#peter stormare icons

[confession-star]

𝘺𝘦𝘢𝘩, 𝘺𝘦𝘢𝘩, 𝘺𝘦𝘢𝘩!

𝘐𝘵'𝘴 𝘢𝘭𝘭 𝘢𝘤𝘵𝘪𝘷𝘢𝘵𝘰𝘳.

[laresearchette]

Friday, November 15, 2024 Canadian TV Listings (Times Eastern)

WHERE CAN I FIND THOSE PREMIERES?: SILO (Apple TV+) CHIEF OF STATION (Paramount+ Canada) A ROSE FOR CHRISTMAS (Paramount+ Canada) THE CREEP TAPES (Shudder) CHRISTMAS WITH THE SINGHS (W Network) 8:00pm COLD CASE FILES (A&E Canada) 9:00pm KILLER CASES (A&E Canadad) 10:00pm THE UNBELIEVABLE WITH DAN AYKROYD (History Channel Canada) 10:00pm

WHAT IS NOT PREMIERING IN CANADA TONIGHT? THE LAST WOODSMEN (Premiering on November 18 on Discovery Channel Canada at 8:00pm)

NEW TO AMAZON PRIME CANADA/CBC GEM/CRAVE TV/DISNEY + STAR/NETFLIX CANADA:

CBC GEM CHRISTMAS CRUSH FIXING UP CHRISTMAS KILLING EVE (Season 4) SAYING YES TO CHRISTMAS A STORYBOOK CHRISTMAS

CRAVE TV BEFORE MIDNIGHT BONES & ALL CANDY CANE CANDIDATE DENNIS THE MENACE A FURRY LITTLE CHRISTMAS ICONS UNLEASHED: BATMAN (series premiere) IN FLAMES IRENA’S VOW JINGLE ALL THE WAY A KNIGHT’S TALE I KISSED A BOY (season premiere) I KISSED A GIRL (season premiere) MEMORY SANTA CLAUS: THE MOVIE SING SWEETPEA (season finale) THREE WOMEN (season finale) TRAITORS HUNGARY (series premiere) 2012

DISNEY + STAR AN ALMOST CHRISTMAS STORY EXPEDITION AMAZON

NETFLIX CANADA 13 HOURS: THE SECRET SOLDIERS OF BENGHAZI COBRA KAI (Season 6: Part 2) ELLIOT THE LITTLEST REINDEER JAKE PAUL VS. MIKE TYSON (Live Event) JOHN WICK JOHN WICK: CHAPTER 2 THE LITTLE RASCALS MILLION DOLLAR DECORATORS (Season 2) READY OR NOT THE SECRET LIFE OF PETS

HORSE RACING (SN1) 11:00am: Bahrain International Trophy

NBA BASKETBALL (SN1) 7:00pm: Pistons vs. Raptors (TSN/TSN4) 7:30pm: Lakers vs. Spurs (SN Now) 8:00pm: Nuggets vs. Pelicans (TSN4) 10:00pm: Grizzlies vs. Warriors

NHL HOCKEY (SN) 7:00pm: Penguins vs. Blue Jackets (SNWest) 9:00pm: Predators vs. Flames (SN) 10:00pm: Red Wings vs. Ducks

NCAA MEN'S HOCKEY (TSN3) 8:00pm: Denver vs. North Dakota

THE JINGLE BELL JUBILEE (CTV2) 8:00pm: A city manager recruits the help of a childhood friend to save his town's Christmas charity event, while she attempts to set him up with her close friend.

SECRETS OF THE VIKING STONE (Cottage Life) 8:00pm (SERIES PREMIERE): Actor Peter Stormare teams up with a history enthusiast to investigate a mysterious relic that could be evidence of Viking settlement in America centuries before Columbus, but some think it's a hoax.

WE'RE SCROOGED (Super Channel Heart & Home) 8:03pm: Years after parting ways, former high school sweethearts reunite at their ten-year Christmastime reunion, where they are visited by three ghosts who try to make them reconsider their decision to part ways.

ABOUT THAT (CBC) 8:30pm

FRIDAY NIGHT THUNDER (APTN) 8:30pm: Aaron Turkey, #68, beset by summer-long motor issues, takes to the road for Brighton Speedway. Despite mechanical woes following him, Aaron's dedicated crew works their magic with some inventive duct tape solutions to keep him competitive.

