#that may or may not be bela Lugosi

[bucket-puns]

Whatever. More Eglantine because yeah💖

[lordofthesoups]

Links to films I have hanging around

Most of these are either sci-fi or horror.

Please bear in mind the age of some of these films when watching they will not be 100% cohesive to modern views.

Most of these are links to internet archive. There are also links to wikipedia and youtube.

1920s- mainly german expressionism:

The cabinet of Dr Caligari (1920)

The man who laughs (1928)

Nerves (1919)

Nosferatu (1922)

Metropolis (1927)

Genuine (1920)

The phantom carriage (1921)

The Adventures of Prince Achmed (1926) <- oldest surviving animated film 

Die Nibelungen (1924) -> i warn you it is 6 hours long. Has the first dragon ever shown on a screen though

Different from the others (1919) 

This is one of my favourite films and also the saddest film I have ever watched. It is the first film to show homosexuality in a positive light. 

The majority of the film was destroyed by the Nazis.

Definitely worth a watch if you are interested in LGBTQ history.

30s horror:

Frankenstein (1931)

The bride of Frankenstein (1935)

Dracula (1931)

M (1931)

Freaks (1932)

1940s:

The mark of Zorro (1940)

Sci-fi B movies:

The green slime (1968) <- my favourite 

Fire maidens from outer space (1956)  <- worst film i have ever had the pleasure to watch

It came from outer space (1953) <- a classic

Animated:

La Planète sauvage (english version) (1973)

Akira   (1988)

Janos Vitez (1973)

Ballerina on boat  (1969)

Experimental: 

Koyaanisqatsi (1982)

Musicals:

The rocky horror picture show (1975)

Little shop of horrors (1966) <- i am being slightly sneaky putting this here since this is actually the original film that inspired the musical 

Cabaret:

Joel Grey live (1988)

Movie (1972)

Alan Cumming at the Donmar warehouse (1993) <- my favourite 

A google drive of over the garden wall i found while getting these films

[insecthusbandry]

Bela Lugosi and Dwight Frye in The Black Camel (1931)

[muschiettistrashmouth]

MOVIES - MASTERLIST

fluff💗; Smut🌶️; Angst💀 🕸 DRACULA (1931) 🕸:

All I Wanted Was You.💗💀 The wonder of you.💗 Feeding. 🌶️

Ⓐ AVENGERS Ⓐ:

Favorite Movies.💗

Horror Movies.💗

Nightmares.

✵ CAPTAIN MARVEL ✵:

Flirting.💗

2 times Carol saved you from getting hurt vs 1 time you saved her.💗

3AM.💗

🎈IT🎈

🎈BILL DENBROUGH -

Happy Birthday, babe.💗

Richie was right.💗

𓊖 X-MEN 𓊖:

Carving Pumpkins.💗

🎙BOHEMIAN RHAPSODY🎙:

🎙ROGER TAYLOR -

Relax.💗

Car Accident.

Friends With Benefits.💗

Food Fight.💗

🎙BRIAN MAY-

Period cramps.💗

Amusement Park.💗

Constellation.💗

Ticklish.💗

📽HERCULE POIROT 📽:

I don't wanna be your friend I wanna kiss your lips. Pt2.💗

🛇GHOSTBUSTERS🛇:

🛇RAY STANTZ-

First Kiss 💗

The Best Teacher 💗

🛇EGON SPENGLER-

Push, Push💗🌶️

Credits:

THE DIVIDERS ARE FROM CAFEKITSUNE

[tuulikki]

“Well did the world depress you?”

“Very much.”

Honestly indispensable part of the ambient music in a goth dinner party

[bat-the-misfit]

gotta clean the house

hopefully erythromelalgia won't attack me this time

[rat-hand]

Who in the future is calling your name…

[tipsywench]

Bela Lugosi with his son Bela Jr

I love photos of not so glam just a dad Bela. He's got his coffee, his newspaper, his pipe, maybe a bag of snacks for him and the kiddo...he is ready to go.

[hotvintagepoll]

Congrats to the ultimate winner of the Hot & Vintage Movie Men Tournament, Mr. Toshiro Mifune! May he live happily and well where the sun always shines, enjoying the glories of a battle hard fought.

