#the woman in white

[shallowseeker]

Up and down the stairs; away and towards safety

"Run. Take your brother and go! Now, Dean!"

(The story is after us, Dean. It's after Sam.)

We hear the warning again later in the episode, with the overlaid message from John: "I can never go home" & "We're all in danger!"

And the thing is, they are in danger—all of them—from the story itself. The road, then, becomes armor, and motion becomes safety, insisting that they keep moving. Being in one place? That's what kills them. The idea of going off-road functions like a temptation, a lure. The safety of home is just an illusion.

///

Shelter is down

Even in the pilot, Dean is quite literally a marked impala, a prey animal, always on the run. I really love the contrast of Mary and John running "up" towards the fire and little Dean running away, visually "down," away from the fire.

In trying to escape the fire, Dean descends to safety. It is this need for safety (and the safety of his loved ones) that in a very real sense eventually drives him towards Hell.

///

Later in the episode, we see Dean descend the stairs again, when he's leading Sam away from Sam's apartment (an apartment that has been, unbeknownst to them, marked for death by Azazel).

"Going down" will be a mode of movement that follows Dean pretty much his whole life. Dean goes down into the valley, into the shelter, into Hell.

Dean remains on the move for much of his life, but when he does get a true home of his own, it's underground. When he's on the run from Billie/Death in 15x18, he plunges further still, deeper underground, until he loses the love of his life in his safest spot: the bunker's dungeon.

///

Until then, the car is the safest spot they've got.

But the narrative is at work, trying to take control of the car; trying to chisel and shape its targets the way Constance tries to chisel and shape her targets.

When the car charges them on the bridge, Dean is frantic to get out of the way, diving "down" off the bridge, into the safety of another road—into movement, the churning river.

Meanwhile, Sam keeps hanging on. Sam's Taurus-like personality and stubbornness means that he's always trying to cheat a rigged game. Sam tries to stay in the "high place" and not get burned.

Sam monkey-arms and contorts himself to stay on the bridge...

...and Dean comes crawling out of the river like a drowned rat.

///

We see ups and downs for Constance's family, too.

Sam forces her to go home, taking control of the car (narrative) and hurling her into her ruined, dilapidated house.

Inside, she's faced with her guilt: and her guilt is up.

The deceased family members are upstairs. They went up, but they never came down.

These children have obviously been paralleled to the pain that Sam and Dean go through at the hands of John's cruel overpreparedness, but these two are also an off-key echo of John and Mary's innocence.

The narrative killed its "first children." Mary's body was consumed alongside John's faith in the future. They are the ones who went "up" and were murdered (Mary) and damaged (John).

///

In many ways, Constance's story is a study of opposites to the Winchesters.

Her first children were drowned. The narrative burned its first children.

Dean's mother Mary ran towards the danger (and we will see she continues to haunt her house as a supreme protector of children). In contrast, Constance runs away from her house. She killed her children.

Constance's ghost is out to prove that deep down, everyone is flawed, operating in a Luciferian mode of engineered hopelessness. She haunts the road in a Trickster-tempter-style of hunting, not just preying on "unfaithful men," but trying to prove that in fact, all men are scum, i.e. "Even if you're still faithful, I'll make you unfaithful."

Many of SPN's villains are out to bring out the worst in people; the writer's task is to prove that anyone (everyone) will break under the right circumstances:

KEVIN TRAN (APOCALYPSE): Michael doesn't want to kill you. He wants to break you. He said for me to tell you that, 'Even if you win, you still lose.' I'm sorry. 13x20 Unfinished Business

We get this from Chuck too in 15x09 The Trap, as he works to drain Sam of all hope.

CHUCK: Um, short version – Sammy lost hope, and now I'm free. Hey, take it easy on the kid. It took a lot to beat it out of him. [Chuck crushes the sphere, destroying the spell] 15x09 The Trap

We also see this attitude reflected in many of the angel characters, reaching all the way into SPNwin The Winchesters, with the OG mindset of Gabriel/The Trickster wanting to prove how horrible humans are:

GABRIEL (unhinged): When the chips are down, humanity always chooses the selfish way out! Always! 1x08 Hang on to Your Life

//

As we learn more about Mary, we unravel that she did do some running of her own—running from hunting, from her parents, from her own childhood home. But here, at least, despite being dressed in white, Mary is in many ways Constance's opposite.