THE FIFTH ESTATE (CBC) 9:00pm: A judge has ruled that two protesters involved in convoy blockades in Coutts, Alta., were willing "to engage in a war with police."

BEAT BOBBY FLAY: HOLIDAY THROWDOWN (Food Network Canada) 9:00pm (SEASON PREMIERE): Eddie Jackson kicks off the holiday season with a turkey-less Thanksgiving celebration; chefs Christian Petroni, Adrienne Cheatham and Michael Voltaggio show Bobby Flay that the side dishes are the stars on this year's dining table.

MEMORY (Crave) 9:00pm: When Alex, an assassin, refuses to complete a job for a criminal organization, he becomes a target. FBI agents investigate the trail of bodies, leading them closer to Alex. He is struggling with severe memory loss and must question whom he can trust.

THE GREAT BRITISH HEIST (Super Channel Fuse) 9:05pm: 3 bank robbers take refuge in a local club as the police close in. While the long arm of the law surrounds them outside, their sanctuary inside the club is threatened as they start to wonder - are their hostages all that they seem to be?

CRIME BEAT (Global) 10:00pm: Reporter Caryn Lieberman travels to Kingston to hear from the families and survivors reclaiming their voices in order to tell the story of 34-year-old Yvonne Rouleau, tortured and murdered at the Nozzles Gas Bar where she worked at.

IRENA’S VOW (Crave) 11:00pm: Caught in a German roundup to be used as a slave laborer, Polish nurse Irena Gut becomes a German army major's housekeeper during World War II. Irena risks her life to conceal a dozen Jews within the major's home.

[nothingconsoled]

♡  THROUGH THE SOURCE LINK you will find static icons  (100x100 & 90x90)  of the cast of  [ small apartments (2012) ]  all made by me for roleplaying purposes.  a like/reblog is always appreciated as well as suggestions for new projects for me to gif or icon.   content warnings:   johnny smokes, peter and juno have sexually suggestive scenes, and johnny and peter both die on-screen though it’s pretty subtle and there’s no blood in the icons.

[ 260 ]  of  [ james caan ]

[ 52 ]  of  [ rebel wilson ]

[ 320 ]  of  [ johnny knoxville ]

[ 119 ]  of  [ peter stormare ]

[ 250 ]  of  [ juno temple ]

       ♡  YOU ARE WELCOME TO:   1) edit these as you please for personal use   2) turn them into 20x20 icons for yourself if you’re a freak like that   3) use them for a taboo plot or smut rp   4) use them as sidebar images.

       ♡  YOU ARE NOT WELCOME TO:   1) stifle your creativity and zest for life’s mysteries because internet people have strong opinions about everything 2) redistribute my work or claim it as your own.

[beautifulfaces-icons-and-gifs]

Peter Stormare on American Gods Season 2

as Czernobog on American Gods S2 E1

Information on beautifulfaces

Like or reblog.

[walkingdeadicons]

like or reblog

[ultra-violences]

He wears the smell of blood and death like a perfume.

[feasibilities]

Keanu Reeves as Tex Johnson in ‘Swedish Dicks’

[lunareffectltd]

PETER STORMARE - JOHN WICK: CHAPTER 2

56 - 100x100 - Unmarked Icons If you use please like or reblog this Please do not edit, unless you ask first Do not credit as your own

Below the cut 

[ollierachnid]

abram tarasov thing i painted digitally

[tabruzzis]

I literally only just discovered Peter Stormare‘s twitter and it’s fucking GOLD, I s2g, I’m laughing and crying over every second tweet

[alicejohnn9087]

“Fargo” is Coen Brothers’ Magnum Opus

Nobody expected the 1996 film “Fargo” to be a super hit. The 90s was the time for Star Wars, rom-com, and other pop culture stuff. Darkness and violence were looked down upon and were seldom considered to be the crowd pullers. So, when Coen brothers released their film on March the 8th, 1996, even they had very minimal expectations with it.

The director duo Ethan and Joel Coen had made three films before “Fargo” all of which were box office bombs despite receiving rave reviews from the critics. The “dark” and “violent” themes of the films though impressed the critics, but the film failed to attract more than a few people to the theaters.