A loving farewell to all of our previous contestants, who are now banished to the shadow realm and all its dark joys and whispered horrors—I hear there's a picnic on the village green today. If you want to remember the fallen heroes, you can find them all beneath the cut.

What happens next? I'll be taking a break of two weeks to rest from this and prep for the Hot & Vintage Ladies Tournament. I'll still be around but only minimally, posting a few last odes to the hot men before transitioning into a little early ladies content, just like I did with this last tournament. The submission form for the Hot & Vintage Ladies tournament will remain up for one more week (closing February 21st), so get your submissions in for that asap! Once the form closes, there will be one more week of break. The first round of the Hot & Vintage Ladies Tournament will be posted on February 29th, as Leap Year Day seems like a fitting allusion to leaping into these ladies' arms.

Thanks for being here! Enjoy the two weeks off, and send me some great propaganda.

In order of the last round they survived—

ROUND ONE HOTTIES:

Richard Burton

Tony Curtis

Red Skelton

Keir Dullea

Jack Lemmon

Kirk Douglas

Marcello Mastroianni

Jean-Pierre Cassel

Robert Wagner

James Garner

James Coburn

Rex Harrison

George Chakiris

Dean Martin

Sean Connery

Tab Hunter

Howard Keel

James Mason

Steve McQueen

George Peppard

Elvis Presley

Rudolph Valentino

Joseph Schildkraut

Ray Milland

Claude Rains

John Wayne

William Holden

Douglas Fairbanks Sr.

Harold Lloyd

Charlie Chaplin

John Gilbert

Ramon Novarro

Slim Thompson

John Barrymore

Edward G. Robinson

William Powell

Leslie Howard

Peter Lawford

Mel Ferrer

Joseph Cotten

Keye Luke

Ivan Mosjoukine

Spencer Tracy

Felix Bressart

Ronald Reagan (here to be dunked on)

Peter Lorre

Bob Hope

Paul Muni

Cornel Wilde

John Garfield

Cantinflas

Henry Fonda

Robert Mitchum

Van Johnson

José Ferrer

Robert Preston

Jack Benny

Fredric March

Gene Autry

Alec Guinness

Fayard Nicholas

Ray Bolger

Orson Welles

Mickey Rooney

Glenn Ford

James Cagney

ROUND TWO SWOONERS:

Dick Van Dyke

James Edwards

Sammy Davis Jr.

Alain Delon

Peter O'Toole

Robert Redford

Charlton Heston

Cesar Romero

Noble Johnson

Lex Barker

David Niven

Robert Earl Jones

Turhan Bey

Bela Lugosi

Donald O'Connor

Carman Newsome

Oscar Micheaux

Benson Fong

Clint Eastwood

Sabu Dastagir

Rex Ingram

Burt Lancaster

Paul Newman

Montgomery Clift

Fred Astaire

Boris Karloff

Gilbert Roland

Peter Cushing

Frank Sinatra

Harold Nicholas

Guy Madison

Danny Kaye

John Carradine

Ricardo Montalbán

Bing Crosby

ROUND THREE SMOKESHOWS:

Marlon Brando

Anthony Perkins

Michael Redgrave

Gary Cooper

Conrad Veidt

Ronald Colman

Rock Hudson

Basil Rathbone

Laurence Olivier

Christopher Plummer

Johnny Weismuller

Clark Gable

Fernando Lamas

Errol Flynn

Tyrone Power

Humphrey Bogart

ROUND 4 STUNGUNS:

James Dean

Cary Grant

Gregory Peck

Sessue Hayakawa

Harry Belafonte

James Stewart

Gene Kelly

Peter Falk

QUARTERFINALIST VOLCANIC TOWERS OF LUST:

Jeremy Brett

Vincent Price

James Shigeta

Buster Keaton

SEMIFINALIST SUPERMEN:

Omar Sharif

Paul Robeson

FINALIST FANTASIES:

Sidney Poitier

Toshiro Mifune

and ok, sure, here's the shadow-bracket-style winner's portrait of Toshiro Mifune.

