he just comes at it from a unique angle.

So, anyway, I digress. He'd be a bit shy but he'd be open to chatting to others, and eventually he'd warm up. He'd realise he's been overthinking everything a bit too much and getting in his own way, and then start to ease up without even realising.

Reader, meanwhile, would have to strike a balance on making sure he was okay and also giving him the space to bloom on his own. Maybe making eye contact with him from across the room and giving him a little thumbs up-thumbs down gesture to check in, only for him to return a thumbs up and big, warm smile, much to their relief. They'd have known he was capable of it, he just needed to remember his capability himself.

So after a bit of time and a bit of space to find his feet, he might overhear that they're playing the kind of music he used to listen to in his youth. I'm going to project here (because you guys know my affinity for 70's music) and say maybe some Baccara (Yes Sir, I can Boogie is a banger), some Bee Gees (duh), just anything fun.

Ford would know the words by heart and once you'd returned to his side, he'd be singing them under his breath or tapping his foot or whatever, and you'd ask him if he wanted to dance. He'd say no because dancing requires a level of self-humiliation and he'd be too self conscious initially, but again, you would coax him a little.

I think you could ease him into it (I think that's the trick with Ford generally anyway). Maybe Reader would take one of his hands and he'd twirl them around, just indulging them a bit because he'd think it's endearing even if he won't do it himself.

I think seeing someone else be a bit silly puts other people at ease and makes them a bit more willing to be silly themselves, so he'd kind of get a little more into it as the music went on and once things changed to those slower, crooning songs, he might just take Reader's other hand and (much to their absolute joy) slow dance with them a bit. He'd prefer to stay tucked into a corner rather than make a show of being out on the dance floor like his brother, but I think he'd be inclined to sing a little bit, just quietly, privately, and lead Reader in a dance.

He wouldn't be a practised dancer but he'd be able to keep time and count beats (it's math!) and although he'd still fuck it up, as would Reader because I doubt many of us are classically trained dancers, he'd be able to laugh along with you and have fun. He'd forget the room, as would you, and you'd be able to really have an intimate, joyful moment together.

God fuck I am so normal about this old man. This is the kind of shit they put you on medication for if you tell the therapist too much LMAO

Also shameless self plug but here is my playlist for this exact scenario. 'Misty' by Lesley Gore is my personal favourite Ford song. Don't judge me, I beg.

[see-arcane]

Examining the Nosfertrio

I must uphold my position as Words Georg and yammer about the Nosferatu Trio (Nosfertrio) that makes up the core of Nosferatu (2024). Specifically in terms of the love triangle and their roles within it.

Spoilers and a massive monolith of text below.

Ellen and Orlok

I’ve already seen a handful of posts going into the metaphors inherent to their relationship. Orlok as Ellen’s id, as the repressed darkness and fey nature she must keep bottled up for the sake of her era and society, as brutality and sensuality, et cetera. And there’s definitely truth in that. Just as it can be found in a lot of horror-attraction (I hesitate to give all of them the blanket of ‘romance’ but attraction is key on one or both sides for hero and antagonist) stories in various degrees from bodice ripper to outright nightmare. There is a definite cathartic itch that’s scratched in everything from Labyrinth’s Jareth to The Phantom of the Opera’s Erik all the way to this, Orlok at his most cadaverous and insidious.

People want to be wanted. On some level, we want to express the repressed depths of ourselves, be they perverse and violent or weird and whimsical. 99 times out of 100, we still restrain ourselves from doing the Immediate Gratification action—anything from snatching the last piece of cake because we know someone else is looking forward to it or taking a hammer to an annoying customer’s skull—because appeasing that kneejerk urge will have consequences. We will feel bad about having done it or else outside forces will punish us. Repression is a fact of life, with some forced to constrict themselves more than others. Not always for good reason. Case in point, poor Ellen stuck in period piece hell.

Ellen was suffering as a young girl. Her clairvoyance and supernatural susceptibility made her an early outcast and the death of her mother left her alone with a father who we learn had a period where he seriously considered sending her to an asylum. A period we also learn came after Orlok began either causing or infinitely worsening her epileptic fits. The one Ellen describes to Von Franz involves her being found naked mid-spasm. Something to do with her flesh.

