#who else could that be right

[pavlovianpanic]

im surprised no one has mentioned this to me bc i just call it a "college verse" but in reality, sean is older than mark. yes, i did account for that!

nathan is 19 (i have fixed the mistakes of LIS 1), his sister based on what we know / what she says has to be ... 24? 25? at earliest.

because she works with the peace corps and you have to have a master's in social work for that, so we kind of assume she's likely gotten through schooling quick (including high school) to escape sean.

she has the resources / was well-educated, likely very smart, motivated, and wanted out. with warren around, is anyone surprised that someone else could be intelligent enough?

nathan, while texting like a maniac, writes very well, so it's clear he's smart, just misguided. he can't be dumb to do what he does.

he's inexperienced, lacks wisdom, and doesn't even know the right questions to ask. how can he even begin to find answers? by telling people everything he knows. he is busting at the seams to do this ... quite unlike his father.

mark is born april 11, 1975, so in october 2013, he's 38. if sean were mark's exact age, he would have been 13 or so when his daughter was born. not possible.

interestingly enough ...

"This information can be found on a website opened on Max's computer in Episode 3 set up to protest against Mr. Jefferson's suspension if he got suspended in the previous episode. Originally, Jefferson's date of birth was April 11, 1967, but it was changed with a patch update on January 15, 2016."

okay, okay ... why change it? be real: jefferson looks his age.

he looks 38. not quite 40, struggling with being washed up, and still "available" to his young audience. what i mean by that is that he seems just attainable enough to be cool, not "quite as old as their parents" so he has relevance to them, and can understand them. i am not saying he is a "good fit" for students, i am just saying i get why they would change this. he doesn't come off as almost fifty, he comes off as someone struggling to be almost forty. i imagine thirty was very hard for him.

his original date of birth lines up a lot better, but i have to do what i have to do:

so, likely, sean has to be born somewhere around 1968, making him around 45 in LIS 1. i go with this year: 1968.

we would assume he's also born earlier in the year, probably around may (idk why i picked may tbh). this means he was around 20-21 when his daughter was born, in the prime of his college youth.

a quick bit about sean and his wife: what's going on?

his wife i imagine was a year beneath him. they met at a football game. he was 19, she was 18. they dated until they had a breakup at just around 21 for sean, 20 for her. she went back to florida.

sean graduates in chicago, starts going for his master's during his daughter's childhood, and finishes after nathan is born.

she found out she was pregnant, had kris on her own for a while, creating a "distance" with kris and sean.

in rekindling, they started seeing each other again. she later becomes pregnant with nathan. they finally get married at her insistence (they can't keep putting this off, she's having his second kid now). he agrees. he does have to finish his master's, which he insists doing in chicago. things go wrong, but he finishes, separates from mark, and goes to florida to now be a father and husband (and do business there, which he finds profitable for the "legacy" part of his life, not the dark room business he was pursuing).

a brief aside about sean and abuse.

this explains a lot why and he kris are so distant. he doesn't know how to be a dad to nathan, but is more "present" for him.

becoming more devoted to caroline, being a dad, being in florida ... this all accounts for mark and sean separating (on top of their "mistake" or the incident), as well as nathan being born and primarily raised in florida. i leave it vague if he came back his junior year right before blackwell turned over into a senior academy or right as a first-year senior.

onto sean and mark:

it's easier to call it a "college verse" but it's not that simple. mark is an undergrad. he's young, up-and-coming, freshly eighteen, and ready to take on the world. he has a darkness in him, but that's fine, he can manage it. his work is a little eccentric, a little scary, but hey, it makes him thrilling. after all, he's from some dumb place called fruitland, idaho, but he moved to oregon young, somewhere around grants pass, but was given an opportunity to go to the american academy of art, chicago. he accepted.