[mariacallous]

“If it should be, and he came to London, with his teeming millions. … There may be a solemn duty; and if it come we must not shrink from it.”—Bram Stoker, Dracula

A vampire must avoid direct sunlight to avoid crumbling into ash, yet few folk horrors have been subject to more scrutiny than the transformative bloodsuckers who dominate the night. A new and absolutely terrific cinematic take on the myth, Robert Eggers’ Nosferatu, has hit theaters, and its most notable element, in addition to outstanding performances, dialogue, and production design, is that this new version really amps up the lusty goth quotient. (So much hallucinatory writhing and moaning!) However, its release so close to the inauguration of a U.S. president who has stoked fears of immigrants draws out xenophobic elements inherent to the text, and an inner tension with its own reactionary origin is part of the genius of this new film.

If you aren’t a subscriber to Fangoria magazine, you may not know the Nosferatu backstory. The first version, released in 1922, is a landmark of German filmmaking that plundered intellectual property as if it were the grave of a Victorian noblewoman buried with her jewels—a fate some of the characters in Dracula think has befallen poor Lucy Westenra, before it is revealed she is actually an accursed undead demon!

Unlike his most famous literary creation, though, Irish-born writer Bram Stoker does not walk the earth a century after his death. As such, the theater manager who wrote books on the side would likely be surprised at the strength of his legacy. Dracula, published in 1897, was only a modest success at the time. It was not even the first book about vampires published in English; how it became the wellspring for vampire iconography—to the point that is used to sell breakfast cereal—is perhaps due to vivid, dueling film interpretations.

In 1921, a German film producer with an interest in the occult created a new studio (Prana) with an eye toward making supernatural-themed films, and kicked things off with an adaptation of Dracula. He hired Henrik Galeen, who co-wrote the outstanding expressionist The Golem: How He Came Into the World, to write the screenplay, and F. W. Murnau—who would later make Sunrise: A Song of Two Humans, one of the undisputed masterpieces of silent cinema—to direct. But he did not pay for the rights to Bram Stoker’s book. Instead, Galeen changed the names of the characters (Count Dracula to Count Orlok) and the location (London to Wisborg, a fictional German city), and made some additional tweaks to the narrative. The title, Nosferatu, is a word used in Dracula to categorize vampires, meaning undead. (The etymology of this word remains debated, but it may have its roots in the Greek nosophoros, meaning “disease-bearing.”)

Nosferatu: A Symphony of Horror was released to significant acclaim, but one person who wasn’t happily chomping on popcorn was Florence Balcombe, Bram Stoker’s widow. An anonymous informant sent her a handbill from the movie’s lavish premiere at the Marble Hall of the Berlin Zoological Gardens. The promotional material boasted that the film was “freely adapted” from Dracula. Balcombe took this to court, won her case, and bankrupted Prana, which was ordered to destroy every copy of Nosferatu. Clearly, this did not happen, as you can still watch the movie today—and, despite the iffy ethical origins, you should; it’s terrific.

But what Balcombe did next was key. Springboarding off the increased interest in the story (and to guarantee proper payment on copyrighted material), she greenlit a stage production. The show ended up being a hit in London in 1927, then moved to New York later the same year. That version starred Bela Lugosi. Four years later, Lugosi reprised the role for Tod Browning’s film version for Universal Pictures, the first talkie in the Universal Monsters series. It was a sensation, and Lugosi’s sharp-toothed Transylvanian is now an early screen icon on par with Chaplin’s Little Tramp.

Other Dracula movies were soon in the works—a Spanish-language version was actually shot concurrently with Browning’s, using the same sets—and have never stopped. Hammer Studios in Britain made several classics starring Christopher Lee; there’s the Andy Warhol-presented Blood for Dracula; the disco era’s comedy Love at First Bite; Francis Ford Coppola’s stylistic version from the 1990s; and then there’s Adam Sandler’s Hotel Transylvania cartoons. Moreover, Lugosi knew a good gig when he saw it. The actor reprised his role for comedy (Abbott and Costello Meet Frankenstein—and also the Count!) and special appearances (a gig on Fred Allen’s top rated Texaco Star Theater radio show is just one example), and also starred in several Dracula-esque horror titles like The Devil Bat. While Lugosi’s lines from Dracula were instantly quotable (“I never drink … wine” is certainly my favorite), behind it all was the less hokey, dreamlike silent film version of Nosferatu, sprung from illicit origins and filled with striking sinister imagery.