Was she found orgasming? Had she clawed at herself, perhaps at her breast where Orlok couldn’t yet feed and bleed her? Maybe she was caught in a masturbatory act that Orlok played puppeteer to. We don’t know because we’re only meant to conjure something mortifying for Ellen to be caught at; just as her other public fits have been. Her father is disgusted by it, whatever it is.

Sometime in this miserable window, Thomas enters her life.

Thomas Hutter who is in every way Count Orlok’s antithesis. He loves where Orlok only wants. He wishes only to give to Ellen, to make himself and their life a thing worthy of her—note, she lived in a stunning mansion as a girl and Thomas needed a loan from Friedrich Harding to afford their tiny home; Ellen married down to be with him and he knows it. If Ellen is an owed piece of property in Orlok’s view, Ellen is precious beyond words to Thomas, who even in his terror and ailment, loves her more than he fears anything.

Then comes Orlok in person, slapping Wisborg with plague and murdering friends and children and threatening to go after Thomas if Ellen does not ‘willingly’ submit to him. A big bloodstained temper tantrum is needed before Ellen dons her wedding dress again and gives herself to Orlok for the sake of being the Judith to his Holofernes. When Orlok’s time comes it is an agonizing thing. A final dose of pain for him to suffer in recompense for years of violation inflicted on a girl since puberty.

Ellen kills him. Ellen dies for the sake of killing him and guarding Thomas. In pure emotional math, she is true to what she told Orlok outright:

No. I love Thomas.

I care nothing for your affliction.

I abhor you.

You revel in my torture.

Nothing but truth here. She loves Thomas. She doesn’t give a shit how ‘afflicted’ Orlok is by him wanting her. She abhors him. And, with almost a lifetime of evidence on her side, yes, Orlok appears to get off on casually, repeatedly, flashily subjecting Ellen to her spasms, however pleasurable or painful they might be, to say nothing of her embarrassment and being ‘helped’ by the era’s dehumanizing quackery.

And yet.

Ellen has two visuals and two lines that suggest that buried in her hate and horror at Orlok and all he does, there is still one wisp of…I really hesitate to call it love. Attraction might be in it. ‘Affliction.’ Whatever it is, it is the tiny buried stretch of spiritual ore that I imagine brought Orlok sniffing in the first place. Ore that has been honed by years of abuse and the hopeless inescapability of his attentions into something that Ellen shelves with the rest of her shame and fear, but cannot let go because it is a part of her and part of what kept her from succumbing to total despair in her time before Thomas.

Because Ellen was lonely once upon a time. Did she know Anna as a young girl? Or did that come later, after Thomas? Either way, she prayed for a companion. For comfort. She felt alien and alone and wrong. Which Orlok scented as she called out blindly—a familiar essence he could take advantage of. Because he is a tyrant. A monster. And he is alone too. 

You are not for the living. You are not for humankind.

The visuals:

Ellen meets him in Anna’s room. Comes close close close to kissing him—and reverses (I abhor you).

Ellen stays with him in the bed, lightly cradling Orlok as the sunrise kills him; and he does not claw or tear at her in his death throes, even knowing her betrayal. Only lays a gentle grasp on her shoulder. They recline again as they die, Ellen letting him lay rather than letting him fall off.

The lines:

Before Orlok strikes her mind: He took me for his lover! (Not victim. Lover. She believes it.)

While Orlok has reached out and pressed his influence on her again, her words possibly not wholly her own: You could not please me so well as him. (Is it Orlok goading? Is it Ellen telling a truth or a lie to prod Thomas into sex? Is it a jumble?)

Ellen loves Thomas more than Orlok or her own life. But there is a grain of care for the monster who obsessed over and menaced her for so long. It’s the grim and heady little whisper under all the trappings of horror-attraction, why fiction loves a demonic dom or a pining terror.

I was never alone with them infecting my life. I was the focus of all their attention and passion. I saw so much violence done for the sake of them coercing me to their side. I had these throes forced on me and in being forced to endure their darkness I was absolved of any guilt in moments of pleasure from it. I held hands with Death in a dream and I was so happy when everyone I knew—everyone I smother myself to accommodate—was dead.

It’s there. Of course it’s there.

But what else is there with it?