“Fargo” also had a mark of Coen brothers’ noir style with its themes hovering over cruelty and black comedy. The film wasn’t expected to be any different than preceding failed films.

So, when William H. Macy starrer exceeded the expectations, everyone was surprised, even Coen brothers themselves couldn’t believe the box office numbers.

“Fargo” is still considered as their greatest achievement not only in the financial aspect but also in terms of artistic creativity. Even though they did create other brilliant films afterwards like “No Country for Old Men” but to this day, “Fargo” is arguably the best film they have ever made.

The film is a paragon of crime thriller with interwoven facets of black comedy, making it one of the most iconic and rare films of the 1990s. The plot threaded through a subliminal concept of evil and how it can debauch a weak mind.

The protagonist Jerry Lundegaard played by perpetually underrated actor William H. Macy is the steerer of the plot. His need or greed for more financial power draws him to an unscrupulous path which gradually leads him to an illegal pursuit.

His tryst with illegal affairs starts small as he obtains a loan for the cars he has never bought and asks his father in law to give him money to buy a piece of land he never intends on buying.

He shows his most satanic vice when he hires two hitmen to kidnap his wife in order to force his father-in-law to pay the ransom in which he intends on getting a share off.

The most intriguing characters of the film were the kidnappers, Carl Showalter and Gaear Grimsrud (played by Steve Buscemi and Peter Stormare respectively).

Showalter is the most-sane of the two and is rather a careless fool than anything evil. The horror part of the film was the character Grimsrud, a psychopathic criminal who has no sympathy for human lives and could kill anyone without flinching.

The best performance in the entire film came from Marge Gunderson (played by Frances McDormand); she is moral, witty, sharp, and pregnant. The fact that her pregnancy became irrelevant as the film went on tells us that Coen brothers had envisioned the character to be beyond the limitations of womanhood.

Marge Gunderson’s exceptional investigative skills was a noteworthy resistance to the cunning and deceitful mind of the protagonist.

Frances McDormand’s performance was hyped up by the fans during the time of its release and the heaps of acclaim eventually led her to win the Best Actress Award at the 1997 Oscars. Coen Brothers also got nods in the Best Adapted Screenplay category. They have won a total of 14 Academy Award nominations among which they have won four times, apart from winning the Best Adapted Screenplay for Fargo, they won three major awards for “No Country for Old Men”- Best Adapted Screenplay, Best Direction, and Best Picture. “No Country for Old Men” also saw a Spanish actor Javier Bardem winning the Best Supporting Actor Award in recognition of his menacing role of Anton Chigurh.

“Fargo” is one of the memorable pop culture icons from the ’90s, the footprints of which can still be seen today. It could easily be seen in the list of top 10 films released in the ’90s alongside cult films like Pulp Fiction, The Usual Suspects, Heat, Matrix, Fight Club, and Star Wars: The Phantom Menace.

Source : https://getsetuplist.com/fargo-is-coen-brothers-magnum-opus/

[nothingconsoled]

do I accept gif/icon requests?   not at the moment.

do I accept gif/icon suggestions?   yes,   always!

this post serves as a collection of direct links to all the fc resources I’ve uploaded to this blog.   you’re welcome to like this post to check back in later for more!   you can also view my gif packs here if you prefer to see example gifs,   and  here  is the side - blog where I reblog other people’s resources.  (If you’re struggling to find posts on tumblr I suggest searching using  this helpful site).   

my gif packs

William Fichtner,   Finding Steve McQueen (2018)

Alun Armstrong,   Possum (2018)

Richard Brake,   Perfect Skin (2018), The Dare (2019)

Robert De Niro,   Cape Fear (1991),  Heat (1995),  Being Flynn (2012)

Jessica Lange,   The Gambler (2014), AHS S1E1 (2011), Cape Fear (1991)

Jane Seymour,   Lake Effects (2012)

Laurence Fishburne,   Standoff (2016)

Lily Rabe,   Finding Steve McQueen (2018)

David Bradley,   The Lodgers (2017), Harry Brown (2009), Roy (2021), Edmund the Magnificent (2019), and Broadchurch S1E1

Michael Caine,   Youth (2015), Harry Brown (2009)