Shadow of the Vampire, released in 2000, imagines that the original production was cursed because actor Max Schreck, who played Count Orlok, was truly a vampire. (Willem Dafoe was nominated for an Oscar for his performance of Schreck in this behind-the-scenes comedy, which is especially amusing because he plays the part of Prof. von Frantz, a spin on Stoker’s Dr. Van Helsing, in the new film.) Shadow of the Vampire’s premise—the cover up of an unsettling (fictional) aspect of the original Nosferatu—works because, while the intentions of Murnau and company are hard to know, it is easy to see how German audiences of the 1920s could read Nosferatu as antisemitic.

The film and its source material read like a laundry list of antisemitic tropes: The Count comes from “the East,” a backwards, superstitious land. (Transylvania, while certainly a real place, means “beyond the woods.”) He has somehow amassed a fortune despite living apart from the villagers who fear and despise him. He is a non-metaphorical bloodsucker. When he gets to civilization, he immediately starts preying on women. In most versions of the story, the first woman he assaults turns into a vampire herself, then starts draining the blood of babies and children, recalling the many examples of supposed blood libel used to excuse antisemitic violence throughout the previous centuries. When the character of Mina Harker (called Ellen Hutter in Nosferatu) is finally penetrated by the count, she declares that her blood is “unclean.” The Count’s curse demands that he sleep each night in the earth of his origin, but he comes up with a sneaky loophole by packing several coffins filled with Transylvanian dirt. One way to interpret the Count’s actions is metaphorical: The immigrants are unwilling to assimilate and they taint our family lines and drag their traditions along with them from the old country. But on a much more literal level, it is quite bluntly blut und bloden, blood and soil, a Nazi rallying cry since the 1920s that, unfortunately, persists to this day.

While these symbolic plot elements exist in the 1897 novel, it was the 1922 German film that dialed them up, adding some undeniable antisemitic visual tropes. Count Orlok, compared to the Spirit Halloween-ready Count Dracula, has a hooked nose and rodent-like clutching hands, an exaggerated reinterpretation of the Count’s features compared to how they are described in Stoker’s book. (Lugosi’s Dracula from 1931 eases up on the visual stereotypes considerably, but he does wear a six-pointed star the first time we see him.)

Murnau also added a plague element to Nosferatu’s storyline. When the Count’s ship comes to Wisborg, it arrives with rats and a rapidly spreading sickness. This “verminization” goes hand-in-hand with the notion of the “dirty Jew.” It is believed that Julius Streicher, editor-in-chief of the Nazi mouthpiece Der Stürmer, was a fan of the film, and Hitler himself, in Mein Kampf, compared Jews to vampires.

So hold on a second, you are telling me that a major motion picture studio has released a work of antisemitic propaganda, and it’s in theaters right now? Do I need to send an angry letter? No, not at all. Please do not cancel Robert Eggers, one of the more brilliant directors on the scene today, whose take on Nosferatu tamps down the antisemitism. (This is his fourth film, following The Witch, The Lighthouse, and The Northman, all very sharp plays on genre storytelling, and all worth watching.). Now, Count Orlok just has a weird and striking nose, not a hook nose. He is also less of a schemer. He is compelled to come to Wisborg, as if it is part of his burdensome curse. If one were to ask, “Why make this movie again?” I’d say that, apart from the exemplary sets and performances and cinematography, Eggers emboldens the supernatural, psychosexual connection between the Count and Ellen. Yes, the town leaders of Wisborg—ostensibly the heroes—remain understandably xenophobic. But Eggers adds a top layer of tragedy, by making the subtext text: The Count and Ellen should be able to get their telepathic freak on, but the social codes of the 1830s are so stifling that even the Prince of Darkness can’t fight them. This creates a tension to the story (and its anti-immigration strain) that feels entirely new.

Considering that hardly anyone watching the new Nosferatu will be unfamiliar with vampire tropes, Eggers is well within his rights to essentially copy-paste elements from the more problematic version and build on it. The added shading, leaving the audience wondering if maybe the Count isn’t such a villain, is enough nuance to keep this from feeling like a definitive political statement. After all, the first thing you’ll likely talk about after seeing it is Ellen’s (Lily-Rose Depp) several moments of bed-ridden, prurient murmuring “he’s coming!” from a dream-like haze. For a director who has made three sharp movies dealing with the supernatural or fantastic, this story is in Eggers’ blood.

