𝐒𝐏𝐄𝐍𝐆𝐋𝐄𝐑

𝙰 𝚁𝙴𝙰𝙻 𝙴𝙶𝙶𝙷𝙴𝙰𝙳 [ ... ] 𝙰 𝙽𝙴𝚆 𝚆𝙰𝚅𝙴 𝙼𝚁. 𝚂𝙿𝙾𝙲𝙺.

[ectoplaesm]

#𝐄𝐂𝐓𝐎𝐏𝐋𝐀𝐄𝐒𝐌 : are you troubled by strange noises in the middle of the night? do you experience feelings of dread in your basement or attic? have you or your family ever seen a spook, spectre or ghost? if the answer is "yes," then don't wait another minute. pick up the phone and call the professionals. ghostbusters ... 𝐖𝐄'𝐑𝐄 𝐑𝐄𝐀𝐃𝐘 𝐓𝐎 𝐁𝐄𝐋𝐈𝐄𝐕𝐄 𝐘𝐎𝐔.

dr. egon spengler of the ghostbusters franchise, as told by motley. where to find me: @butlaer​ - alfred pennyworth. @faithgunned​ - captain rex. spengler-core content: playlist.    after/life specific playlist.

[ectoplaesm]

SIMPLY GOING TO SCREAM my mother is picking up lego ecto 1 for me 

[ectoplaesm]

really feeling the spengler family vibe of ‘my parents don’t actually like me’ so i’ll be awol for today i think

[ectoplaesm]

man i just love Egon Spengler

[ectoplaesm]

y’all came for the JUGULAR I appreciate it

[moonpiehelps]

𝐂𝐎𝐌𝐅𝐎𝐑𝐓𝐈𝐍𝐆 𝐒𝐄𝐍𝐓𝐄𝐍𝐂𝐄 𝐒𝐓𝐀𝐑𝐓𝐄𝐑𝐒

𝐓𝐇𝐄 𝐂𝐎𝐌𝐅𝐎𝐑𝐓𝐄𝐑

❛ Come here… It’s okay, I’ve got you. ❜ ❛ Breathe slow… slow… copy me, okay? ❜ ❛ It’s okay. Just let it out. ❜  ❛ You can hold my hand if you want. ❜ ❛ Do you want to lie down? I can lie with you. ❜ ❛ Are you throwing up in there? ❜ ❛ Want me to rub your back until you fall asleep? ❜ ❛ You’re all dirty… let me see if I have any clothes that’ll fit you. ❜ ❛ We’ll get you in a shower when you’re less shaken. ❜ ❛ You’re safe… Nothing bad is going to happen, I promise. ❜ ❛ Lets get you to bed, okay? ❜ ❛ Shh… It’s okay, It’s okay… ❜ ❛ It’s okay, get everything out. ❜ ❛ Nobody blames you… ❜  ❛ Don’t say that… ❜ ❛ You’re so important, you know? I know you don’t feel like you are… but you are. ❜ ❛ What did he/she say to you? ❜ ❛ You’re so strong. ❜ ❛ I’m not going anywhere. ❜ ❛ Here have some water… ❜ ❛ Shh. Everything’s okay. You’re safe. ❜ ❛ I’m not going to tell you to calm down, I know it’s hard… but you need to focus on your breathing. ❜ ❛ You don’t have to talk about it. Just come sit down with me. ❜ ❛ It’s okay to admit that this hurts you. ❜ ❛ It was just a nightmare… ❜ ❛ Is this helping? ❜ ❛ Can you name five things you can see? ❜ ❛ Breath in for seven seconds, exhale for eleven. ❜ ❛ Do you wanna go to a doctor? ❜

𝐓𝐇𝐄 𝐂𝐎𝐌𝐅𝐎𝐑𝐓𝐄𝐃

❛ I – I can’t… I can’t breathe! ❜ ❛ Can I hold your hand? ❜ ❛ It’s just – It’s a panic attack. I’ve had them before… Just – just give me a second. ❜ ❛ I killed them… ❜ ❛ I think I’m gonna pass out… ❜ ❛ Do you think they blame me? ❜ ❛ I think I’m gonna pass out… ❜ ❛ I’m so sorry! I’m so sorry! ❜  ❛ I hate crying… ❜ ❛ Don’t leave me… ❜ ❛ Do you blame me? ❜ ❛ I can’t sleep… ❜ ❛ I’m so fucking useless! ❜ ❛ It hurts really bad… ❜ ❛ I don’t remember what happened… ❜ ❛ I feel sick… I – I think I’m gonna throw up. ❜ ❛ I need to go to the bathroom. ❜ ❛ I’m trying to pretend it’s okay, but… I’m so scared. ❜ ❛ I – I’m okay! I’m okay. ❜ ❛ It felt so real… ❜ ❛ I had a nightmare… ❜