Scott Turner Schofield,   The Conductor (2018)

Bradley Cooper,   The Hangover III (2013)

Alex Blue Davis,   NCIS (2017)

Drew Barrymore,   Boys on the Side (1995)

Cameron Diaz,   In Her Shoes (2005)

John Goodman,   10 Cloverfield Lane (2016)

John Gallagher,   10 Cloverfield Lane (2016)

Dame Judi Dench,   Notes On A Scandal (2006)

Joaquin Phoenix,   [ gif icons ]   Joker (2019)

Paul Dano,   Being Flynn (2012)

Josh Brolin,   Labor Day (2013) *(accidentally deleted this. kill me. I’ll try to find a backup of this somewhere and repost it. rip.)

Jaz Sinclair,   When The Bough Breaks (2016)

Jonathan Rhys Meyers,   6 Souls/Shelter (2010)

Dermot Mulroney (gif icons),   The Wedding Date (2005), and the Griffin & Phoenix (2006).

both

Tilda Swinton (gif icons & static icons),   We Need To Talk About Kevin (2011), Burn After Reading (2008), Constantine (2005), Thumbsucker (2005)

my icon packs

Keeley Forsyth,   The Devil Outside (2018)

Juno Temple,   Small Apartments (2012)

Peter Stormare,   Small Apartments (2012)

Johnny Knoxville,   Small Apartments (2012)

Rebel Wilson,   Small Apartments (2012)

James Caan,   Small Apartments (2012)

Billy Blair,   Whitetail (2021)

James Jordan,   Home (2020)

Kathy Bates,   Bad Santa II (2016), Home (2020)

Jena Malone,   The Public (2021)

Richard Brake,   Bingo Hell (2021)

Daniel Grogan,   Recipe For Abduction (2021)

Barabra Hershey,   The Manor (2021)

Sean Whalen,   Employee of the Month (2006)

Matthew Rhys,   The Americans S1E1

Noah Emmerich,   The Americans S1E1

Dax Shepard,   Employee of the Month (2006)

Danny Woodburn,   Employee of the Month (2006)

Doug Jones,   Pans Labyrinth (2006)

William Fichtner,   Finding Steve Mcqueen (2018)

Alun Armstrong,   Possum (2018)

Rosamund Pike,   Return To Sender (2015)

Richard Moll,   Lake Effects (2012)

Lara Flynn Boyle,   Twin Peaks: S1 (1990) & S2E1-4

Jacob Wysocki,   Loosely Exactly Nicole: S1E1-4 (2016), Fat Kid Rules The World (2012)

Nicole Byer, (pt one two three four)   Loosely Exactly Nicole: S1E1-4 (2016)

Brandon Scott (pt one two),   Loosely Exactly Nicole: S1E4-5 (2016)

Stanley Weber (pt one two),   Not Another Happy Ending (2013)

Sam Coleman,   Leatherface (2017)

James Bloor,   Leatherface (2017)

Lili Taylor,   Leatherface (2017)

Naveen Andrews,   Sense8: S1 (2015)

Helen Mirren,   Collateral Beauty (2016)

Octavia Spencer,   Gifted (2017)

Cate Blanchett,   Notes On A Scandal (2006)

Keiynan Lonsdale,   Love, Simon (2018)

Jonah Hill,   Acceptance (2006), Grandma’s Boy (2006)

Amy Aquino,   Bosch: S3 (2017)

Claudia Doumit,   Timeless: S2E1 and E3 (2018)

Nathan Page,   Miss Fisher's Murder Mysteries (2012-2015)

my screencaps

Sid Haig,   Spider Baby (1967)

Danny Woodburn,   Employee of the month (2006)

[beautifulfaces-icons-and-gifs]

Peter Stormare on American Gods Season 2

as Czernobog on American Gods S2 E2

Information on beautifulfaces

Like or reblog.

[walkingdeadicons]

primeiro episódio de prison break é a minha religião

 like or © prisinbreak

[pigballoon]

John Wick: Chapter 2

(Chad Stahelski, 2017)

If the first John Wick seemed to be a tremendous recreation of the seemingly lost art of simple, no nonsense uber violence made iconic in the 80s American action cinema then this follow up reminded me at least of the John Woo driven Hong Kong action films that closely followed them. The originals very Western-like mysterious man of myth vibe replaced with more focus on codes of honour and duty, more Samurai-like if you will, more Eastern.