10 Vampire Streaming Recommendations

Nosferatu: A Symphony of Horror (1922), dir. F.W. Murnau: The original nightmare.

Dracula (1931), dir. Tod Browning: The birth of a franchise. Warning: Though there are many classic moments, much of this movie is dull.

Dracula Has Risen from the Grave (1968), dir. Freddie Francis: The third Christopher Lee Dracula picture, and one that likely influenced the new one—as it was, for its time, a bit on the randy side.

Blacula (1972), dir. William Crain: An 18th century African prince is transformed into a vampire by Count Dracula himself, and ends up in 1970s Los Angeles. Released during the first wave of blaxploitation films, this was the first one to get supernatural.

Love at First Bite (1979), dir. Stan Dragoti: The Count comes to groovy New York and is faced with nonstop schtick. Richard Benjamin plays the famed vampire hunter Van Helsing’s grandson, a neurotic shrink named Dr. Jeffrey Rosenberg.

Nosferatu the Vampyre (1979), dir. Werner Herzog: Before Eggers, there was this German-language take focusing on Count Orlok. A slow-paced film that goes heavy on the plague storyline, featuring a substantial number of rats.

Bram Stoker’s Dracula (1992), dir. Francis Ford Coppola: Gen X Dracula, with Winona Ryder, Gary Oldman, and Keanu Reeves.

Thirst (2009), dir. Park Chan-wook: Not a Dracula film, but an unpredictable spin on the vampire myth from one of South Korea’s great filmmakers.

Only Lovers Left Alive (2013), dir. Jim Jarmusch: Cinema’s king of deadpan cool presents artists and rock musicians as vampires eternally on the fringes of society. (A documentary?)

El Conde (2023), dir. Pablo Larraín: Perhaps of particular interest to Foreign Policy readers, this Spanish-language picture, available on Netflix, suggests that Augusto Pinochet was actually a vampire, and takes it from there.

[nerdynonbinarylife]

The German Aziraphale & Crowley

Okay, hear me out. I know it sounds a little weird, but these two idiots are perfect. May I introduce to you the guitarist and the drummer of the German punk-band 'Die Ärzte' (which translates to 'The Doctors' which is funny cause - you know - David Tennant was...Where was I? Oh, yeah! So!) Farin Urlaub

loves books (he is being called 'The intellectual of the Band' from his Band members)

loves tea (even drinks it while being on stage)

speaks several languages (including german, english, french, spanish, portuguese, japanese and italian)

'chronically positive'

cute smile

Bela B

Farin's gothic (husband) best friend

Dark and unique fashion sense

called himself 'Bela' after Bela Lugosi aka Dracula

Sex, Drugs and Rock'n'Roll

sexy as hell

Facts about Farin & Bela

known each other for a long time (they became friends as teenagers)

absolutley different but share the same opinions and humour

flirting - like - a LOT on stage and in interviews

There were a few kisses but all footage of it is blurry and not enough

Thanks for reading.

Oh, and since I didn't even mentioned the bassist of the band here's a GIF of him. He's cute. He's my Muriel. :3

[paperbackribs]

for the 'Eddie freaks out over How to Survive a Werewolf Attack' post and those who missed the upload on Ao3, this is the second part of the chapter from Steve's POV, with a little protective stobin to delight

🦇🐺🦇🐺🦇

Steve leaves the pulse of the woods behind him as he emerges from the trees that abut his backyard. He’d smelled Robin long before shifting back into his human form, the sharp mint of her shampoo mixing alongside the sweet earthiness that he now attributes to family. Never having had one, he nevertheless knows that the combination will always mean sister.

Circling the pool, its night lights cast an uncanny, rippling blue across the surface, he heads to where she sits under the warm yellow lights, propped on her elbows against the wrought-iron patio table. In her cupped hands rests a book with an overflowing tree protectively sheltering a dog and her pups, Woman and Nature carefully inscribed above them.

She stirs as he approaches, inserting a receipt between the pages to save her place and resting it beside her. Looking into her concerned eyes, Steve grimaces. “Well, that went well,” he says lightly, feeling the need to inject some humour into the memory or he may be tempted to dwell on the ache that wants to rise instead.