Ellen and Thomas

Enter the newlyweds who didn’t deserve Any of That Shit.

We don’t really get much time with these two beyond establishing that they are very genuinely in love, have been thoroughly enjoying a too-short honeymoon, and are each prepared to kill and die for each other.

But something I’m seeing around the edges of post-film analyses is a phenomenon that I recognize from certain unfortunate reads of Jonathan Harker’s character, both from Dracula’s book canon and almost 130 years’ worth of trash adaptations. Already this boy is teetering on the precipice of being done dirty the exact same way Jonathan was via sanding down his full role and character in the story. I’ve seen takes that reduce him to the Normal Guy Your Weird Ex Hates, the Guy Who Doesn’t Listen to His Wife, the Useless Guy, the Boring Normie Guy, the Connecticut Clark to Ellen’s Malfina, et cetera et cetera.  

But like. You have to miss a mountain of context clues to land on any of these statuses as Thomas’ deal.

Let’s look at the chief offense: Thomas disregards and/or shuts down Ellen.

First:

Thomas tries to shush Ellen about her nightmare(s). For a moment. But Ellen insists, and so he listens to the dream of wedding Death. He does shush her then, but in the way of soothing. It was just a dream, not a portent. All will be well. What is he supposed to say otherwise? Yes, I believe you. Yes, something horrible is about to happen. Worry, fear, fret. It’s the best course of action.

As for him leaving the bedside and ultimately going out to Orlok’s castle despite Ellen’s pleading? Again, what else is he logically meant to do? This boy does not know what genre he’s in. Ellen does because she’s Ellen. Thomas thinks he’s in a period piece romance with a happy ending and his moneyed best friend repaid for his loan and his beloved back to living in the luxury he knows she left behind to be with him. To do that, he must work for it. He must jump through whatever hoop Herr Knock tells him to. Between the latter and the bait of the commission he and Orlok dangle in front of him—Friedrich paid back, a step toward a plush future to gift to Ellen—and the fact that Ellen’s warning plea comes from dreamt vapor, it’d make no sense for him to just kick off his shoes, endanger his job and roll back in bed with her because his permission slip would read:

‘My wife said no :)’

Even if he wanted to, and it’s hard to think he doesn’t want to going by how uneasy he was the moment Knock put the job in his hands, Thomas had no real room to refuse without putting himself and Ellen in real economic and interpersonal trouble. At best he might have feigned illness, but even that would be a gamble. All the things Ellen wanted him to do—stay longer with her, heed her premonition, don’t go on the journey—Thomas did want to do. But couldn’t.

Second offense:

Thomas ignores Ellen when she says their petite home (and ohhh doesn’t that sting in the 21st century to think that a place like theirs was considered ‘small’ or lower class once upon a time) is fine and Thomas need not push himself to extremes to finance a bigger better household with a maidservant and other bells and whistles to satisfy her. True! No denying it! Just as there is no denying that, out of the entire ensemble, Thomas Hutter is from the lowest class out of everyone.

Friedrich is his friend, a wealthy inheritor to a father’s shipping company who lent Thomas the money needed to pay for the little home and possibly his and Ellen’s wedding. Anna is Ellen’s friend, two girls with a friendly and possibly amorous history from what we can infer is a similarly well-off social level. Thomas is only in their circle by dint of somehow crossing paths with Friedrich and being charming enough to win an otherwise Classically Masculine and Rich Man’s regard.

And Ellen, again, stepped out of the wealthy life to be with him out of love. In her dream her father was there, one of the dead, but he is absent for the entire film. Considering her only other mentions of him were a childhood of his calling her a changeling girl or an unclean thing meant for a madhouse, we can assume the man did not empty his pockets for or applaud her choice of husband. Hence Friedrich’s loan. But for all the discomfort of her family life, Ellen did live a far more polished life than the one Thomas can give her as-is.

(I envy you, said to Friedrich outright.)

This is Thomas’ most standout flaw in my opinion, one that amounts to a single facet of a wider issue: Thomas Hutter feels inadequate on multiple fronts.

He is not wealthy enough to give Ellen the lifestyle he wants to return to her. He has not made up enough savings to repay a man he wishes were only a friend rather than an all-but-in-name sugar daddy. He’s unequivocally not within spitting distance of any other male character’s classic forms of manliness. Just an ongoing mantra of ‘not X enough,’ and that’s before Orlok gets in his head. More on that later.

