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Summary: The theatre buzzed with excitement every time this renowned opera actor took the stage, his unmatched talent and striking looks captivating the audience. Yet, it wasn't the applause that brought him joy, but meeting her, the woman for whom he dedicated his songs. Their secret romance blossomed, but her father's disapproval led to her being forced into a marriage against her will.
𝐏𝐀𝐑𝐓 𝐈
Screech!
The cemetery lay shrouded in shadows, a sea of gravestones bathed in moonlight. Behind the ancient church, a circle of flickering candles illuminated a ghastly scene. On the cold pavement adorned with dirt, a corpse lay in a wedding dress as white as snow adorned with the tint of crimson that sealed her fate.
A man dressed in a crimson robe stood nearby, his bloodshed eyes fixed on the lifeless form, a contrast on the pale moonlight that blanketed the place. With the swift glint of the blade in his hand, he opened a cut on his palm, and slowly blood drips until letting the flow of the blood flow a river onto the ground. He gazed intently at the serene face of the corpse, which looked like an angel in peaceful slumber.
Drip.
The church clock chimed midnight, and bats fluttered into the dark sky, their wings beating like the echoes of forgotten dreams. The wind began to howl, growing fiercer with each passing second, and the blood from his palm flowed steadily onto the stones slowly becoming one with the fog that thickened around the quietude of the ominous graveyard, and the haunting cries of the dead rose in a mournful song, filling the air with an eerie melody – a despairing chant.
Chime.
Thud.
The carriage swayed gently along the snow-covered path upon hitting a small stone with its wheels that were continually crunching through the freshly fallen powder. Inside, the warmth contrasted sharply with the icy landscape outside. Plush crimson cushions lined the seats, their rich fabric catching the flickering light from the carriage lanterns, highlighting the golden embroidery that adorned the walls.
Estelle, the youngest sister, leaned forward with a gleam of excitement in her eyes. She clasped her gloved hands together, her voice animated as she addressed Y/N.
"Dearest sister, have you heard the latest about the new Lord? It is said his estate is the grandest in the region, and he has just returned from a victorious campaign. Surely, such a match would be most advantageous."
Y/N, wrapped in a cloak trimmed with soft, white fur, barely glanced away from the window. The world outside was a vast expanse of white, each snowflake falling in a unique, delicate dance before joining its fellows on the ground. Her thoughts seemed to drift with the snow, far from the confines of the carriage.
"Indeed, I have heard of his many virtues," she replied absently, her tone distant.
Lucinda, the eldest sister, leaned back against her seat with an air of exasperation. She adjusted the lace trim of her bonnet and narrowed her eyes slightly as she spoke.
"And what of Sir Harrington? His family possesses immense wealth and influence. Father would be overjoyed should you show him the slightest favor," Lucinda suggested, her voice carrying a note of insistence.
Y/N turned her head slightly, meeting Lucinda's gaze with a calm temperament.
"I am grateful for your concern, Lucinda, but none of these gentlemen stir my interest," she said firmly.
Lucinda rolled her eyes, her frustration evident. Estelle, on the other hand, appeared genuinely puzzled, her brows knitting together as she tried to understand her sister's indifference.
"But why, Y/N? They are all so... eligible. What more could you possibly desire?" Estelle implored, her voice tinged with confusion.
Y/N sighed softly, her breath creating a faint mist in the chilly air inside the carriage. She turned her attention back to the window, her fingers idly tracing the intricate frost patterns on the glass.
Thud.
"I seek more than mere wealth or status. I desire something genuine, something profound.”
Lucinda and Estelle exchanged glances. Lucinda's expression was a mixture of annoyance and contemplation.
“Father grows impatient, Y/N. He believes your constant refusals will only embolden the noblemen. He perceives it as a matter of pride now," Lucinda said, her tone sharp and chiding.
A small, knowing smile curled Y/N's lips. The gentle thud of the horses' hooves and the soft whisper of falling snow filled the fleeting absence of utterance.
"And that, dear Lucinda, is precisely why I persist in my refusals. I refuse to be a mere prize for their vanity.”
"But what if you never find what you seek?" Estelle asked softly, her voice barely above a whisper.
"Then so be it.”
Outside, the scene continued to unfold in its quiet, wintry beauty. Withered trees stood like sentinels; their branches heavy with snow. the rest of the ride happened with the company of the wintery surrounding.
Upon arriving at the opera house, they were immediately greeted by fellow nobles who had also gathered to witness the evening's performance. The men, in particular, were eager to be the first to pay their respects to Y/N, the most stunning of the three daughters.
Y/N's beauty was both a blessing and a curse. Her father saw in her the perfect instrument for expanding the family's political influence, viewing her as a pawn in his ambitious schemes. Despite the numerous attempts by noblemen to win her favor, none had succeeded in touching her heart. She skillfully deflected their advances with polite but distant courtesy, finding no resonance in their words.