John are Dean are the ones doing the running, afraid to go home. In some ways, Constance is more like John than she is Mary, as John is victimized by Mary's lies and mistakes. John, like Constance, is driven into madness and despair. And of course, John breaks so hard that he hurts his own children.

After what happened, Constance went out on the road, looking for monsters. Making monsters, too.

//

The off-key parallels continue:

A married couple burns upstairs; a pair of siblings drowns upstairs.

The Winchester family faces tragedy in the comfort of their pajamas, while Constance's family are in their daily school uniforms—the period clothing giving off an eerie feeling that they're in "work clothes." (The suit and tie on the boy, especially!)

When Constance faces them, they embrace her, loving her as they bring her to justice.

Dean and Sam are "below." Safe. Looking on as the family is reunited and can finally rest together.

//

Sam goes home.

When Sam ascends up the stairs to his apartment, he leaves safety. There are horrors waiting for him "above," as Jess too is on the ceiling, a sacrifice to the narrative gods (the audience).

Like how Zachariah had to put extra pressure on Dean in 4x17 It's a Terrible Life to get Dean back on the road, Azazel has to burn down Sam's home to get him to play ball.

Sam had roots in this little apartment; he was even looking for a way to stay nearby with regards to his interview:

LUIS: So there you go. You are a first-round draft pick. You can go to any law school you want! SAM: Actually, I got an interview here. 

So, Azazel burns the garden.

///

Meanwhile, after he notices his watch stop, Dean rushes back and kicks open the door, much like a firefighter coming to the rescue. Dean is running into the fire the same way both of his parents did, acting in his parents' stead to save Sam:

Dean quickly spots Jess, and susses out that Sam's destiny is after him, and he works immediately to get him to safety—down the stairs.

Afterward, with the memory of Mary heavy on his mind, Dean turns, knowing.

He got Sam out, but like John, Sam isn't okay.

Sam is "down and out," the light of his happiness snuffed out. This was foreshadowed by "Sam's light going out" in the headlight scene:

(We will later see Dean lose his light too, in season 7, after Cas dies.)

Sam is safe from the fire, but he's, in a very real sense, no longer the same Sam. Despite that Dean is the one wearing John's jacket, it is Sam who is now set on the path to revenge, to "becoming" Azazel.

Sam's broken.

SAM: Yeah. I kinda mean, well, like ever since my head broke, and we lost Cas. You ever feel like he's going through the same motions but he's not the same Dean, ya know? 7x09 How to Win Friends and Influence Monsters

Sam's season 7 self could be talking about his season 1 self here! Loss does things to people. (But the narrative did it to Sam so early!)

///

DEAN: So what are you gonna do? You're just gonna live some normal, apple pie life? Is that it? SAM: No. Not normal. Safe. DEAN: And that's why you ran away. 1x01 Pilot

Despite his extreme efforts, John couldn't keep Sam safe from Azazel's designs.

And Dean can't either.

[pasdetrois]

"I remembered your asking me about Anne Catherick at Limmeridge, and your saying that she had once been considered like me.” “What reminded you of that, Laura?” “She reminded me. While I was looking at her, while she was very close to me, it came over my mind suddenly that we were like each other! Her face was pale and thin and weary—but the sight of it startled me, as if it had been the sight of my own face in the glass after a long illness. The discovery—I don’t know why—gave me such a shock, that I was perfectly incapable of speaking to her for the moment.”

The Woman in White (1948) dir. Peter Godfrey / The Woman in White (1860) by Wilkie Collins

[goldfinchwrites]

I love you epistolary novels I love you first person unreliable narrators I love you stories within stories I love you footnotes in fiction I love you interesting literary framing devices

[peggy-elise]

Eleanor Parker in The Woman In White 1948 🌬

[renegadesstuff]

TV SHOWS' (SHIP) WEDDINGS 🤍

BONES (2005 - 2017)

TEMPERANCE BRENNAN & SEELEY BOOTH (B&B)

[lightshiningforth]

Tessa Quinn Character Analysis

Just for fun, because Sleepless Domain is amazing. Spoilers, of course.

Tessa is a self-centered character. When I say this, I am by no means saying that she is a bad person or doesn't care about her friends. But she elevates her own importance again, and again, and again.

Look at her bedroom. Yes, she has her whole team represented up top. But the rest of her décor is her own merch. Nine Alchemical Aether figurines. A costume. A fan. A lunchbox. A trading card. A button. Another bag with Aether's sigil as the clasp. Aether-themed jewelry. Possibly more, if the abstracted pink and yellow posters represent Aether as well.