He’s not shutting out Ellen’s insistence that she’s happy with their simple surroundings because he doesn’t care about her opinion. He’s shutting it out because he can’t get out of his own head about how much lesser he feels compared to her and their friends, feeling as if he has to make up for not coming from where they do and for basically taking his princess away from her metaphorical castle. Fittingly, it’s the complete reverse of Orlok’s treatment.

If Ellen is the prize to be conquered for Orlok, she is the undeserved prize on a pedestal to Thomas. One who needs precious things foisted on her to make him worthy of her loving him despite her saying otherwise. The guy can’t see past his own low view of himself to accept that she is sincere in his insistence that he is enough.

And that brings us to the third issue:

Ellen says she wants to come Orlok-hunting. Thomas shoots her down.

Bit of an echo from Dracula there, with Jonathan and the rest of the Drac Attack Pack unanimously deciding Mina has to be kept out of the villain’s reach while they go a-hunting..! Only for that very move to be what puts her in an unprotected position when said villain comes skulking up to her. It is a very old school Protect the Fair Maiden! move. Fitting for the genre and the time period and so on.

But unlike in Dracula, Thomas and Ellen’s playing of the scene makes much more sense.

They are not dealing with Dracula the Conqueror. They are dealing with Orlok the Repeat Rapist and Tantrum-Murderer Obsessed with Ellen. If there was one person in the entire ensemble not to bring into closer proximity to Orlok, even if she were at maximum anachronistic girlboss badass levels, or even just armed with her own stake and pistol, it would still very much be Ellen. Orlok’s been making her life hell at a distance. Willingly putting her in arm’s reach would make me blue screen too if I were Thomas. This isn’t Jonathan fearing the chance that Dracula might go after Mina out of convenience. This is Thomas rightfully clocking that Orlok will 110% go directly after Ellen. Obviously he says Ellen shouldn’t be on the hunt.

Which was just as obvious to Ellen before she even suggested it.

Because with or without Von Franz promising to lead Thomas and Sievers on the wild goose chase for the sarcophagus, Ellen was already planning to barter herself in exchange for protecting Thomas and Wisborg. Which Thomas would also 110% slam the brakes on if he knew what she was up to. She didn’t suggest her joining the hunt because she had any intention or expectation of them agreeing. It was to make sure that the suggestion was shut down and that Thomas and the others would be far away when she baited Orlok to her.

Both Hutters are terrified for the safety of one another and would rather face Orlok themselves and risk dying than put their beloved in danger. They are too alike in that regard, just as the Harkers are, and that love and desire to protect is abused by both versions of the Count to get what they want. It’s just that Ellen knew exactly how to ensure Thomas would do what she wanted by nettling him with the concept of her coming along and risking proximity to Orlok; perhaps intentionally implying she meant to put herself between him and Thomas as a shield. Cue him declaring absolutely not. Irony of ironies.

But alllll this is just window dressing compared to my main nitpick when it comes to some folks’ view of Thomas paired with Ellen. And that’s that he is the milquetoast nothingburger ignorant could never truly understand or please her! husband.

Shut the hell your mouth. I am a proud monsterfucker. I am all for the dark gothic fuckeduppedness of Orlok and Ellen’s whole dynamic. But as Stoker and Murnau are my witness, You Shall NOT Slander This Lad as Jonathan Harker was Before Him.

Ellen was the one wheedling Thomas to stay home and roll around in bed while he was late for work, wanting more of whatever he was dishing out. They were left unsupervised in someone else’s foyer for 0.5 seconds and immediately started tongue wrestling while sinking to their knees and cutting away to [REDACTED INTIMACY WHILE STILL VERY VISIBLE IN THEIR FRIENDS’ HOUSE]. Thomas jumped into a river, dragged himself from the brink of undeath, and rode half-dead all the way home to reach Ellen and try to get her out of Orlok’s range. Thomas, who was terrified of Orlok, still put that horror aside because he learned of Orlok’s torturing of Ellen and intended to kill the fucker for it to keep her safe.

Before all of that, Thomas earned Ellen’s love in their even greener youth.