Indeed, Chad Stahelski’s follow up to his 2014 debut is an all together slicker, sicker affair, the visuals are glorious to behold, and the action scenes much more detailed in their choreography. Like its predecessor it’s one of those films that is unlikely to convert the uninitiated, but for anybody that is already into this kind of thing, it’s a tremendous exponent of its form.

Keanu Reeves’ quiet, movie star dignity, and this time around seemingly more brilliantly deadpan delivery of one liners are again major reason for that. So too the once again starry lineup supporting him, from the veterans bringing the touch of class from Ian McShane and Laurence Fishburne to the great Franco Nero, and Peter Stormare both sadly underused, to the returning Lance Reddick in continued fine form, newcomers Ruby Rose and the very un-Common Academy Award Winner Lonnie Lynn both put to strong use in their great back and forths with Reeve, and in maybe the movies most powerful and poignant moment a terrific small turn from Claudia Gerini. On villain duty Riccardo Scamarcio is delightfully devilish, from the look in his deep eyes to the timbre of his voice he’s just baiting you from the off to beg for his comeuppance.

They all help propel the movie along, and propel they do. Chapter 2 is a longer film than its streamlined, to the point original, clocking in at about 2 hours long it never for a second really feels that long, picking up in the almost immediate aftermath of the first film this second chapter is a non-stop, continent spanning roller coaster of a thrill ride that like most sequels builds on its predecessor, but does it without becoming overly garish, overstuffed, and generally unbearable. The strength of the cast has to take a lot of credit for that, as does the (it’ll either be corny or fascinating depending on your point of view) expansion of the world building in Derek Kolstad’s screenplay, delving further as it does into the shadowy world that these characters occupy, and allowing moments of thoughtful, mortal ponderance in amidst all of the madness, with greater focus on the strict adherence to an orders codes of duty, touched on in the first film here expanded on, with the bulk of the films plot built around it.

All in all I’m not sure I’d say that this film is quite as good as its economical elder brother, but that’s not saying much. It is a sequel that does what all good sequels should do, take you further down the rabbit hole that you’ll have glimpsed into the first time around, bringing a lot of the first efforts strengths, but tweaking things in a way that ensure the entire thing doesn’t feel like just a lazy repetition of the successful formula. Say what you like about the John Wick movies, but lazy and uninspired they ain’t.

[wits-writing]

Castlevania Season 2 (TV Review)

[Patreon]  [Ko-Fi] 

[Season 1 Review Here]

Netflix’s animated series Castlevania comes back to round out the story of Trevor Belmont (Richard Armitage), Sypha Belnades ( Alejandra Reynoso) and Alucard (James Callis) work together to find a way to bring down Dracula (Graham McTavish) in his mission to wipe out humanity.

Series writer Warren Ellis and director Sam Deats return to deliver paralleling narratives between the heroes and villains as the self-destructive nature of Dracula’s vengeance on the world becomes evermore clear. The technical compliments I gave to the series in its first season, stellar fight animation and overall design reminiscent of the most iconic entries in the game series, remain consistent here and are even further improved on. Outside of covering where I feel those technical improvements helped the most, this review will mainly cover the character journeys from throughout the season in as spoiler-free a manner as possible.

[Full Review Under the Cut]

Back when I covered season 1, I discussed how I was disappointed in the lack of varied monster designs. Season 2 rectifies that by pulling more monsters in from the games to fill out Dracula’s hordes. Monster variety feeds into variety within the monster fights. Trevor defending the Belmont Hold shows a lot to how this works to the fight scenes’ advantage. Each monster has different sizes, strengths and abilities that he needs to account for in addition to shifting circumstances of what items he can use. I took greater notice on my second viewing of the season how the visuals communicated Trevor taking notice and working around the defenses of each monster in succession during this sequence, whether he used the Morningstar, his sword or a stick. The design work also adds to the vampire generals working for Dracula. Each design calls upon different cultures and their folklore about vampires, showing how far Dracula’s influence reaches in the world of monsters. On principle of design alone, the monsters and vampires are clear mark ups from the previous season.