sean is from oregon. he also got an opportunity to go to college in chicago, but he was not going to the same university. in fact, by the time mark gets there, sean is going for a master's in business, likely the university of chicago. sean is around 24 when he starts his master's, which takes 1-4 years, probably around 3 for him. he's also ... delaying a bit his time there for dark room purposes with mark.

nathan is a photographer. mark is a photographer. sean is a businessman with experience in a dark room ie he can develop photos, but he's not really keen to take them. he pulls the business strings for mark, mark takes the shots, sean and mark sell these images to a darker clientele where they feed a niche market and essentially take "requests" with a theme being very much a loss of innocence. an unsurprisingly heavy market. we know their target types, we know how they operate. they are dangerous men that, separate, are individually dangerous, but together? far worse.

so, sean is older than mark ... how do they meet?

mark has to make a living in college / sean is set up to not fail. when mark reaches out for freelance work, sean accepts his offer (not a direct call to sean, more a general call to an audience that sean accepts). mark has unknowingly called his best and worst asset to his side by doing this; this is the man that will help encourage mark to become who he is. it has to start somewhere.

"my name is sean prescott, and i am reaching out in response to your ad. i think we have similar visions. i would like to meet. call me."

this is sean's answer to mark (not a screencap, this is an edit by me).

but mark, again, has been fighting this all along, right? he's undoubtedly troubled, just far more put together, and he doesn't have a rich family to go unhinged on the public with, so he's got to play this far better than nathan in the future.

this is why he partially sees himself in nathan; he crafts nathan the way he wants to craft him. sean is also crafting nathan. he has been nathan's whole life. this is a battle for nathan's soul ... no outcome is good for him. either option ends poorly. meanwhile, nathan is also acting a lot on his own in the future, so ... take that as you will.

basically -> sean is in his master's program with all his personal drama going on and is forming this very toxic relationship with him.

sean is someone mark fears, respects, and wants to thrive under ... but wants his own success. they work together at first, and it goes well, but then there's the incident (among other things we shall not discuss ... that's a lis joke btw), and things fall apart, they go their separate ways, and then it is sean that calls on mark ... and mark answers his call all these years later. it is not the 1980s and 1990s anymore. most of their active time was in the 1990s.

sean is 21 by 1989. he started college in 1986.

so, i call it a college verse, but it's a little more complicated than that.

and this isn't even getting into their feelings on each other, their dynamic, mark's submission and fear of sean, how they operate together in LIS 1, etc. but that phone call ... is everything i needed. their dynamic is exactly as otter and i predicted it to be.

mark is the way he is now bc xyz leads to xyz (insert meta here).

sean comes into mark's life at an impressionable age. i've mentioned mark already had a darkness in him that he was "managing" to a degree, finding an artistic outlet for, and was just sort of "coping" with. maybe all people have this? he's considered that. that they're just hiding it. maybe that's a source to seek innocence? a proof it exists (finds it does, becomes obsessed, has a type himself) / it eventually fills a market niche he is providing for.

but no question - sean and mark have a toxic relationship (use the word relationship to your discretion).

sean is manipulative to mark, mentally abuses him, emotionally degrades him, makes mark reliant on him emotionally and financially, has a power and age dynamic over mark, and is also coaching mark how to be evil and get away with it. sean finds mark's clients, allows mark to "be free with his art" while making money, and is funding his lifestyle. sean lies to mark about his life, his family, and only really gives vague and cryptic context about his past, not his present. her infers he has a wife, but never children.

sean essentially coaxes and encourages mark to be his worst.

without sean, mark would objectively be bad, but not as ... not quite what we see. without sean, mark isn't even "mark" to the way we know him. sean made mark in his image, but they split, so mark becomes his own man under the influence sean gave to him. they have an age difference.

when mark is 38, sean is 45, so about 7 years.

mark at 18 vs mark at 38? with a 25-26-year-old sean as his "mentor" at 18-19+?

with how nathan turned out? arguably, without sean, there is no mark jefferson as we know him. he would have been a bad boss or lover and a creep, sure, but i don't think he would have started the dark room without sean ... because the dark room is sean's.

