#rose allowed

[the-crooked-library]

Nuance, Narratives, and Nosferatu

As of today, Robert Eggers' Nosferatu (2024) has only been in theatres for 4 full days; and, coincidentally, that is about as long as I am able to let my thoughts marinate before they demand to be communicated. Before going into any further detail, let it be known that this film was made by freaks for freaks; it exists for the goths, the gays, the monsterfuckers, the historians, and for all those who delight in moral and thematic complexity.

With that being said - spoilers under the cut!

There are two principal narratives running through the flesh of Nosferatu, both of them rooted heavily in the cultural and literary origins of the story. It is a nightmare; it is also an erotic fantasy. It is horrifying, and it is also achingly romantic. From what I've seen so far, the vast majority of discourse that has already emerged around the film is caused by people misunderstanding or deliberately ignoring the relationship between these different lines of analysis; so please trust me when I say, from the bottom of my heart, that this duality is the very lifeblood of the movie.

The reason for that is, quite simply, that Nosferatu is a gothic horror film, set in 1830s German Confederation; and its plot relies on the same (sometimes contradictory) complexities often displayed in Victorian gothic fiction.

From the beginning of the movie, we are given to understand that Ellen Hutter met Count Orlok - the eponymous nosferatu - psychically, when she was very young. They spoke, she pledged herself to him, and was horrified to realize what she had done when he revealed his true visage to her in their first visual (and sexual) encounter.

Here, under the lilacs, the paths diverge.

The first reading of the film is perhaps the more straightforward. A young girl is essentially catfished and groomed by a much older, dangerous man. When they meet for the first time, she is a teenager; the lilacs that bloom where it happens become a trigger. He is the source of her madness and "melancholy" (depression), she has nightmares about him regularly enough that her husband is aware of them, and it is implied that she has been institutionalized in the past. Thomas Hutter is the physical representation of her one desperate hope for a normal life - but as the story progresses, she finds herself being denied even that. Orlok's psychic connection with her verges on demonic possession; in chilling, The Exorcist-inspired sequences, she writhes and mutters, prophesying a city-wide reign of death and terror. In pursuit of his claim on Ellen, Orlok terrorizes her husband, murders her friends - and, eventually, she gives her life to take him with her to the grave, saving the city from the plague he caused.

That is the horror element of Nosferatu; it deals with an exploration of childhood trauma, of PTSD, of difficulties maintaining a social life after the fact. It is easy to understand even from a modern viewpoint, and it pushes the film to its conclusion with a bleak, heart-wrenching punch.

The horror is not the only element of Nosferatu.

To contextualize the alternate - though just as correct - reading of the film, it is essential to understand that Ellen’s society was extremely sexually repressed, especially in regards to female and queer sexuality.

Both were severely medicalized, demonized, and restricted; and as such, when these topics do make an appearance in contemporary fiction, they are often inextricable from disgust and fear.

Dedicated as always to historical accuracy, Eggers maintains the same setting-based narrative coding.

In anticipation of morality arguments vis à vis monstrosity, depiction, and modern purity culture, let me clarify: this is something that works within his chosen genre. Horror, and especially gothic horror, invites a deeper analysis in regard to morality and motivation, and in this case, Eggers' homage to the origins of that genre grounds the narrative in its time and location, as well as fleshing it out much further than a purely modern cultural lens would permit. In this context, the details of Ellen's connection with Orlok become paramount to the understanding of the film.

As bits and pieces of their background become revealed, the audience realizes that her psychic gift did not begin with him - and neither did her melancholy, or her isolation. She was born with her abilities, and throughout her childhood, she was a bit of a tomboy by her contemporary standards, running wild in the woods near her father's property; however, once she foretold her mother's death, and once she was too old to get away with eccentricities, her father became frightened of her abnormality. She was isolated, confined indoors, and that is when her melancholy had begun. Painfully lonely and aching for some form of companionship, she called out into the ether; and Orlok responded.

Over the course of their story, he becomes the physical manifestation of everything Ellen perceives as dark and sinful about herself.

He is psychic, he is vicious, possessive, and blatantly sexual; her sensual affection with Anna parallels the evident and physical attraction he displays towards Thomas; and the social power he so easily commands is the same that she lacks, being a woman in a rigidly patriarchal society.

In the end, the severely questionable age gap, the murders, the coercion, the betrayal - all of that comes down to respect. Throughout the film, that is the one thing that Ellen is consistently denied. She is young when she meets Orlok, yes; but she is aggressively infantilized by her surrounding society even when she is a grown, adult, married woman.