Robin’s face softens and he knows that she can feel his hurt even without him saying it. They’re so connected sometimes that he wonders if his wolf forged something with her when they’d sat there, bound and interrogated by Russians, only able to depend on each other. “He was a little freaked out from the unexpected is all and he just needs to get used to the idea before…”

She trails off and Steve finishes her sentence, “Before he can be in the same room as me? Robs, the guy practically had a panic attack on my mother’s Giorgetti rug. I could smell his fear: he was terrified that I was going to eat him or something.”

Robin’s lips firm as she drums her fingers over the book cover, “Yeah, well, that’s his problem. After you left, we gave him the rundown; that you’re just a normal wolf—”

Steve snorts: there’s nothing normal about his transformations at all, but Robin ignores him to continue, “—and hopefully if he’s affected by the bites then it’ll turn him into a normal bat too.”

“And how’d he take that?” Steve asks curiously.

“Oh, another meltdown,” Robin says blithely, “He’s now convinced that he’s going to turn into Bela Lugosi and will be prowling the night for his victims before we know it.” Steve laughs despite himself, already able to imagine Eddie making exaggerated gestures in the middle of the group.

“Did he hiss like a vampire?”

“Nah, but he did do that thing, you know with the cape?” She shields half her face with her forearm as if hiding menacingly behind it. Fond amusement fills Steve, as if often does when faced with Eddie’s dramatics only for it to quickly drain away at the reminder of how drastically he had taken Steve’s shift.

Robin notes his change of mood and scowls at an absent Eddie. “Scaredy-cat,” she mutters darkly, “Should have called him a scaredy-bat to his face.”

Steve chuckles and leans forward to gently tug on a lock of her blonde hair, “And then give him my nail bat…”

“So, he’d be a scaredy-bat with a nail bat that lost his bat-le shield.”

Steve waggles his hand in a so-so motion, “Could use some work.”

“Oh, screw you, buddy, I did all the work,” Robin’s eyes dance with humour even as she pokes him with a sharp finger at his ribs. Steve squirms away, “I gave you the nail bat!” He mock protests before the image of Eddie’s wide and terrified eyes crosses his mind again. He sighs, “Do you think I should avoid him for a while? Let him get used to the idea before springing myself on him again?”

Robin leans back with a too wide smile, its awkwardness immediately transparent. “What?” Steve asks suspiciously.

Her brow furrows in an apology that gives lie to the smile, “We’re meeting back here tomorrow. El thinks that she might be able to lead him through a change if he’s got it in him, and we all thought it better to get the potential of it all out of the way before Eddie devolves into one big puddle of fear.”

Rubbing the bridge of his forehead, Steve sighs, “So, not only is he freaked out by the sight of me but I’m going to see him in the next twenty-four hours.”

Robin looks at her bulky men’s watch with a grimace, “More like twelve. We figured that we should get it over sooner or later, and this way he can work out whether he wants to freak out over being a bat or a vampire.”

“Or neither,” Steve points out.

She shrugs, “It seems unlikely, right? Correlation doesn’t equal causation, and you may be the outlier, the one cool weirdo out there.”

“Thank you,” he says dryly even though he does appreciate her positive spin on his furry little situation.

It had been months after the events over Halloween, when he’d been bitten by a demo-dog, that he’d started to notice the first few small changes. At first, he’d been convinced that it was the world that had transformed: smells becoming deeper, sights becoming sharper, but after one night where he had been panicked to find that his feet were no longer so far away, and suspiciously clawed, that he’d come to the realisation that it was his senses that had evolved, not the sun or the trees or the perfume of his history teacher.

The kids, while excited, had been very little help, but their encouragement had made him feel less alone. He took Dustin’s attempt to turn him into a science experiment in stride and as an extension of the little butthead’s support. But it was when Robin had been brought into the Upside Down fold that he’d felt truly embraced.

Surprisingly, rather than turning to books and research, she’d listened to him instead. Asked Steve what he wanted to be called when he was turned and let him talk about the oddities and freedoms he’d found in this new version of himself.

Steve had already known that the wolf would be a part of him forever, but Robin’s role in his life had cemented that feeling into a bone-deep acceptance, an understanding that he wasn’t weird or wrong for his new transformation, but that it was simply another part of Steve. Or Furry Steve as Robin would gently tease him.

“Are you staying over?” He asks now, watching her smother a yawn and nod in agreement.