mark does to nathan what sean does to mark a lot, but mark is also acting in tandem with sean as this "good and bad cop" routine i've talked about.

nathan and his mother:

nathan relies a lot on his mom for self-confidence and comfort, but they aren't close right now because he's at blackwell.

she's kind of like a favorite person type, but i'd say she's more like "the lightest hand" he knows. the way sean favored his mother, nathan favored his own.

some extra context.

i mean that literally for nathan btw he favors his mother in having bipolar but also in face quite a bit. yes, he looks like sean, but nathan is much thinner, lankier, and overall positioned genetically to look like his mother as the firstborn son. daughters look like their dads as firstborns. so it makes sense? kris favors sean / nathan favors their mother (caroline). however, nathan does have his father's hair color. we can see that in their photo together.

nathan finds comfort in his mom in that she is a) highly religious so sort of offers him faith and healing, something he terrorizes kate over. more on that soon. she not necessarily "babies" him but definitely sees the best in him? she sees nathan as a good boy that is struggling, that he is emotional, and that he needs help. while sean says "book an appointment with us", caroline is more available to nathan when he's with her. he often cries to her, is very emotional, and overall much ... i don't want to say softer but more "authentic" in a way that he isn't with others. he's not as guarded.

nathan's mom gives him boundaries. while she's a spiritual advocate, she kind of ... holds that over his head. his virtue is important to her. she knows he's suffering, but she's following her husband's lead her, and that lead is having a tight leash that he barely watches the dog on, if that makes sense?

nathan's mom favors kate marsh quite a bit. not physically necessarily, but definitely in the whole "she was a good girl, got involved with a bad guy, and essentially got coerced into this marriage, became a wife and mother, and essentially was silenced". she is fragile herself, and she feels for nathan, but is sometimes unavailable to him.

he feels that she might be the only one that truly loves him? the others would be victoria, he thought mark, and rachel. he convinced himself she loved him the way he "loved" her.

she isn't much of a phone person? that's more sean's thing. so, she writes letters to nathan, i think. he keeps them.

she worries about him at blackwell. she knows there are temptations.

she doesn't know too much of what he's actually doing ... but she does fear for him, and assuages often that he needs to go to church with her. he hates going to church. he stopped going as a teen.

she feels guilty. sean presses hard that he should have picked a "better womb" for nathan, degrading his wife while sort of weaponizing his son. she also feels guilty for "giving nathan bipolar" or "making him sick". this is an unfair tactic essentially beaten into her by sean, primarily mentally influencing her view of herself and her son.

whatever happens to nathan? she cannot really bear it. it's easier if he's in prison. we have no idea where she is during the storm, presumably somewhere safe? losing so much is just so hard on her. nathan going missing / dying or him going to prison is just not ideal. if he goes to prison, she does visit him, but she is ... afraid of him? something complicated. more than what i can say.

this basically accounts mostly for timeline stuff for mark, sean, and caroline, as well as the kids.

this post is good to follow up with. it explains even more.

[hinamie]

'what do u want to draw' 'idk, megumi?'

[panthermouthh]

“Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?”

[benevolenterrancy]

May your hardened heart be woken By the soft and distant song Of all you left here unspoken All the shards we keep stepping on - Take this body home Take this body home Call the wind, and let her know Take this life outgrown Take this broken soul Call the stars, call them all And take it high, take it far, take it home

[thekittyokat]

you ever just have a lot, a LOT of feelings all at once about a character and not even remotely enough words or brainpower to FORM the words to describe everything you're feeling. so it feels like you may explode. yeah

[saucerfulofsins]

I love the juice bar scene as much as the next person. I especially love the juice bar scene in conjunction with the confession.

And yeah, the "I'm straight" is chekov's gun, and the chemistry between Eddie and father Brian too. I love the meta/spec/headcanons!