A minor note where it could be said they fall flatter than last time, the monsters are more purely bestial this time around. No moments like the church scene from season 1 this time around, where a monster will stop to taunt its victim before tearing into them. It also applies to most of the vampire generals not backing up their dynamic designs with powerful personality. Why this element lacks in these examples comes down to this season having more characters in antagonistic roles, so there’s less need for some random creature to go through a speech like the church scene.

Among the notable villains this season is the boorish Viking vampire, Godbrand (Peter Stormare). He’s the first example we’re shown of dissent within Dracula’s court. Stormare gives Godbrand a boisterous thrill from hunting for humans on its own, shown off in a flashback where he shouts out his own name in triumph during a slaughter. Keeping that side of the character’s personality from becoming too one-note comes back to how he’s quick to call out the holes in the pretense of Dracula’s plan to wipe out their “livestock.” His presence adds humor to what could otherwise be sullen moments in Castle Dracula. Godbrand’s role in the grand scheme of the season is minor, but he’s memorable for the time he’s given.

Operating less in dissent than subterfuge among Dracula’s court, Carmilla (Jaime Murray) arrives in the season’s second episode with her own plans in mind to seize control of the vampire community for herself. It all begins with a simple but cutting question for Dracula asked in front of the entire court, why he never turned Lisa into a vampire. She continues prodding the Lord of Vampires by questioning how much he truly loved Lisa, referring to her as his “pet” and “prize breeder” at different points. Her machinations provide the narrative thrust for the vampiric half of the season’s story. She knows the right way to get under the skin of everyone she needs to manipulate. As she works to get all the pieces where she needs them, there’s an underlying anger to her. It’s an attitude driven by how smallminded she finds everyone else’s motives, seeing the other’s in Castle Dracula as overgrown children rather than peers.

Central to Carmilla’s manipulations is one of Dracula’s human servants, Hector (Theo James.) He works in the castle as one of two Devil Forgemasters, bringing the dead back to life and transforming them through alchemy to add to monsters of the night hordes. Hector’s skill at forging comes from the art of the act itself, seen in how he keeps a large array of revived animals for himself outside of the tasks set for him. There’s a bizarre semi-detached outlook to how he views living creatures. While he sees no problem with the desecration of innocent victims’ corpses to create monsters, he still believes in the inherent value of life. His abilities as a Forgemaster letting him make life from death adding to his view that he has a deeper understanding of the true nature of life. Others seeing through this outlook to the man who simply wants to put his skills to use can manipulate him by playing on his beliefs. Dracula convinces him to go along with the crusade to wipe out humanity by lying about it’s true nature, saying the end goal is to cull humanity into a manageable size then “mercifully” treat them as livestock. Carmilla gets him on her side by saying she needs someone Dracula will hear out. She even gives him a surface level amount of respect until the moment she already has what she needs from him.

Less open to manipulation is Dracula’s other Forgemaster, Isaac (Adetokumboh M’Cormack), as his loyalty to the Vampire Lord runs deep in his soul. He’s the one person in the castle who was given the full truth of the war against humanity before it began and still dedicate himself to it. There’s no affection left in his heart for humanity after years of suffering at the hands of others, even those who should have protected him. While he denounces even the idea of love and ponders the futility of loyalty, his dedication to Dracula is unrivaled by any other alliance in this show. He doesn’t exempt himself from the “plague” of humanity, as we see him self-flagellate in order to “purify” his body and focus his mind. In contrast to Hector, Isaac’s cynicism about other people makes it near impossible to manipulate him. When he begins to see the likes of Godbrand and Carmilla question or scheme against Dracula’s goals, he sees his worldview proven correct as even vampires are susceptible to the “corruption” that plagues humanity.