Compare this to Undine's room. Very little Magical Girl merchandise! Like Tessa, she has Team Alchemical represented in doll form. Unlike Tessa, she doesn't have herself as one standalone, let alone several. (Fascinatingly, we see an Alchemical Air poster - did Sylvia, in her self-promotional way, give this to Undine? Or did Undine purchase the poster because she knows that Sylvia's Magical Girl earnings make up her family's income?)

Undine also has her friends represented in pre-Magical Girl form, in the photo on her mirror.

Now, let's look at Kokoro's room. Heartful Punch, like Alchemical Aether, is a super-powerful, popular, pink Magical Girl. You wouldn't know it from her bedroom, though. We've got some heart-shaped iconography, in the lamp. A Magical Girl poster for Team Forte - not Kokoro's team, but another team/band. The pink poster with the fist could easily be Heartful Punch merch, but it seems to be the only piece of self-promotional material, and a subtle example at that (semi-abstracted, without her face or name on it).

Undine and Kokoro's rooms are more about their interests than their Magical Girl identities. Kokoro has exercise equipment, cat things for Kicks, hair styling supplies. Undine has animal plushies, lots of books, her fish. Meanwhile, Tessa's room centers primarily around Alchemical Aether merch. She surrounds herself with her own image, and specifically with the Magical Girl version of her own image.

We know that, when Team Alchemical is alive, Tessa fixates on her status as their leader.

And, when Undine first gets her powers, Sylvia, Sally, and Gwen rush towards her with excitement for her -

 - while Tessa hangs back, a slightly crestfallen look on her face. I don't think it's a reach to believe that she is disappointed that she isn't the one who got powers. Interestingly, Undine herself seems a bit surprised that she gets powers before Tessa.

Undine's assumption that Gwen or Tessa would become a Magical Girl before herself suggests that there is a dynamic among the friends, even before they are a Magical Girl team, in which some of the girls assume more significance within the group. Tessa is one of them. Further, while interstitial guest comics may not be canon, Undine finds her dream self standing on a very interesting mural.

Alchemical Aether dominates this scene. The other four girls are represented by their faces, enclosed in pink circles. Aether's full body looms serenely over them, hands clasped. Her sigil surrounds the whole tableau. In Undine's subconscious, Tessa has a literally outsized presence in relation to the rest of the team. Of course, this comes from Undine's mind, and not Tessa's. But we have reason to believe that Tessa sees herself this way as well…

Tessa's Dream, or, as Goops calls it, "a memory that should have been [Tessa's] all along." Is Goops an unbiased source? Absolutely not. But I believe that this sequence is indeed Tessa's Dream, up until the point that her hair and speech turn a Goops shade of purple and Goops crows, "Now you're starting to incorporate my memories." If you accept that this is indeed Tessa's Dream as it happened, these panels are chock full of things to unpack about her self-image. First, we find her in a palanquin, carried by her faceless friends. She wears royal adornment - a robe, a crown, a scepter.

Now, Tessa is surprised and alarmed to find herself in this position in relation to her friends. She shakes off the robe, she tells them that they don't have to carry her.

And they listen. When Undine turns to face Tessa, she is Alchemical Water. She thanks Tessa, and then all of the girls drop the palanquin and run off as Magical Girls. Tessa's crown falls off.

She calls for them to wait, but they do not. The curtain closes and she is alone.

In Tessa's subconscious, she finds herself above her friends, both literally as they lift her and figuratively as she wears the trappings of royalty while they wear plain white. Undine thanks Tessa before she lets go, suggesting that Tessa granted her permission. Critically, it is when the girls become magical that they leave her. There is a before, in which Tessa is the center of their friendship, and an after, in which they become new people, drop her, stop listening to her and leave her… she has been robbed of her crown, her status, because now they have something in common that she does not.

 While Tessa is embarrassed by the display and tries to put a stop to it - she would never actually dress as a queen and ask her friends to carry her on their backs - the fact that her Dream manifests this scenario suggests that in Tessa's subconscious, she believes herself to be the center of their pre-Magical Girl friendship, and to have no place within their Magical Girl one without powers of her own. Again, I don't believe Tessa is a bad person. I believe she is sincere when she tells the Woman in White that she wants to use her own powers to help her friends.

That said, she presumes that her friends need her to help them. That presumption leads all the way up to that fateful, fatal night, when she holds back from patrol with the belief that the other girls will struggle without her and appreciate her more as their leader.