It starts from the beginning of the film, when the Hutters visit the Harding family. During those scenes, the men are shown talking business - while the women play with children in the parlour; and the same social framing persists into the body of the film. When Ellen is suffering from what appears to be some form of mental illness, she is referred to as a child by multiple different characters; and when the condition progresses, she is swiftly diagnosed with hysteria and drugged - thus being forcibly removed from the discussion of her own illness. The general reactions to that illness - which is, in fact, a display of her psychic abilities - range from annoyance to fear to curiosity; it is seen either as a disability or a curse, rather than anything entirely innate to who she is. Her fears are dismissed. Harding tells her to learn some deference. Even closer to the finale, when Von Franz admits that she could have been a great priestess in another age, he does so with pity rather than anything else; in their industrial era, he cannot help but see her only as a tragic sacrifice - horrible, but necessary to save the city from a plague. Brought in to heal her, he instead guides her to her death.

All these aspects of Ellen's circumstances find a direct opposite in her relationship with Orlok. Unlike all other characters in the film, he only ever sees her as his equal, which is made even more evident when his interactions with Thomas and Herr Knock are brought into consideration. With both men, Orlok insists on being addressed by his lordly title, "as his blood demands it"; and yet, Ellen never calls him by any title at all, be it "My Lord" or even a simple "Herr." She argues with him freely, and there is a familiarity between them that he is demonstrated to never tolerate from anyone else. Similarly, while he disguises the covenant he makes with Thomas, the terms of his covenant with Ellen are laid out clearly, in full. He does not hide from her; she already knows the worst of him, the same way he knows that she is intelligent, that she is powerful, and that she is not meant to be demure and deferring. Again and again, Orlok insists that Ellen is not meant for humanity - and the true horror, the horror she cannot bring herself to face, is that he is right.

In a sense, he is a mirror held up in front of her own face. Ellen is painfully aware that she does not fit in, and that she never has. The "normal" society, epitomized by the Hardings (wealthy husband, pretty blonde wife, 2.5 kids), has no place for her - and actively dislikes her.

The film makes this ostracism impossible for the viewer to ignore. As the story progresses, it becomes evident that the other human characters - even those that do sincerely care for Ellen - never truly know her. Anna loves her, but wishes she would not talk of dreadful things - and lashes out as a result of that discomfort, scolding her. Sievers finds himself bewildered by her; Knock sees her as an object to trade; Von Franz pities her, Harding hates her, and Thomas cannot truly satisfy her, even after being touched by the supernatural himself.

Seeing a flash of a monstrous face while they are together, he flings her away. To him, his experience with Orlok is merely traumatic, and he wishes for nothing more than to leave it behind. However, to her, it is something she cannot help but crave; and she continues to wear her lilac perfume.*

All that to say - Count Orlok is, simultaneously, everything Ellen wants and everything she is terrified of being.

That specific dichotomy reaches its climax during their mutual finale. As it is to be expected from a vampire wedding night, they rejoin in a sequence of sex, blood, and renewed vows - and what is particularly notable is that (unlike Murnau) Eggers makes it clear that this Orlok never intended to kill his Ellen, despite his inability to resist her blood. Though he drinks from her through the night, he stops at cock-crow; and she guides his head back down herself, distracting him long enough for the sun to rise. It is a duet of accident and intention. He drains her; and she holds him as the sun drains him. They cling together as they end - on a bed that serves their wedding and their death.

It is romantic. it is unquestionably romantic. However, that does not mean that the horror isn't also present; Ellen's consent, under these circumstances, is highly debatable, and Orlok is cruel, amoral, and murderously possessive. At the same time, the characters are also acting out folkloric archetypes, with precious little adjustment to that framework - which further removes them from a modern understanding of morality. He is Death, a Koschei the Deathless, a monster; she is the Maiden, a Vasilisa, a damsel. I hesitate to liken them to the Beauty and the Beast, largely because in the original premise of that story, the Beauty falls in love with the kindness that the Beast consistently displays; and it is essential to stress that Orlok has none. He does care for Ellen, in his own way, but he admits to being incapable of love as she defines it in human terms;** and, curiously, that seems to be her primary concern when it comes to the idea of accepting his proposal - rather than all the blood and carnage.

What I'm trying to say, I suppose, is that there are multiple ways of following a story, and multiple different stories in a film as nuanced as Nosferatu. Yes, it is about grooming and trauma. Yes, it is about finding love outside of the cage that is "polite society." I'm sure that it is many other things besides, with as many meanings as there are people in the theatres; after all, I am only one person, and the film grossed something over $40M in its first three days. The point is, really, that this is a story in which a rotting vampire is woken from centuries of deathlike slumber by a lonely voice asking him to be her friend; and whatever these two strange and aching souls do with that can go down any myriad of paths. The film trusts the viewer to interpret the narrative they choose.