As they took their seats, the youngest sister could not resist teasing Y/N about the attention she garnered. Y/N responded with a neutral smile, her mind already drifting towards the performance. The opening scenes were remarkable, and yet the entertainment failing to ignite her interest wholly, lacking the spark she yearned for.
However, just as ennui threatened to overtake her, a singular voice cut through the mundane. It belonged to a man on stage, whose peculiar yet captivating tone ensnared her attention. Their eyes met across the crowded hall, and in that instant, an electric connection was forged. Each note he sang seemed to be for her alone, each lyric a reflection of her innermost thoughts and desires.
His performance was a spell woven from music and gaze, ensnaring her completely and causing a tear of admiration to drip from her eyes. The words he sang seemed to speak directly to her, weaving a tale of longing and romance that resonated deeply within her. As the final curtain fell, Y/N remained ensorcelled, the enchantment lingering long after the last note had faded, leaving her profoundly moved by an encounter as unexpected as it was compelling.
After the play, Y/N sneaked away from her sister, taking the stairs that led her to the highest corner of the frame. Following the guide of the pale moonlight bouncing upon the walls, she saw the man standing by the wide window near the stairs, watching as the moonlight settled on the falling snow.
"Alastor."
Alastor stood tall and imposing, dressed in his distinctive red and black attire. Despite his attempts to appear quite human, his appearance betrayed his true nature. His suit, impeccably tailored, bore a sharp contrast against the wintry backdrop. His hair, a deep, blood-red, was styled neatly, adding to his devilishly handsome appearance, yet there was an otherworldly aura about him that no disguise could conceal.
In order to hide his true identity, Alastor lived in the country as an opera actor, covering up all abilities and characteristics related to the Radio Demon.
He was gorgeous and elegant on the stage, surrounded by thousands of passionate people. Everyone was attracted by his indescribable handsomeness and talent. The applause, love, and cheers from humans, though filling him with glee, it left him continuously feeling empty. Alastor spent his nights alone, night after night. And the lonely days continued until Alastor made an unforgettable performance.
When he went to the center of the stage to take a bow, one time, he saw Y/N. And this beautiful lady was looking at him too. At that moment, the two lonely souls instantly fell in the allure of love. Although Alastor always warned himself against having needless contact with human beings, he could not resist his love for Y/N. So, in the face of love, he decided to follow his heart. In each of his performances thereafter, Alastor would sing a song for Y/N and they never ceased eye contact with each other.
She stood there for a moment until the man turned around with his usual grin plastered upon his face. His eyes, with an unnatural tint compared to other people, watched her as she greeted him with a smile, making his brows relax and gaze soften. She immediately ran into his arms, which the man welcomed with delight. For a long while, their arms were wrapped around each other, one of the many nights when they held their secret meetings.
"My dear." He breathed. "How did you find the play?"
"It was a veritable feast for the senses," Y/N replied, looking up at him. "The performers were beyond extraordinary, but my thoughts wandered often to you."
He chuckled softly, his grin widening.
"The sentiment is mutual, my dear! I observed you from the shadows, unnoticed. Your eyes, how they sparkled with each passing scene."
She blushed, nestling closer. "You always know where to find me."
"Indeed," his tone playful yet sincere. "How have you fared since our last rendezvous?"
She breathed.
"My father's demands grow ever more taxing, but these moments with you make all the difference."
Alastor's expression grew serious, though his grin persisted.
"What troubles you, Alastor?"
She raised her gaze to him, her fingers leaving prints on his cheek as he drew closer to her for solace. Her concern was apparent.
"Ah, but before we delve into weighty matters, tell me,” He said, spinning her gently in a dance, "how do you find the winter thus far? Does the cold not chill you to the bone?"
"The winter is harsh," Y/N admitted, "but the beauty of the falling snow and the moonlight's touch upon it is mesmerizing. It is in these moments that I find solace."
"Quite so. The cold is but a trifling discomfort when one has such enchanting company."
They danced slowly, basking in the cold temperature and the pale touch of the moonlight.
"And what of the latest gossip in your sister's court?" Alastor inquired with a teasing lilt. "Have the nobles been behaving, or is there scandal afoot?"
Y/N laughed softly. "Oh, there is always some scandal or other. Just yesterday, someone was caught in a compromising position with a rather well-known figure. The whispers have yet to die down."
"How delightfully scandalous! Such trivialities amuse me to no end. But, my dear, there is something I must tell you."
Her laughter faded, replaced by concern. "What is it, Alastor?"
"I must take a brief leave," he said, his voice tinged with theatrical regret. "There are performances that demand my presence in the neighboring country. But fear not, for I shall return with all due haste."