Ellen, the girl who was strange and Other and tormented by Orlok’s spells and despondently alone with her monster? That was the Ellen who Thomas met. Who Thomas fell in love with. Who fell in love with him. And it was a love intense enough to blot Orlok’s shadow. When that shadow came back—

I am become a demon! I am unclean!

—Thomas stayed in the dark with her—

I love you! I love you!

—resolving to either kill the thing that had preyed on her or die trying.

Even if we knew none of this, Ellen’s final act is its own proof of what he was to her. We saw what she’s like with someone she clocks as an asshole when she confronts Friedrich for his actual ignorance and actual callousness. If any character is the starched ‘refuses to believe the supernatural reality/adheres to patriarchal bullshit’ figure, it’s him, not Thomas. (Hello echoes of Jonathan Harker versus John Seward, but I digress.) Ellen calls that shit out.

Why do you hate me? How can you be so stupid? So cruel?

She feels what she feels and says what she means and is the most observant character in the entire story.

And in the end, she deems whole fucking murder-suicide as a price she’s willing to pay to protect Thomas. Whatever we could not see before the film began, whatever romance the Hutters shared, it was true and powerful enough for her to do this.

Which leaves Thomas behind, her cold hand in his, all tears and grief at this—his last failure to tally on his internal chalkboard. He was not the Hero, but the Damsel unaware. He could not protect Ellen because she and Von Franz tricked him into safety as the latter schemed and the former gave herself up to the martyr role. Thomas was too trusting and too late and too much himself rather than the Man ™ who should have saved her from throwing herself on Providence’s pyre.

On that note.

We have to address the mess in the castle.

Thomas and Orlok

Eggers added a lot of meat to the very trimmed-down characters of the 1922 Hutters and Count. Original concepts and harvested bits from Dracula were all applied. The way he composed them served to fix what I still consider to be a barely-concealed plot hole.  

In 1922 and 1979, the Count sees a girl in a locket and immediately becomes obsessed with her. That’s it. That is the entire bulk of his awareness of her before Thomas arrives at his castle. An arrival that was very much based in the original Dracula’s desire to move himself and his deadly presence away to a new place. Original 1922 Orlok seems to just be in it for mysterious plague harbinger reasons. 1979 Dracuorlok seems to be genuinely distraught and resigned to some kind of irresistible condition that says He Must Go Bring Death. But Orlok 2024?

According to Von Franz and his reading, Orlok wants to kill the whole world with his plague..! But has just been chilling for a few centuries I guess. No rush. Not until Ellen happens. She and her covenant and—gasp!—marrying another man!? Barely a man at that.

Ellen Hutter and her new marriage is Orlok’s impetus in coming out of the castle and planting himself in Wisborg. Him stealing the locket and being obsessed with her now makes far more sense than it did in any preceding film because we get the new context of him preying on her since she was a teenager…

…which was interrupted because of Thomas.

The other man. The boy. The laughable gentle meek shivering rival who Knock sends to his door and into his power.

Where 1922 Count was rigid and awkward to the point of seeming like he had to fight rigor mortis with every step and 1979 Count was glassy-eyed and frantically grasping with lonesome eagerness, 2024 Count is stewing over jealousy and disbelief and derision and only the flimsiest attempt at playing client to fool the young man into signing his status as Ellen’s husband away. A farce, a farce. But the covenant demands he cannot kill him outright. That would be theft, not Ellen ‘giving herself freely.’

But after? After the signing, surely he could wring the boy’s neck. Could sit and watch as the wolves tear him to pieces. He could fill him up with plague or snap him in half or drown him like the Pied Piper with a rat… All these things he could have done after he tricked Thomas’ signature out of him on the occult document.

And didn’t.

Let’s retreat to that first strange night together.

Thomas gets subjected to Orlok’s trance the second he reaches the crossroads that leads to the castle. He does not walk as much as float into the coach that has no driver, his next scene showing him abruptly on his feet with his eyes shut in sleep. The doors open to him without hands, leaving him to trail after the Count as if on a string. Orlok gives Thomas two orders the moment they reach the dining room.

One, get out the paperwork. Two, Thomas will address Orlok as his Lord.

“Pardon, sir—?”

“Your. Lord.”