He stands, waiting until she walks through the door before flipping the light switch off, the flurry of moths above flutter in confusion at the sudden darkness. “We can practise some more on the way home tomorrow if you like.”

Robin had gained her license a month ago, but with no car to drive Steve was building her confidence by having her drive his. She often teased that their love was a true one since she’s the only one allowed to touch the bimmer.

Wrapping an arm around his waist, they walk through the kitchen and head to his bedroom in unspoken agreement. “That’d be great. Do you want to wolf-out or be on your side of the bed,” she counters sleepily, leaving her book on the counter as they pass.

He hums, thinking. Months ago, after they’d worked out that the Upside Down nightmares were better handled when they knew the other one was in the room, Robin had struggled with having Steve in her bed.

It’s not that he wasn’t welcome, she’d reassured him, or wanted, she’d said with a haunted expression, clearly thinking of having woken up silently screaming not moments before. But having his skin touch hers made her irritable in a way that she had no explanation for. Fur, however, was fine.

Since then, if Steve needed cuddles he was allowed to wolf-out, as they decided to call it. Once transformed, Robin had no problem with Steve’s fur covering her skin; rather, she quite liked the partial weight of his body.

He thinks that tonight he’d like the reassurance that there is one person who is not only unafraid of him but likes the differences that make him not-quite-human.

“Wolf-out,” he responds, letting go and allowing the wolf to unfold. The sweet musk of the kids sharpens, even with them having departed hours ago, as does the appealingly darker scent of Eddie, although it is bitterer than it normally is as if his fear had saturated the small space.

His tail drops sadly at the reminder, but Robin distracts him with scritches behind the ear before leading their way up the stairs to his bedroom. Steve pads behind, happy to have a friend in Robin and determinedly putting Eddie out of his mind for the rest of the night.

If you enjoyed any of this drop me a comment over at Ao3, it'd make my day! (fic now titled Swift Wings and a Brave Heart)

[goblins-riddles-or-frocks]

If fighting vampire nazis, gore and guns wasn’t the focus of hellsing, what do you think the actual plot/main conflict could have been? I came across a post where you said alucard is wasted potential so … what kind of plot would show his potential? Also, what kind of a character arc do you think he should have had in a better and more thoughtfully plotted hellsing

Well I wouldn’t say the story isn’t thoughtfully plotted out :C

Like yes, it’s an over the top, campy, gorefest that makes no sense, but it succeeds in what it’s trying to do basically. I think it is genuinely, astonishingly good in a few ways. Hirano is fantastic at pacing and using his panels to give the impression he wants— when he bothers. And it’s surprisingly sound when it comes to structure and thematic motifs? The external plot is bonkers, but the way it handles these characters dealing with/being consumed by their pasts, and the way it uses vampirism/monstrosity as a metaphor is really solid.

Hellsing’s main thematic argument is one of comparing monstrosity and humanity, and pitting them against each other.

All the relevant monsters in Hellsing are presented to be unmoored, destructive, and unable to cope with the present in a meaningful way. They are defined by being incapable of moving beyond their pasts, so they seek out as much destruction as they can until they finally find something that can destroy them in turn. (This is consistent throughout the series but most clearly stated in volume 9)

All the monsters presented in Hellsing grapple with the inability to move on. Explicitly, Millennium’s entire raison d’être is bringing about a final “glorious” war they can die in because the modern world has no place for them anymore. They fight with fucking zeppelins. They’re relics.

Seras’ fight with Zorin hinges on a flashback, digging up all the trauma she never confronted. Walter and Alucard’s final battle is entirely about their history, and it has both of them looking like they did during the Dawn era.

Meanwhile, when Anderson uses the Nail of Helena (directly following the unraveling of Iscariot, and the death of Maxwell, who may as well have been his son), that is him refusing to cope. That is what drives him to monstrosity, to self destruction. That’s why he dies.

And Alucard, as the de facto protagonist, has spent the entire plot with the single motive of finding someone worthwhile to defeat him. He has no personal motivations outside of doing whatever Integra/Hellsing tells him to, and just… killing things for the love of the game until he eventually, finally dies. And his past hangs heaviest on the series. The entire present state of the series basically hinges on the shit he did as Dracula. The one thing we know about this guy is that if he could, he would very much like to die while killing things lol.