That's not what I want to talk about. Instead, I want to talk about how sensitive Father Brian has been to Eddie's needs. He offered Bobby help in the church, face to face, and that worked for Bobby because he's a religious man. Eddie went to confession, and got his grievances aired, but -

we know Eddie's relationship with the church and religion is more complex than Bobby's. It doesn't work.

And then Father Brian runs into Eddie, recognizes him although he probably only saw Eddie through the confessional's grate. He remembers Eddie's name, too. He cares! And I don't think that's a sexual/romantic thing at all - and I don't think it is religious either. Yes, religion is the context within which he works, but it's not the only context.

He's not technically on the job when he sits down at that table; he's away from the protection by the grandiose rituals embedded in going to church, confession, wearing robes. He does it out of personal care, affection for humanity; he fills the role of a social worker, a guidance counselor - and religion is one of his tools but it's clearly not his only tool. It's also his ability to observe, and to listen, and to reflect on things - putting his finger on the sore spot in ways no one else in Eddie's life has done. That takes guts, especially because he knows Eddie's in a vulnerable place.

And he does it not because he's interested in Eddie romantically/sexually - that is not the reciprocity he seeks, nor the reciprocity that fulfills him. He does it because he cares.

The setting certainly helps too. Eddie doesn't feel as intimidated, not like a fish out of water. Only his title marks Father Brian as a religious figure; he uses it to break the ice and mark himself as safe ("I am celibate"), and then finally invokes his position to speak to Eddie's Catholic guilt and get him to do something for himself.

I don't know. It just felt deeply human and caring and I enjoy that a lot, and I love how it all connects back to Eddie first realizing his Catholic guilt in 7x05.

[ohitslen]

Intrusive thoughts

[serpentface]

A braithuvi horse at rest under the close protection and watchful, scary, pale-eyed gaze of her herd's guardian, a dírgrahdain. Both are landraces developed within the Highlands. The ancestors of braithuvi (and other Highlands native horses) were brought overseas by the ancestors of the Hill Tribes, while the dogs were obtained from native livestock guardian landraces used by proto-Wardi tribes. Each have become distinct over their centuries of living in the Highlands, and dírgrahdain are have a particularly unique place in the cultural schema.

Braithuvi are a woolly horse breed (and one of many, wool horses are widespread, second only to camala in value for textiles) that are also somewhat specialized for milk production. Their meat is relatively poor (other horses are preferred), but they produce high yields of milk and thick, continuous growths of wool.

Horses are not as culturally significant as cattle to most in the Highlands, but are still highly valued animals that are critical to subsistence. Few plant-based textiles can be produced in the Highlands, and almost all in the region are made with braithuvi wool. They can eat a greater variety of forage than cattle, more efficiently converting energy intake from pastures into milk and wool. Their milk is considered to be the very best of all livestock, and is usually what is used to make the prized murre beverage.

Dogs have a very small specific place in the cultures of the Hill Tribes as utilitarian working animals (specifically for livestock and occasionally as home/village guardians), and rarely ever fill other functions. The practice of keeping dogs purely for companionship is virtually nonexistent (though affectionate bonds between people and their herding or household guard dogs will be fairly common), and their meat is considered worthless. Most dogs are not elevated within the cultural schema, and tend to be merely appreciated as useful, loyal animals. Livestock guardian dogs are an exception to this, and tend to be of more significant cultural import. They are animals that exist to protect the herds on which all subsistence depends, and thus have an elevated cultural status and roles in religion and folklore as uniquely protective entities.

Dírgrahdain are the key livestock guardian dogs in the region, and the only natively developed LGD. Their name means 'lion dog', both in reference to their maned appearance and their ability to fend off and even kill the largest of predators. The dogs are characterized by tall, long-legged builds, deep chests, a curly tail, thick hair (and a thicker winter coat), and a shaggy mane. Their bodies tend to be thinner and lankier than their fur coat suggests, but still well-muscled and powerful. Their coloration can vary wildly, but a black mask with a brown or reddish body like this is most typical. Unnerving, pale eyes are prized in these dogs, with the belief that they not only intimidate predators but are uniquely potent at fending off malicious spirits.