* LILAC PERFUME - in fact, it is such a consistent favourite of Ellen's that Orlok smells it on her hair in the locket she sends with Thomas to the castle. Thomas never really learns the reason she likes that scent - even though he knows that preference well enough that he gifts her lilacs in the beginning of the film.

** ORLOK'S OBSESSION - this is a side note, but: the vampire wedding sequence reminds me strongly of the third season of NBC's Hannibal. I suppose that was to be expected, considering that Hannibal is also a Dracula offshoot, much like Orlok himself. When Ellen snaps at Orlok that he cannot love, he responds that "no; but only with you, I can be truly sated." Similarly - "Is Hannibal in love with me?" asks Will; and Bedelia responds - "Could he feel a daily stab of hunger for you, and find nourishment at the very sight of you?" I'd say if you liked that series, you should try and see the film. It works with a familiar blend of aesthetic horror.

[vulcan-moon]

"he did not say that!" "he did, and then--"

anyways, girlies gossiping

[rosesbleachblondehair]

It is interesting how fandom understands that Rose influenced the Doctor to heal after the Time War and that she changed him for the better, but when it comes to how Rose shouldered the trauma of a veteran who came out of an incomprehensibly horrific war and how the first place that veteran takes her is to see her own planet get destroyed and how later she stands between that veteran holding a gun and a Dalek (she even has dialogue explicitly pointing out that the Doctor is the one who is pointing a gun at her), nobody in the fandom thinks about how any of that would have influenced and changed Rose.

It’s all why is s2 Rose different from s1 Rose? instead. And I think there’s an answer for why she’s different right in front of you.

[stardella]

Me when I love

[chaikachi]

"Look, whatever you're thinking... do me a favour. Don't let me go."

rosegarden transistor au because them being separated in canon isn't enough. i need to make them yearn in alternate universes too, apparently.

[head---ache]

alexa play circus by britney spears

[miss-fortune8]

Ignore any instances of handwriting please </3 it sucks normally but drawn with my finger on a cracked phone screen is a million times worse.

[wallflowers-in-the-wind]

Tarquin going off on Feyre will always be my favorite scene in this series. Mainly because he tells Feyre off for her horrible actions and refuses to allow anyone to defend her. The attack on his court was caused by her. She brought the war to his home because she was too busy getting back at Tamlin and destroying the Spring Court to think that her actions may hurt someone else. Even Rhysand’s pitiful attempts to defend his ‘High Lady’ don’t work because there is no excuse for the Night Court’s actions against the Summer court.

Unintentionally or not actions have consequences and for the brief moment of Feyre realizing how much she messed up I was happy to see someone else not bowing down to every little thing Feyre did.

[evie-doesnt-write]

I don’t know how to say this exactly but like… fandom and show are kinda weird about Mel and Ekko and it is very much rooted in racism

[reegis]

✨mechanisms character designs!!✨

lyf gets to be blue because i said so

who else should i draw!!!!

[juanarc-thethird]

Jaune Is Not Allow To Drink Alcohol (Extra)

What happens when Jaune sobers up again?

Jaune: *Wakes up in the middle of nowhere* Oh shit, where am I? *looks around* Oh, it doesn't matter. In the same way we never have control over the direction of our lives. No matter how hard we try, we can't go exactly where we planned. But that's not so bad. You just have to accept where you are, because it's your reality. And instead of worrying, you have to try to be more comfortable with your lives. Always reflecting on what is best in the long term. Although there are also those who have to do this on a legendary level of life. Really, if you stop to think about it, your situation could always be worse. So you have to be thankful that it's not like that and keep trying. After all, the only reason I see in life is to enjoy it. When the time comes to stop your lungs, you can leave knowing that your body had a good life.

Meanwhile:

Nora: *Shaking Ruby* HAVE YOU SEEN JAUNE?!

Ruby: *Turning green* I think I'm going to throw up

[thatnununguy]

gradient maps <3

[yoomschoocs]

Some team RWBY warm-up doodles that I ended up using as experimental coloring practices!

The process of this was a messss but hey you gotta learn somehow :)

[seldompathic]

"Did you see him at all..before..?"

Delivering the news that Tails was gone was never going to be easy, but Amy still felt wildly unprepared for the way those emerald eyes all but shattered.