(They die without her, of course. But they die because Goops murders them, not in the course of a normal patrol. Aether obliterates the monster when she arrives, but only can because she arrives afterwards… that fall would have killed her, too.)

Tessa would hate to see herself as the queen of her friends. Yet, she has no trouble asserting that she is their leader, believes herself indispensable to them, and cannot handle them having something she does not.

Even her assertion to Undine and the way she takes the blame stems from the fact that she believes herself to be responsible for all of them.

That's why she's so vulnerable to Goops. She can easily be convinced that the situation is all about her.

Ironically, Tessa's self-absorption does not indicate high self-esteem. Quite the opposite - Tessa is deeply insecure. She feels upset when her friends get powers before her not only out of jealousy, but also out of fear that they will leave her behind. She believes that she has no value to them without powers. Thus, she pins everything on being magical, powerful, the leader. Being Aether. Goops perceives this, and tries to tempt her with the promise of more power…

And taunts her with the loss of her identity as Aether.

But by this point, Tessa has given up. Her self-absorption has devolved into self-loathing. She goes out to Goops with the intention of being killed.

The text in gray, the vestiges of Tessa's self-worth, are weaker than her self-blame. Tessa is overwhelmed by what she perceives as her failure - to save Undine, to be friends with Rue, to be a good daughter. "No one needs you anymore," she thinks. And if she cannot be needed, then what's the point of living at all?

And then there's TessaGoops. Is Tessa her puppet, or are they truly fused into one person? I'm still not sure. I suppose time will tell.

At the very least, I believe Aether's powers are still present, somehow, at least slightly. Why else would the spot where her sigil was glow when Undine approached?

I suspect it will matter, at some point, that Alchemical Water has a little bit of Alchemical Aether inside her.

We shall see!

[scarlet-came-back-wrong]

Reading Dracula fanfiction from the 2000s is a wild ride sometimes. Vlad III hangs out with Tod from Elisabeth. Seward cucks Henry Wotton and Arthur marries Marian Halcombe. Dracula and Lucy split the Crew between their respective harems. There is a retelling from Dracula POV written by a fourteen year old that is miles better than The Dracula Tape by Fred Saberhagen, the published book with a similar premise. Erik and Christine are also here somehow (and both are vampires, of course).

[pawswithprose]

Lately 💫💕

[stromuprisahat]

... My sole motive for distrusting his honesty, sprang from the change which I had observed in his language and his manners at Blackwater Park, a change which convinced me that he had been acting a part throughout the whole period of his probation at Limmeridge House. His elaborate delicacy; his ceremonious politeness, which harmonised so agreeably with Mr. Gilmore’s old-fashioned notions; his modesty with Laura, his candour with me, his moderation with Mr. Fairlie—all these were the artifices of a mean, cunning, and brutal man; who had dropped his disguise when his practised duplicity had gained its end, and had openly shown himself in the library, on that very day. ...

The Woman in White- The Second Epoch- The Story continued by Marian Halcombe.- IV (Wilkie Collins)

THIS IS HOW YOU WRITE MANIPULATIVE CHARACTERS, who later show their true colours!

The Darkling LB could never...

[viillette]

I had mechanically turned in this latter direction, and was strolling along the lonely high-road – idly wondering, I remember, what the Cumberland young ladies would look like – when, in one moment, every drop of blood in my body was brought to a stop by the touch of a hand laid lightly and suddenly on my shoulder from behind me. I turned on the instant, with my fingers tightening round the handle of my stick. There, in the middle of the broad, bright high-road – there, as if it had that moment sprung out the earth or dropped from the heavens – stood the figure of a solitary Woman, dressed from head to foot in white garments; her face bent in grave inquiry on mine, her hand pointing to the dark cloud over London, as I faced her.

— The Woman in White by Wilkie Collins

[mukuharakazui]

Fosco as a cat name is so cute I want to draw him as a little tuxedo cat with his pastries and little mice and chemistry set

[oscarwetnwilde]

Villain role: Sir Percival Glyde in The Woman In White, 1997.

[pasdetrois]

I know now what it is I must do. I'm going to Limmeridge house to make one last appeal to him.

The Woman in White (1948) dir. Peter Godfrey

[couldtheycatchkira]

[paris-in-space]

The idea for this has been circling around my head since I finished listening to the audiobook.

[alioshakaramazov]