The dog's exclusive function is to protect livestock. They are used primarily for the defense of horses, which are small and very vulnerable to predators (lions, hyenas, king hyena, wild dogs, jackals, nechoi, and even eagles can be threats), though some dogs will usually be posted up with cattle herds to deter raiders.

Pups are most commonly born in the field among their herds. They will be carried in their master's coat while still nursing, but will be allowed to join their mother in her duties from the moment they are strong enough to follow. Dírgrahdain live with their herds day and night. Most will never see the inside of a home, and most seem to prefer it that way. They form close and protective bonds with their charges, and will thoroughly integrate themselves into the social fabric of the herd.

These dogs are not human-oriented, and will usually only form bonds with people that they have imprinted on as puppies (and will merely be cool and polite to those met later in life). They are highly aggressive towards strangers, and introductions must be done incrementally and with great care. This is desirable, as this trait makes them an excellent line of defense against livestock raids. Their loud, booming barks can alert of intruders from a great distance, and they can often successfully intimidate khait, causing some mounted raids to end in humiliating failure. Dírgrahdain are often killed in raids, either to fend off the attacking dog or to silence it before its master can be alerted. This is not outright dishonorable, but not something one will be commended for. Cattle raiding culture here values swiftness, stealth, and strategy- such smash and grab tactics are seen as brutish (and will often result in harsher retribution).

Like most LGDs, they primarily defend their herds by displays of aggression and power, using their loud bark, fearsome growl, and powerful bodies to chase and intimidate predators away without physical contact. Even so, it is necessary for all working dírgrahdain to be willing and able to physically confront predators when necessary. A well-trained, well-bonded dog will defend their herds with their very life, and is often effective in combat against even very large wild predators. Their dense ‘manes’ offer a degree of protection from wounds to the throat, and may be supplemented with spiked collars.

If a mother dog kills a predator, it is often customary to open the carcass and lead her puppies to feed on it. This is thought to teach the pups to be fearless against their enemies, and that they will grow up to be uniquely powerful and brave adults. Pups are given names upon reaching adult size, and ones who have consumed the flesh of predators will get unique names related to their mother's kill, or epithets as supplements to a given name (the exact details of this practice culturally varies). One might encounter dogs in the Highlands named things like Lionsbane, Hyena-killer, She Who Bites Jackals, Lion-Fed Shaggy (Lion-Fed being the honorable epithet, Shaggy being the dog's name, possibly given by a very small child)

The mere gaze of a dírgrahdain is said to fend off malicious spirits, and their thundering bark can scare away even the most dangerous of mountain devils. Their shed hair is needle felted into little dolls (usually into the form of dogs themselves) and placed into the cradles of infants and worn as charms by children to protect them from harm (both mundane and supernatural). Manes taken from dead dírgrahdain have uses among some of the Hill Tribes, and are typically only allowed to be used by their masters (unless recieved as a gift). The most prominent usages are being worn to fend off evil spirits and predators while traveling alone, and some traditions involve placing the manes around the necks or across the bellies of women in labor as a means of spiritual protection for mother and child during birth.

The Hill Tribes and Wardi both identify the same constellation along the ecliptic as a dog. In the case of the former, this stellar dog is identified as Mak-Urudain, a gigantic dírgrahdain with fur the color of flame and eyes as bright as stars, who is the eternal guardian of the Celestial Fields. He allows the souls of the worthy dead to pass into the afterlife and for esteemed ancestors to descend back to the land to guide the living, while preventing malicious spirits, devils, and the dishonored dead from entry.

One Bernike tale describes her attempting to fly into the Celestial Fields to steal the heavenly cattle who graze there. She took the form of a golden eagle, pretending to be an ancestor returning from a sojourn to the world of the living in order to get past the guardian hound. Mak-Urudain was not fooled for long, and led her on a long chase through the night sky before capturing her and hurling her out of the Celestial Fields.