[ohisms]

𝟏𝟎𝟎 𝑵𝑶𝑵𝑽𝑬𝑹𝑩𝑨𝑳 𝑷𝑹𝑶𝑴𝑷𝑻𝑺 .    (  a  collection  of  100  nonverbal  action  prompts .   mature  and  potentially  triggering  themes  are  present .   add  “ + reverse ”  to  swap  assigned  roles .)

∗ o1﹕ sender  tucks  hair  out  of  receiver’s  face . ∗ o2﹕ sender  offers  receiver  a  bite  from  their  fork . ∗ o3﹕ sender  places  their  feet / legs  in  receiver's  lap . ∗ o4﹕ sender  offers  receiver  an  earbud  to  share  their  music . ∗ o5﹕ sender  comforts  receiver  in  the  aftermath  of  a  nightmare . ∗ o6﹕ sender  gives  receiver  company  in  the  hospital . ∗ o7﹕ sender  wraps  their  arms  around  a  hysterial  receiver  to  calm  them . ∗ o8﹕ sender  shows  up  at  receiver’s  home  late  at  night . ∗ o9﹕ sender  falls  asleep  leaning  against  receiver . ∗ 1o﹕ sender  wields  a  [ gun / knife ]  at  receiver . ∗ 11﹕ sender  runs  their  fingers  through  receiver’s  hair . ∗ 12﹕ sender  invites  receiver  to  dance . ∗ 13﹕ sender  takes  a  [ picture / video ]  of  receiver . ∗ 14﹕ sender  places  their  head  in  receiver’s  lap . ∗ 15﹕ sender  and  receiver  make  eye  contact  across  a  busy  room . ∗ 16﹕ sender  pushes  receiver  against  a  wall  to  kiss  them . ∗ 17﹕ sender  and  receiver  cook  together . ∗ 18﹕ sender  comes  to  receiver  after  being  injured . ∗ 19﹕ sender  sits  in  receiver’s  lap . ∗ 2o﹕ sender  lifts  receiver's  chin ,  invoking  eye  contact . ∗ 21﹕ sender  overtakes  receiver  in  combat . ∗ 22﹕ sender  finds  receiver  [ injured / bloodied ] . ∗ 23﹕ sender  straightens  an  article  of  receiver’s  clothes . ∗ 24﹕ sender  crawls  into  bed  with  receiver . ∗ 25﹕ sender  rolls  their  eyes  at  receiver . ∗ 26﹕ sender  lights  receiver’s  [ cigarette / joint ] . ∗ 27﹕ sender  is  caught  wearing  receiver's  clothes . ∗ 28﹕ sender  strikes  receiver  with  a  pillow . ∗ 29﹕ sender  writes  a  note  on  receiver’s  skin :  [ note ] . ∗ 3o﹕ sender  wraps  a  blanket  around  receiver’s  shoulders . ∗ 31﹕ sender  runs  and  jumps  into  receiver’s  arms . ∗ 32﹕ sender  shoves  receiver  out  of  anger . ∗ 33﹕ sender  hovers  over  receiver’s  shoulder  as  they  complete  a  task . ∗ 34﹕ sender  is  found  by  receiver  somewhere  they  shouldn’t  be . ∗ 35﹕ sender  curls  up  against  receiver  in  their  sleep . ∗ 36﹕ sender  is  found  drunk  by  receiver . ∗ 37﹕ sender  throws  an  item  of  sentiment  bitterly  at  receiver . ∗ 38﹕ sender  joins  receiver  in  the  shower . ∗ 39﹕ sender  is  caught  following  receiver . ∗ 4o﹕ sender  traces  one  of  receiver’s  [ scars / bruises ] . ∗ 41﹕ sender  twines  their  fingers  with  receiver’s . ∗ 42﹕ sender  barges  into  receiver’s  home  unannounced . ∗ 43﹕ sender  kicks  receiver’s  shin  beneath  a  table . ∗ 44﹕ sender  aggressively  shoves  past  receiver . ∗ 45﹕ sender  kisses  receiver’s  [ forehead / cheek ] . ∗ 46﹕ sender  pulls  receiver  out  of  harm’s  way . ∗ 47﹕ sender  is  found  sobbing  by  receiver . ∗ 48﹕ sender  locks  receiver  out  of  their  room . ∗ 49﹕ sender  brings  receiver  [ coffee / tea ]  in  the  morning . ∗ 5o﹕ sender  rests  their  forehead  against  