“yesmylordforgivememylord”

Thomas takes his seat and gets treated to Orlok very obviously flexing his powers by doing his little teleportation trick around the table, getting right up in Thomas’ space to pour him his wine, his hand nearly brushing Thomas’ face before retreating.

Thomas asks about the vampire hunting scene he saw in the graveyard and—

“SPEAK NOT OF IT AGAIN!”

Thomas speaks not of it again. Orlok tells him to eat. Cue the mishap with the bread knife and the bleeding thumb. Orlok sounds caught between snarling like an animal or climaxing at the table at the sight of the blood and insists Thomas go sit by the fire where Orlok can see to the wound. Thomas blinks and has lost time again: Somehow he’s been moved to the chair by the fire, fully paralyzed and in tears as Orlok closes in on him, locked in a waking nightmare as the innkeeper woman warned him. This is where Eggers cuts away. All we know for certain is that Orlok fed at Thomas’ breast at least once in the night.

And that he went out of his way to leave Thomas laying face down on the floor come daylight.

The reveal shot is posed as almost comical when coming straight after Ellen’s pining comment about him. I heard some people laugh in the theater. But combining this visual with others to come makes it one of the most awful scenes in hindsight. Because I believe it’s the clearest sign that Orlok outright raped Thomas.

No jokes, no implications, no metaphors. I think he performed the literal act. The only way it could stop short of that in my mind is if Orlok abused his trance state to force Thomas to his knees before or after feeding on him for some emasculating puppeteer work. But no. I think it was genuine rape. It may have happened again in the next feeding night, where Orlok is shown wholly naked as he feeds on Thomas’ breast again. Both times Thomas wakes up dressed. Both times Thomas was preyed on in the exact same way Orlok preys on Ellen.  

And notably, not in the same way as Anna Harding, who immediately got whacked with a dose of plague. Her children had their throats torn out. Ditto the ship’s sailors. Everyone else just sickens and rots and blood-vomits to death.

Thomas and Ellen are the only ones Orlok goes out of his way to prey on in an erotically posed way that results in trauma and ailment, but not the plague or raw slaughter Orlok’s throwaway victims get. Ellen makes sense because she’s ‘his enchantress.’ Thomas because..?

Hm. How does jealousy really fit in here as a reason, Count? Why is it that Thomas is the only man in the film you go out of your way to target by mounting and suckling on him? Why is it that you put words in Ellen’s mouth to describe him as a swooning lily of a woman who fell into your arms? Why is it that you still have your feelers in Thomas’ head to airdrop visions of yourself and your last assault on him? And—big big question here—how much influence did you have on Thomas and Ellen during their spontaneous lovemaking scene? Were you watching like Ellen implied? Did you want to?

Last and certainly not least:

You say you couldn’t kill Thomas or it would spoil the covenant. Yet you were surprised that he was still alive. And you reacted Violently+ when Knock suggested he be ordered to go out and kill the young man in your service. Why is that?

(Who made that vampire in the graveyard?)

((Which of those coffins in the crypt was going to be Thomas’?))

This is dancing around the subject, I know. The gist is this: Orlok wasn’t just angry at Thomas for stealing Ellen from him. He was incensed at Thomas being just as out of place as Ellen herself was. Ellen is not a classic fair maiden. Thomas is not a classic manly man. Thomas is, to Orlok’s surprise, making him pissed and horny. And that opens the door to the Count attacking Thomas in a way that seems to be a warmup for his future laying with Ellen. He wants to ‘make a woman’ of Thomas, the lesser, weaker, kinder, prettier, chosen man.

See? See? She has no husband to thwart his conquest! This quailing thing under him can be no man, so it must be a woman. Ha. Ha.

Cue him leaving Thomas on the floor, ass up, for Reasons.

Whether Orlok blithely accepts his attraction to Thomas (he is merely an Appetite, after all) or is grimly wrestling with ye olde compulsory heterosexuality and quietly framing all his weird attentions to Thomas as just him humiliating/emasculating the young man, we also have to turn the lens on Thomas himself.