She was never able to even touch the ground of the Fields (much less take any cattle), but had just enough time to take a single seed of heavenly grass in her beak. She returned to her mountain (missing most of her tail feathers and much of her pride) and planted the grass in her then-barren slopes. This is why the grass on Bernike's mountain is so tall and abundant and why cattle there grow so fat and healthy, like all cattle will in the afterlife. The howling winds heard from the mountaintops are playfully suggested to be the barks and howls of Mak-Urudain, calling down from the heavens to keep the witch grounded in the world of the living.

[batcavescolony]

I see a lot of people upset about William Kaplan being dead and no one mourning him cus Billy stole his body and I just don't see it that way. The kid in Wanda Vision is Billy Maximoff, The teenager at the Bar Mitzvah is William Kaplan, the Teen that got taken to the hospital after the wreck is neither and both Billy Maximoff and William Kaplan. That Teen went home with the abilities of Billy Maximoff, to the home of William Kaplan, with memories of neither and lived there for three years. He cares about Rebecca and Jeff, he lied to the to protect them from pain, they are his parents. He wants to find Tommy, he has magical powers, he wants to know who he is. All of these things are true. I wouldn't say William Kaplan is dead he just doesn't remember, like Agatha wasn't dead when he was Agnes, she just didn't remember.

[mythalism]

hmmm. thinking about how veilguard seems to subscribe more to the more traditional "video game as personal power fulfillment fantasy of heroism" than any other dragon age game, except perhaps origins, though origins does it more artfully.

[aroaceleovaldez]

Nico and Percy's dynamic through the series is eternally funny to me, because it's just. like.

Percy's having a constant mental struggle between his fatal flaw of loyalty with a promise he made to Bianca to protect Nico, versus his Big 3 kid desire to maim other Big 3 kids / Poseidon descendant urge to totally maim Nico specifically. He hates Nico so so much. He thinks Nico's annoying and weird at best, and creepy/sketchy when he's older. The only positive thoughts Percy has towards Nico are "He's Bianca's brother and Bianca was my friend and I owe her/He's Hazel's brother and Hazel is my friend and would kill me if I was mean to him," "He's a powerful asset and useful ally (if questionable)," and "He's kinda pathetic and I feel maybe a little bad about it." Percy has multiple occasions throughout the series where he strongly considers - and on one occasionally actually goes through with - throttling Nico.

Meanwhile, Nico is following around Percy like a lost puppy. He explicitly can never bring himself to even dislike anything about Percy no matter how hard he tries. He has a whole bit in BoO where he's mentally going "UGH he's so stupid BUT IT'S ENDEARING HOW DARE HE." He's totally smitten. He's making deals with his dad for Percy. He's making convoluted plans to help Percy stand a chance against Kronos. During the entirety of BoTL it's like he's playing tsundere - "I'm helping NOT PERCY SPECIFICALLY with this quest! Me helping Percy would be SILLY because I DEFINITELY HATE HIM." Then he proceeds to show up to Percy's birthday party to basically ask him on a weird date and spend the entire next book scrambling around trying to help him or protect him or impress him. And Percy could not give less of a shit.

Just. That dynamic is so funny to me. Percy is the founder of the Nico Protection Club in that he's the one they're all protecting Nico from and meanwhile Nico is throwing himself at Percy to the point where the literal god of gay love calls him out on it.