receiver’s . ∗ 51﹕ sender  plays  a  song  for  receiver  that  reminds  them  of  them :  [ song ] . ∗ 52﹕ sender  takes  a  [ punch / stab / bullet ]  meant  for  receiver . ∗ 53﹕ sender  buys  receiver  a  drink  at  a  bar . ∗ 54﹕ sender  needs  receiver’s  help  getting  in  the  bath . ∗ 55﹕ sender  and  receiver  cross  paths  in  the  kitchen  late  at  night . ∗ 56﹕ sender  twists  receiver’s  arm  behind  their  back . ∗ 57﹕ sender  winks  at  receiver . ∗ 58﹕ sender  is  found  collapsed  by  receiver . ∗ 59﹕ sender  prevents  an  injured  receiver  from  getting  up . ∗ 6o﹕ sender  claps  a  hand  over  receiver’s  mouth  to  silence  them . ∗ 61﹕ sender  cages  receiver  against  a  [ wall / the floor ]  with  their  arms . ∗ 62﹕ sender  storms  away  from  receiver  during  an  argument . ∗ 63﹕ sender  is  found  by  receiver  sleeping  in  receiver’s  bed . ∗ 64﹕ sender  [ applies / touches up ]  receiver’s  makeup . ∗ 65﹕ sender  throws  receiver  into  a  wall  during  combat . ∗ 66﹕ sender  dances  sensually  with  receiver . ∗ 67﹕ sender  strikes  receiver  across  the  face . ∗ 68﹕ sender  places  their  hand  on  receiver’s  leg  while  driving . ∗ 69﹕ sender  pulls  a  chair  out  from  under  receiver . ∗ 7o﹕ sender  catches  receiver’s  wrist  when  they  turn  to  leave . ∗ 71﹕ sender  leaves  an  intimate  mark  on  receiver . ∗ 72﹕ sender  beats  receiver  in  a  video  game . ∗ 73﹕ sender  and  receiver  stand  in  stunned  silence  after  a  fight . ∗ 74﹕ sender  cares  for  receiver  while  they’re  sick . ∗ 75﹕ sender  and  receiver  go  on  a  hike . ∗ 76﹕ sender  is  caught  snooping  in  receiver’s  things . ∗ 77﹕ sender  and  receiver  cuddle  while  watching  television . ∗ 78﹕ sender  throws  something  aggressively  at  receiver . ∗ 79﹕ sender  creeps  up  behind  receiver  to  scare  them . ∗ 8o﹕ sender  and  receiver  go  shopping  together . ∗ 81﹕ sender  helps  receiver  [ dye / style ]  their  hair . ∗ 82﹕ sender  draws  receiver  into  a  kiss  by  the  back  of  their  neck . ∗ 83﹕ sender  is  discovered  having  a  panic  attack  by  receiver . ∗ 84﹕ sender  accidentally  injures  receiver  during  sparring . ∗ 85﹕ sender  grabs  receiver  roughly  by  the  hair . ∗ 86﹕ sender  brings  receiver  to  their  knees  during  combat . ∗ 87﹕ sender  shows  receiver  evidence  of  a  lie  they  told . ∗ 88﹕ sender  winks  [ seductively / mockingly ]  at  receiver . ∗ 89﹕ sender  yells  at  receiver  to  put  their  hands  in  the  air . ∗ 9o﹕ sender  helps  receiver  patch  up  a  wound . ∗ 91﹕ sender  holds  receiver  as  they  cry . ∗ 92﹕ sender  silently  and  angrily  points  receiver  towards  the  door . ∗ 93﹕ sender  gestures  for  receiver  to  sit  down . ∗ 94﹕ sender  pulls  receiver  into  their  lap . ∗ 95﹕ sender  cradles  receiver’s  face . ∗ 96﹕ sender  tackles  receiver  out  of  the  way  of  danger . ∗ 97﹕ sender  has  hidden  an  injury  from  receiver ,  and  receiver  finds  out . ∗ 98﹕ sender  confronts  receiver  about  their  unhealthy  behavior . ∗ 99﹕ sender  proposes  to  receiver . ∗ 1oo﹕ sender  has  just  died ,  receiver  finds  out .