Theories have been passed around that, given the queer elements of the film, Ellen and Anna, Thomas and Friedrich, all had romantic pasts of their own. Or at least friendships as intimate as they could get away with before they paired up with their respective significant others. Ellen and Thomas especially are heavily bi-coded. Ellen has Anna, naturally (Thank you for loving me), but Thomas has beats with Friedrich, with the unnamed and charismatic leader of the vampire hunting party in the graveyard, and, if only due to Orlok’s trance, Orlok himself.

Even if it was magically induced, Thomas saw a vision of Ellen in Orlok’s place as he was fed on. Seeing it, seemingly experiencing it, Thomas looks to be in a heady stupor as Orlok feeds—blearily welcoming the initial attack and whatever might have followed it.

Cut forward to his breaking from his fever in Ellen’s company, still in traumatized shock, unable to speak on everything that happened to him. She’s seen the bite wounds on him. That isn’t a secret. Something else, something worse—I can’t breathe! Get off me! Get off!—is left unspoken, and he cannot bring himself to admit it to Ellen. Not even after she divulges her history with Orlok. Not even after the fight or the sex or the broken spell and their embrace. Orlok did an awful thing to Thomas that he is too afraid and ashamed to speak aloud, at least on screen. Would it be better or worse if there had not been a memory of pleasure to taint it as it taints Ellen’s assaults? 

Ellen calls Orlok her shame. Now he’s a shame for both of them.

…

With all that said. Yes, ‘love triangle’ is the easiest name to pin on this entire hot mess, if not a perfectly accurate one. Ellen and Thomas are in love, but the right words don’t exist to label the lines that connect Ellen and Thomas to Orlok.

tl; dr: Orlok was never going to make this polycule happen and I will not give him kudos for trying. 

[lesbiansanemi]

My job is confusing me so fucking bad rn

[reflections-in-a-critical-eye]

I am blocking jikookers everyday now ever since AYS aired. I don't care if someone wants to answer all the trolls, akgaes, ex-jikookers. Whatever, do what you want. But keep it on your blog and don't clog the jikook tag with all the bullshit. And for what? For a snarky remark as a reply? As if that actually puts the anons in place? They achieved their purpose, you gave a platform to trolls. Well done.

[zorishy]

I feel like most of the fandom doesn’t give Ghostbur credit for how mature and complex he is. Like- he’s cute and optimistic but that doesn’t mean innocent baby.

Every time I watch the scene where Ghostbur gets pissed at phil for blowing up L’Manberg I wanna shove it in the face of people who infantilize him and say: look. LOOK! He’s an adult with emotional depth! Also his optimism is like- a coping mechanism/an act to keep everyone happy. I’m not very good at explaining.

[galpalaven]

i think the fact that veilguard removed all interest in anything for me is insane. i dont even want to play final fantasy. do you know how fucking messed up i have to be to not have the energy or will to sit at my desk and be mentally ill about final fantasy??

ive never had finishing a game give me idk. sub/dom drop after finishing it to the point that i lose all interest in creative or fun things in general. its absolutely wild in the worst possible way

[psikind]

consider if you will. not judging people you don't know for something they literally don't chose. not judging people for anything about them even. I promise it's not that hard to treat someone like a normal person and not assume things about them

[snowglobe-system]

Shoutout to people who aren't doing well this Christmas. There's a lot of pressure to be happy and joyful and it can be really hard to be feeling down during the holidays.

[apple-spider-vinegar]

Not a Norman Osborn Apologist or a Norman Osborn Hater but a secret third thing

[knifekris]

every day i struggle to make choices

[lumberwoof]

AU where Franka doesn't get approval for the transfer and instead has to cut and run to Rhodes Island alone. Liskarm just misses finding out and isn't able to follow. and then they reunite some years down the line for whatever reason, Franka happy at Rhodes Island but still a little lonely and Liskarm saying she's fine but being at Blacksteel for so long has made her colder and harsher and just plain miserable.

(it isn't all bad, she at least has Jessica and Vanilla, but they can't get under her skin the way Franka could. Liskarm swears that Franka would get under skin sometimes just to dig out the bad feelings.)

(and Franka has people. she's surrounded by people she cares about. operators cut from the same cloth as her, that will charge headlong into battle beside her. colleagues who will nag her about sleeping and eating and training and mission parameters. friends who will rag on her for her choice of reading material. but Liskarm was all of those things rolled into one. and she is not here)