[inkskinned]

so one time i got bit by a brown recluse which is one of the only types of spider in my area that's actually dangerous and at first i didn't know what had happened to me, only that it was nasty. the swelling wasn't going down and the wound started to get ugly. i don't want to like get into the details because that's gross but it got to the point 2 weeks later that i was worried enough to go to the doctor, which i hate doing.

i am not afraid of spiders but other people are so i'd been covering it with this big ole square bandage (i needed more landscape coverage than a simple bandaid) and sat in the university medical waiting room, kicking my heels and playing BOTW. the nurse who admitted me was like, oh, we have got to get Tom to cover this one. she wrote spider bite under my ticket.

i waited in the near-empty building for like an hour and then nurse tom shows up in spiderman scrubs, out of breath. "sorry," he says, "i saw - your slip - and I had," he heaves in a breath, "to run home and. get. these scrubs. i literally. ran. felt like a job. for. spiderman."

i laugh. he puts his hands on his knees, thumbs-ups at me. fishes a pamphlet out from under his clipboard that basically says spiders can be scary but you don't need to be scared, there's very few dangerous spiders in new england. "honestly," he wheezes, "we probably don't need to get you into an exam room. just..." he waves his hand at the pamphlet, "read that."

i look down at my arm. then back at him in his scrubs. and then down at my arm. i like that he made an effort to make a joke, but now it does not feel like a good joke, because they are mistaking my calm for a lack of injury. "can i. like. at least show you the bite?"

he gives me kind of a weird look, which is fair, but then says. "if. i mean, if you have to."

i peel the bandage off. his face goes green.

"oh," he says.

"yeah, man."

"a... spider bit you?" his voice is high and tight and trembling. he backs up a few steps.

"i think a brown recluse," i offer. "i know it's nasty, sorry."

"excuse me for a moment." he looks over to the administering nurse on the other side of the small room. "i need to find someone else to take care of you."

the administering nurse smiles over to us with a degree of pleasure that is almost salivating. for a moment, like a window opening, i am briefly aware of what must be a psychic message floating amongst the in-between. her jaguar teeth all say this is like a party for me and i know exactly what i'm doing.

"oh no, tom," she says, grinning. "i gave her to you specifically."

[the-crooked-library]

opened tiktok (mistake number one, i know) and immediately saw someone saying that Thomas Hutter subverts the "disbelieving husband" trope which... listen i love a thoroughly pathetic mess of a man myself and i get that Ellen's other option is a 400yo evil corpse, but can we please not give him credit for things he didn't do?..

the literal inciting incident of the story is that Thomas DOESN'T listen to Ellen. he doesn't believe her. she tells him that she's got a bad feeling about this trip, begs him not to go, tells him about her nightmare - and what does he do? he calls it a childish fantasy, tells her to stop worrying, and implies that she would benefit from talking to a doctor. saying shit softly doesn't make it any less dismissive or insulting, like i'm sorry but this is peak Disbelieving Husband in a Horror Movie behaviour. he only changed his mind once Orlok put him through the horrors himself, which is also a perfectly standard thing for a Disbelieving Husband to do in the second act. furthermore, from the beginning of the film, he neglects Ellen's emotional needs, is uncomfortable with her abnormalities, and doesn't even really know what sort of gifts she likes - and again, these are all standard flaws for a Disbelieving Husband to exhibit. they're indicative of a disconnect between him and his wife that he continuously refuses to bridge.

caring for someone doesn't mean you can't neglect or harm them, and that applies to everyone - including Normal People like Thomas, like Harding, like Sievers, like the viewer; and that's the point of the film

[copia]

THIRTY-ONE DAYS OF GHOST ⛧ DAY ONE

first song you heard — Mary On A Cross

September 1969; Papa Nihil and the beginning of the Ghost Project take to the stage at the Whiskey a Go Go club in Los Angeles, under the watchful eye of Sister Imperator. Fifty-three years later, in Tampa, Florida, Papa Emeritus the Fourth performs Mary On A Cross, unaware that he is singing the story of his parents—and that of himself.

[luck-of-the-drawings]

[OLD ART ALERT] A COLLECTION OF SCENES FROM THE GILLIONS CATSCRATCH ARC THAT BROUGHT ME GREAT JOY. i love fishy chips especially when its just gillion being delirious and violent and hostile

[timothyslucy]

i'm having thoughts about this and they're all completely normal.