Anderson is meanwhile his main foil and most strongly represents the past/the siren song of death to him. He’s suspiciously similar in appearance to Van Helsing in the Bela Lugosi movie (despite Van Helsing looking different in the series itself) Meanwhile each encounter with him is immediately followed by a flashback, and then in that final fight Alucard ends up confronting his past human life.

And he almost gives up during that last fight, until Seras (a representation of the present and future) rouses him out of it. That’s his first real choice to move on. But it’s also established that eventually his past is going to catch up to him, and outweigh his future. It’s treated as a foregone conclusion, even if he’s not to that point yet.

So the Schrodinger thing at the end is really interesting. Because bullshit anime logic or not, the point is that he explicitly has to kill every single familiar he’s accumulated over the centuries, in order to exist in the present. Even then he’s “everywhere and nowhere” (lmao. whatever) which basically gives him the option to fizzle out of existence? So the epilogue existing at all, despite my various annoyances with its writing choices, is an interesting culmination of his arc! He chose to come back to his silly little found family when he really didn’t have to! I like that as an arc.

And in any sort of restructure I would want that preserved, even if the entire plot isn’t conveyed through boss battles. Anyway I’ve said for ages that I would want a monster of the week version of the series, so probs something like that.

Something with like the BTVS (or Supernatural lol) classic structure of small fry enemies per episode that culminate in a season arc/big bad. The ideal tonal and stylistic comparison would be X Files, but their overarching narratives famously sucked lol. Anyway I just would’ve liked a procedural vibe like that. I think the implications of Integra taking over the Badrick situation in the first volume is really interesting. And Seras being a police officer who was super not in the know— when higher ranking people are— was something that could’ve been explored in much more depth. I would’ve loved to see her as a recurring character in their like procedural episodes who keeps brushing up against this weird paranormal leaning stuff she doesn’t understand, until she finally gets involved in something that goes wrong and has to be turned into a vampire (ostensibly to save her life… but maybe to keep her quiet)

I also would love more intra organization drama that doesn’t result in immediate blood shed lol. We’re told that Iscariot and Hellsing have clearly mapped out jurisdictions based on majority religion, and treaties and diplomatic relationships, however strained. Maxwell going “fuck your treaties” is apparently a new thing, so like how does that go! What are the repercussions! What brought this on! And like are there any other similar organizations abroad? Are there team ups? I would like there to be team ups.

Meanwhile the existence of the round table implies that… the entire UK government.. is a sham? That they’re actually living in a secret feudal society? I want to know about the families and the politics and the very likely cartoonish degrees of corruption! The original Studio Gonzo show, very poorly, implemented a plotline where Hellsing became too much of a liability and the Queen specifically decided (lol) to have them publicly labeled as a terrorist organization and arrest everyone involved, pretending that they never had any government ties. That was fun! I would like a good version.

Or like it’s set in the 90s, let’s talk about how much harder it’s going to be to keep the supernatural quiet with the rise of technology, and the Internet. Like idk there’s room for a lot! I would basically just love to see a more sprawling version of this story and world.

My main issue with Alucard also is just that he’s so overpowered physically, that it seems like a waste to always put him in fights where he is 100% no question going to win. Putting him on a ship because the plot simply wouldn’t happen if he was there is 😭😭😭 I think we can have some boss battles, gore, and body horror, bc that is fun. But he just needs more restraints. I’d put more focus on him answering to Integra, who in turn answers to the slow moving machine that is bureaucracy, and just not let him do as much, and with severe consequences if he gets too out of line to maintain some stakes. Meanwhile, having a more mystery procedural approach would’ve balanced things out a bit more imo!

[bezkinechnanudga]

I watched Dracula 1931, the one with Bela Lugosi and found it kinda passable, average 6out of 10 experience.

Kinda funny that Count mannerisms were made to make him creepier, but in the end, he just looks a little bit autistic to me.

BUT!!! May I talk about the best part of this movie, that is Renfield with his thirties German decadent actor swag. Just look at him

He is everything any modern art enjoyer would need: insane, pathetic, dramatic, and queer. The fly eating babygirl that I didn't know I needed.

Look at his little gay walk:

Me when my master promises me millions of rats:

[weirdlookindog]

Vampira and Ed Wood in "Bride of the Monster" benefit for Bela Lugosi at the Paramount Theater, Hollywood, May 11, 1955.