[ectoplaesm]

TIME FOR ANOTHER MOTLEY META. EGON RE: PETER VENKMAN AND NONVERBAL COMMUNICATION

peter and egon’s friendship dynamic is criminally under-appreciated. peter understands egon on a level i don’t think a lot of people really grasp, and i’ve started to pick up on it the more i watch the films.

early in the first film, we get a sense for their friendship. buying the firehouse is a good example of this. peter seems to be the only person egon feels comfortable enough to touch - he gently touches his arm to pull him aside for a simple conversation. aside from this, as far as i have noticed, the only times egon ever touches someone is if he’s a) panicking, like in the library where they’re all freaking out, b) doing science, like with dana and the brain scan at the firehouse, and c) trying to stop the others from certain death. even then, when they’re nearly thrown off the rooftop, it’s peter he grabs on to first. but back to the firehouse! peter and egon have a full conversation without words. egon shakes his head, peter stares, there are some minuscule movements of the eyebrow on peter’s part, but it’s an entire conversation. 

the rooftop scene. that’s where most of this comes into play. when they’re hauling each other up, the first person peter looks to is egon. and when peter announces ‘this chick is toast’, egon’s entire demeanour changes, with a sudden determination. spengler’s got the Murder Eyes because peter says go. when mr stay puft arrives and peter asks what egon thinks, he takes in egon’s body language and there’s a nanosecond of a moment where a sudden concern comes over peter’s face, especially in his eyes, as he notices the change in egon’s body language just before the ‘i’m terrified beyond capacity for rational thought’ line. as @doctorvenko has pointed out to me, peter is extremely perceptive, especially to egon’s body language.

AND THE BIGGEST ONE OF THE ROOFTOP MOMENTS, that spawned this whole meta, is when egon proposes they cross the streams. they have a whole fucking conversation based on the subtlest twitch of an eyebrow. as soon as egon says he has an idea, he has peter’s complete attention. and peter shows just the slightest glimpse of panic. egon says there’s a chance they’ll survive, peter looks at him and swallows hard, double checking that egon has done the math and is not steering them into certain death. egon EVER SO SUBTLY raises his eyebrow, and peter is sold. that’s all he needs. egon pleads his case and begs for help to change the others’ minds without so much as uttering a word, because he knows peter will understand. and peter does, because he has always helped egon. he immediately changes his tune and tries to encourage the others because he knows egon needs help and egon knows the guys will follow peter’s lead. it’s a complete exchange with only the subtlest of expressions, it’s absolutely wild to watch. 

there’s definitely more moments, but these are just the ones that stuck out to me this watch-through. i put a lot of this down to murray and ramis’s history of acting together before ghost.busters (stripes comes to mind) and how great they are on screen, but it just adds such a nice level of depth to their characters. 

[keyofmgy]

[ectoplaesm]

@kctschke​:

    “ i  wish  you’d  said  something, “  she  says,  speaking  to  the  open  air  of  the  old  farmhouse.  her  niece  and  her  children  had  given  her  the  next  few  hours  alone  here,  as  if  that  will  make  up  for  decades.  elsa  isn’t  prepared  for  whatever  is  about  to  happen.  still,  it  must  happen,  or  she’ll  go  crazy.

    well,  crazier.