[huang-er-jiejie]

[atwas-gaming]

I've had a scenario in mind for a while now about what it would take for Sonic to finally own up to his feelings about Amy. And I think what it would take is...

Shadow.

Well, just plain jealousy and a fear of losing Amy before he even has her. But Shadow would be the best one to instigate it.

First, some headcanons about how they behave romantically:

Amy's maturing and spreading her wings. She's not moving on from Sonic, not really, but it's possible that she's starting to notice other guys. There's some hints in the Twitter takeovers that she may be developing some small interest in Shadow.

Sonic is clearly interested in Amy, and if you pay attention, he has been for a long time. What he's not interested in is marriage- at least, not yet. And Amy is clearly wifey material- she cooks, she takes care of people, she has a caring nature, she's protective, and she's extremely loyal. She's not someone you can use for a one-night stand, you take all of her or you risk shattering her into pieces. She's Sonic's friend, no matter what else he may feel about her, so he avoids any romantic interaction because he doesn't want to hurt his friend.

Meanwhile, Shadow is... not aro-ace, per se, I don't know what you'd call him. He can see that Amy is attractive, but so is Rouge, and Shadow has no interest in Rouge. He just isn't interested in the physical side of romance.

What I think it would take to get Shadow's attention is something deeper, an emotional or spiritual connection.

So here's the Sonamy/Shadamy love triangle scenario that I came up with:

As Amy ages, she feels her desire for male companionship growing stronger. Sonic takes little notice of it, but it doesn't escape Shadow's attention.

Somehow or other, Shadow and Amy end up alone together, probably on a mission or something. I haven't figured out the exact circumstances, but they're together for quite a while. Amy loves to talk to people and get to know them, and Shadow has a soft spot for her, so she's able to get him to talk to her about things that he's probably never told anyone before. And he knows she won't tell anyone about them, either, so he feels safe telling her.

At some point, Shadow realizes, she's done it. She's broken through his barriers, and at the same time, she's calmed the storm of emotions that he's had swirling inside him for 50-odd years. He hasn't felt such peace since... no, not even then. This is something else. He's never felt this way before, and he doesn't have the words to describe it, but he's fallen head over heels for her.

This is why he never lets his guard down, even around the people he trusts most. Because if he lets them in, even a little bit, he might let them in too far. ("Can you see all of me, walk into my mystery, step inside and hold on for dear life.")

He loses control of himself and kisses Amy.

And when he lets go, he instantly hates himself, he starts throwing his barriers back up, because... she's crying. She's crying because she liked it, and she wants more of it, but she's still so desperately in love with Sonic, and she's starting to think she'll never get it from him, so she'll accept affection from just about any man, and it's not like Shadow's unattractive, and, and, and...

So Shadow's raw and open and hurting, he knew before he said or did anything that he was going down a dangerous path, but talking to Amy felt so good he didn't want to stop. And he wants to erase what just happened like it never did. But now he has to be the one to comfort Amy, because this was his fault, Amy was just being the kind and compassionate person she always was and Shadow was an idiot for letting it get to him and making more of it than what it was and losing control. So he has to keep his barriers down for just a moment longer, just long enough to hold Amy and tell her it's not her fault, until her tears finally stop.

It leaves Shadow burning with rage, and as soon as he can, he forcefully confronts Sonic (I imagine Shadow slamming Sonic against a wall or a tree and shouting in his face 😝) and basically tells him, "Amy needs attention from a man, she wants that man to be you, but if you can't grow up and do what it takes, then I'll be more than glad to take your place."

Which scares Sonic good and proper. It's bad enough to think that he could lose Amy, anyway, but to lose her to that faker??? And it finally makes him go to Amy and (very, very awkwardly) ask her to be his girlfriend. And... I'll let y'all imagine the rest.

As for Shadow... he, quite understandably, becomes somewhat aloof towards both Sonic and Amy for a long time after that.

But Shadow's immortal, right? And there's other Amy's in the world. He doesn't have to be alone forever.

Oh, and as for why Shadow would confront Sonic instead of just taking Amy for himself: because he respects both Amy and, especially, himself far too much to do that. He knows good and well she will never be able to fully commit to anyone else as long as Sonic is still an option. If Shadow was to start dating her, she'd go along with it, but it would become a power play between him and Sonic to try to "win" Amy's affections. Shadow has no issues with fighting Sonic over just about anything, but when it comes to his own feelings, he won't stoop that low, and he's not about to hurt himself by playing such a game. I also don't think he would view Amy as "a prize to be won."