Dracula values that perspective on both vampires and humanity from his Forgemasters. He values their loyalty above others as the only members of his court “not driven by thirst.” The vampire generals in the castle don’t see any values in humanity, not even the negative ones Dracula focuses on. He needs Isaac and Hector to confer with, so he has their understanding of humanity as thinking creatures, rather than as prey, livestock or pets. Graham McTavish’s performance this time around focuses in on how Dracula is past the rage that spurred his quest to get vengeance on humanity for what happened to Lisa. He’s softer spoken and sullen. His overall demeanor communicates how above everything, he’s just waiting for the end. Dracula has quick reassurances ready for those like Godbrand, worried about what the food supply will be like once the war is done, saying that they will be looked after. While Carmilla’s remarks about how never turning his wife into a vampire proves he didn’t truly love her brings out his fury. His crusade is referred to on multiple occasions as a prolonged suicide, one where he intends to take everyone else down with him. How much love and loss have changed the Vampire Lord’s outlook is shown as his present self gets contrasted with a flashback as Dracula remembers how he used to savor the detail of destruction and death. In the present, he’s willing to play right into Carmilla’s treacherous hands “as long as it brings silence.”

The other half of season 2’s story details how Trevor, Sypha and Alucard begin to grow into more of an alliance as they go to what remains of the Belmont estate to find a way to track and entrap the evermoving Castle Dracula. Alucard easily gets the most expansion in characterization this season, since he didn’t fully appear until the end of season 1’s last episode. He’s set on what he must do, even if the notion, “Honoring my mother by killing my father” as he puts it, leaves him uneasy. Carrying the weight of this mission is likely part of why he constantly goes at Trevor in their back and forth of snarky remarks. Another part of his unease around Trevor comes from how the Belmonts are vampire hunters and he’s half-vampire. When the trio makes it to the Belmont Hold, Alucard mainly sees it as a museum dedicated to the extermination of his species. By the end, his relationship with his father is what gets put up front and center during the climactic battle in Castle Dracula. Some of his angst may also be a product of him being “an angry teenager in an adult’s body”, as Sypha puts it when she learns Alucard aged rapidly growing up.

Among the trio of heroes, Sypha’s characterization this season is more of a mixed bag in terms of what I liked about it. A lot of what doesn’t work about her character this time comes down to her being placed in the role of rolling her eyes as Trevor and Alucard go through their back and forth of verbal jabs. Her getting some jabs of her own in on them both and vice versa provides some good material, on average I’d say the banter between the three of them is one of the best parts of the show, but she’s usually stuck playing the straight-man for jokes to bounce off. Sypha’s best material this season comes from her reacting to the experiences life outside of the Speakers has provided her in such a short period of time. She marvels at the Belmont family’s collection of ancient recorded knowledge, impressed enough to denounce her people’s dedication to only obtaining and passing down knowledge through memorization and oral history. Her magic makes her the main player in the plan to ensnare Castle Dracula and she finds exhilaration in her ability to accomplish that. Her more intimate, personal moments with Trevor and Alucard provide some further insights into their characters, as she tends to see right through them.

While I found Sypha’s material this season to be a mixed bag, the problem with Trevor���s characterization is that he doesn’t grow much beyond where we ended with him in season 1. There he ended with a new resolve to carry on the Belmont family legacy as monster hunters protecting the innocent from the terrors lurking in the night. He’s still dedicated to that cause now, but the way it manifests this time is the story using him as a delivery system for exposition about the history of the Belmonts as the trio spends most of the season within his family’s underground library. He’s not totally informed on everything about his family’s history, since they were driven out of their home when he was twelve, a bit of his nostalgia for happier days shines through as they approach the estate. If there are major developments for Trevor this time, one of them comes in the form of him stepping up to determine strategy during combat and other moments of peril. Another comes from his relationship with Sypha starting to show the potential to become something more, as the man with no family and the woman with no home become closer over the nights leading up to the attack on the castle. His interactions with Alucard are very action-adventure story style guys who piss each other off but ultimately earn each other’s respect in the end.

In case this amount of analysis on each major player in Castlevania season 2 wasn’t enough of an indication, this season has a lot more going on in it than season 1 did. If I wasn’t pausing to take notes as often as I did upon my second go through of the season, I know there would’ve been plenty I had missed and not all of it gets the screen time to fully develop. There are plenty of paralleling moments, themes and character beats between the stories in Castle Dracula and the Belmont Hold. The importance and power of collected knowledge is a major one and ends up tying back into an overall theme of family legacy that ties together Trevor, Sypha and Alucard as they become more of a team. The way these themes resolve in the final battle with Dracula managed to get me emotional on both watches. Castlevania on Netflix has firmly placed itself as my favorite original animated show on the platform with this season and I look forward to seeing how the threads left at the end of this one lead into season 3.