    “ i  would’ve  followed  you  to  the  ends  of  the  earth.  you  know  that,  right? “  she  continues,  placing  the  twinkie  she’d  brought  as  an  offering  on  the  dinner  table.  she  has  questions  –  so  many  questions.

    why  did  he  leave  her?  had  she  just  not  been  good  enough?  did  he  think  so  little  of  her  he  thought  she’d  take  the  others’  side  over  his?  he  didn’t  even  say  goodbye.  he  hadn’t  even  called  her.

    he  called  ray.

    they  need  to  talk.

    the  younger  spengler  rubs  her  forehead.  she’s  wearing  glasses  now,  and  there’s  wrinkles  on  her  face  and  gray  in  her  hair.  helluva  lot  different  than  when  egon  last  saw  her,  probably.  juniper  and  zelda  are  grown  by  now,  with  only  vague  memories  of  their  uncle  egon.  hell,  she  and  winston  had  to  make  an  agreement  to  never  utter  egon’s  name  in  their  house.  it  had  turned  into  a  hex  purely  by  the  negativity  his  name  now  carried.  his  actions  had  nearly  cost  them  everything  –  winston  lost  his  job,  and  elsa  had  lost  a  part  of  herself  that  only  came  back  in  long  enough  increments  to  take  care  of  their  girls  before  returning  to  bed.

    oh  yeah.  they  need  to  talk.

    “ i  know  you  can  hear  me.  even  in  death  you  smell  like  that  stupid  laundry  detergent. “

@ectoplaesm  //  s.c.

---  he  can’t  avoid  this  confrontation  forever.  as  much  as  he’d  like  to.  as  much  as  he’d  tried  to,  even.  the  time  has  come  to  face  the  music,  and  egon  knows  how  it  will  end.  he  appears  quietly,  without  much  gusto  to  speak  of,  and  idles  in  front  of  her  with  a  sorrowful  expression.  she’s  much  older,  but  still  recognizably  elsa  -  the  same  wild  hair  and  mildly  bitter  expression  that  seemed  a  genetic  spengler  trait.  she  has  every  right  to  be  angry  with  him,  this  he  knows.  perhaps  more  of  a  right  to  be  angry  than  even  callie  has.  he’s  filled  with  a  regret  that  cuts  just  as  deep  as  it  had  so  many  years  ago  when  he’d  driven  off  to  this  pile  of  dirt  -  heartache  for  things  left  unsaid,  forgotten,  and  otherwise  ignored.

‘  elsa.  ’  he  speaks  her  name  for  the  first  time  in  nearly  thirty  years,  and  it  leaves  him  with  a  soft  catch  in  his  usual  baritone.  seeing  her  earlier  had  offered  him  equal  measures  of  pride  and  dread.  egon  had  been  reminded  of  why  he  hadn’t  told  her  to  start  with.  i  would’ve  followed  you  to  the  ends  of  the  earth.  you  know  that,  right?  he  knows,  of  course  he  knows,  and  it’s  why  he  hadn’t  told  her  to  begin  with.  he  was  supposed  to  look  out  for  her,  not  drag  her  into  the  clawing  chasm  of  madness  alongside  him.  ‘  i  don’t  expect  you  to  understand,  but  i  need  you  to  trust  that  i  had  good  reason.  ’

[ectoplaesm]

---  he’s  still  not  used  to  how  quiet  he  has  become  in  death.  in  life,  egon  had  moved  with  purpose  and  intent,  always  kicking  up  dust  in  a  rush  to  get  to  some  place  or  another  -  now,  his  steps  are  silent  and  listless  in  the  afterlife.  he  has  no  way  to  warn  peter  that  he  approaches  behind  him  besides  gently  knocking  a  cup  of  pens  on  his  desk  (  phoebe’s  desk,  now.  )  and  letting  the  quiet  rattling  herald  his  arrival.  egon  settles  into  silence  beside  peter  and  stares  at  the  board  marking  callie’s  growth  -  exponential,  exemplary,  just  as  he’d  known  she  would  be.  ‘  i  had  to  keep  track.  ’  he  says  simply,  his  own  voice  sounding  familiar  and  yet  entirely  alien  after  so  many  years  of  solitude.  ‘  i  knew  she’d  come.  ’  then,  head  turns  to  look  at  peter  and  a  soft  smile  touches  his  weathered  features,  ‘  i  knew  you’d  come  eventually.  ray  can’t  stand  an  unsolved  mystery.  ’  and  peter,  egon  knows,  would  look  out  for  him  until  the  very  end,  in  life  or  in  death.    @doctorvenko .

[ectoplaesm-gone]

EG.ON’S LAB - analysis / master-post. contains after.life spoilers.

Keep reading

[ectoplaesm-gone]

UPDATED ‘WHAT HAPPENED WITH CALLIE’ TIMELINE, IN LIGHT OF AFTER/LIFE REWATCH AND POST-IT NOTES ANALYSIS:

Keep reading

[ectoplaesm]

TAG DROP!

[ectoplaesm-gone]

mot goes meta: regarding egon as an anxious person

egon is an absolute nervous wreck, thinly concealed, like 90% of the time. i’ve mentioned before that i have a general headcanon that egon has panic attacks during his time in oklahoma, based on one of his notes about callie (image has strong impact on my pulse + body temperature) reading like a panic attack, the brain scans we see in his lab, and the general nervous demeanour he holds when we see him in after/life. the board he keeps of callie’s life has quickly scrawled notes, as if the board itself serves as an outlet for/manifestation of his anxieties. initially, i thought it was just limited to after/life, likely due to him having quite literally the weight of the world on his shoulders and becoming something of a recluse, but i’ve noticed it begins far sooner.

in the first ghost.busters film, egon makes ‘doomsday calculations’. a lot. pretty much every time we see him idly doing something in the background, he’s calculating the worst case scenario. when they get the loan, egon calculates the interest rate and tells ray it will be bad to the tune of $95,000. he carries a pocket calculator that comes up on screen, in script, and in the novelizations far more often than it ought to if it was just a one off prop. egon keeps it to do quick nervous math. when business is booming and the guys are overworked, egon continues to make frequent calculations and take readings about the psychokinetic activity in the area, keeping tabs on the way things deteriorate. we only see him discuss it once, but it’s something he very likely does every week, if not daily, based on the way he talks about it. he calculates the percentage of survival on the rooftop. even when he is not physically spouting numbers, you can see it on his face - when the guys get fired from columbia, egon’s face is the face of a man who is preparing for the absolute worst. he is, near constantly, calculating probability and preparing for the worst case scenario. this serves as both a way of calming his anxieties and a method of worsening them, something the others no doubt picked up on.

credit goes to @spcnglerbehavior for this next bit - it is this frequent doomsday calculating that likely plays a role in why the others don’t believe egon that gozer is returning. egon has been making these anxious calculations for decades, using numbers and probabilities and percentages in ways that probably lead to spiralling. with the nature of how anxiety works, the odds of him always being correct are slim to none, even if he was right about most of his calculations in the first movie. it stands to reason that egon suddenly becoming incredibly anxious and insistent that the world is coming to an end and presenting the guys with research and numbers and data is brushed off as being an anxiety-ridden tirade because it is very likely not the first time it has happened. and they only realize how serious he was when he suddenly takes off, by which point it’s too late and there is added anger for him taking their things. egon leaves for summerville out of anxious desperation, not anger.

[ectoplaesm-gone]

i am thinking a lot about this note in egon’s lab:

bc to me this reads not only as an instance of ‘i love this child so much i feel it physically in my chest’ but also, as a person with generalized anxiety and who is well versed in panic, it reads like the beginnings of a panic attack. when paired with the brain scans, too, it can definitely be seen that way. the thought of egon dealing with panic attacks while in oklahoma, which are so unfamiliar to him that not only does he make a note of it but likely gives himself a brain scan to double check that there’s not something physically wrong with him, makes my chest hurt a little.

[ectoplaesm-gone]

today on ‘mot uses their psych degree’: an explanation as to why egon tries to drill a hole into his head in college!

it’s called trepanation! it was a precursor to what we know as lobotomy, dating back to the middle ages and possibly earlier. it was originally used for relieving pressure on the brain from things like hematoma and brain lesions by removing a small segment of skull, but in the 50s/60s some doctors and psychiatrists reasoned (still unproven) that it would be helpful for increasing cerebral metabolic rates and thereby increasing the brain’s energy output/capacity/function. there are several accounts of individuals documenting their attempts at self-trepanation and the outcomes, so it stands to reason that egon absolutely read these accounts and wanted to try it out for himself, human guinea pig style. ~the more u know~

addendum: there’s also been some suppositions that trepanation helps with psychiatric concerns like depression and anxiety, but this has never been proven - the sad alternative of this little meta is that egon does it to alleviate his anxiety, but i will spare you that avenue of meta today