Y/N's grip on him tightened. "How long will you be gone?"
"Only a few weeks," he reassured her, his tone melodramatic yet comforting. "A mere blink of an eye in the grand scheme of things, my dear."
"I will miss you every moment.”
"And I, you."
As they indulged in their evening together, holding each other's arms, they both knew that their love would endure, no matter the distance or time apart. But what they didn't know was that, on the other side of the building, watchful prying eyes has seen all their intimate interaction.
im sorry for bothering you. you can ignore this if you want xd
how do you write a himbo? i have this character who's really nice and buff, but i struggle with the part of the character being stupid. i want him to be smart about his field of expertise and be emotionally intelligent, but i want him to be dumb and miss the other characters' point sometimes.
thank you for your time!
The most important aspect of a himbo is not that he's truly stupid. It's that he's harmlessly naive. He expects the best intentions of everyone, even when he's been warned in advance. He can still know a lot about his personal interests, but that is generally the limit of his knowledge.
Some examples of himbos who are slow to the take, but not completely ignorant:
Kronk (The Emperor's New Groove) knows a lot about wilderness survival, cooking, and a few off-beat things no one would expect him to know (tailoring, wood-carving, bird watching). He doesn't understand that his boss is a bad person, just that sometimes her instructions make him uncomfortable. When posed with moral choices that confuse him, he has to turn to his imaginary Shoulder Angel and Shoulder Devil for advice. Due to his innocence and simple thinking capabilities, Kronk most enjoys spending time with children and small animals.
Jason Mendoza (The Good Place) knows a ton about celebrities, pop culture, hip hop, and other things he learned from his urban lifestyle. He is also clever enough to remain silent and avoid outing himself as an impostor. However, Jason isn't good at lying, so when he does try to deceive he is often found out. Though he is rather selfish, it's more of a childish trait he learns to overcome than an inherent flaw. Perhaps his true flaw is that he is quick to follow the examples of others, good or bad, without understanding the intent. [note: Jason is not "buff," but he is viewed as sexually attractive]
Mr. Bingley (Pride and Prejudice) just wants to make friends. He is well-educated, enjoys horseback riding and hunting, openly admires talented women, but beyond that knows very little about the world. He must rely on trusted companions to lead him, however, Mr. Bingley is far too trusting of everyone. He is also unaware of his extreme privilege, so his genuine friendliness towards those socially lower than himself (generally women) is often checked by peers who want to protect his and their social status. Even when a close friend admits to deceiving him, Mr. Bingley is quick to forgive and forget. [note: Bingley is not "buff," but he is viewed as sexually attractive]
Like the above, a himbo is typically kind, trusting, and genuine. He humbly sees himself as lowly and innocent, and it shows in the way he respects others. He can carry a conversation, but even in a field he knows well he may defer to others if he thinks they know more. A himbo can be a good listener, or a bad one. One who listens may still not understand all he hears, and one who doesn't listen may still respect and acknowledge the opinions of others. Though he may puff up when intellectually intimidated, he knows deep down that he is not perfect. He knows, and tries to be better.
—
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Born in 1881, Anita Loos spent her childhood in San Francisco. At the age of eight, her father urged Loos and her sister to begin acting in a stock company. Although acting made money for Loos and her family, she held dreams of being a writer. By 1911, Loos would be introduced to short films through the theater where she acted, which would play the reels after performances. She would soon try her luck writing screenplays and soon be writing and sending in scripts to the Biograph company. Her scenario The New York Hat would be the first to be produced. By 1915 she had moved to Hollywood, where D.W Griffith secured her a job on the payroll at the Triangle Film Corporation, making her the first writer to ever be put on a payroll at a production company. She would go on to write a number of sucessful action films for Douglass Fairbanks. Her films were often noted for their witty intertitles and Photoplay would go on to dub Loos as” The Soubrette of Satire” because of this. Throughout the 10’s and 20s, Loos screenwriting career would continue to prosper. By 1925 Loos would publish her most famous work Gentlemen Prefer Blondes which would be adapted into a film starring Marilyn Monroe and Jane Russel in 1953 (although she had no part in this particualr adaption). The novel proved popular enough that she would be able to adapt her novel for the Broadway stage not soon after and write a sequel, But Gentlemen Marry brunettes in 1927. Although she took a break due to marital issues she would return to writing for the silver screen with Red Headed Women and continue to write for MGM throughout the 1930s. In 1936 she would win an Academy Award for the film San Francisco. She would write the screenplay for one of the most famous films of the 1930s, The Women in 1939. Although she was apprehensive about changes the censors required, the film has gone on to remembered for its sharp dialogue that only Loos could have written. Throughout the 1940s she continued writing for the screen and stage. By the 1950s her biggest contribution would be the stage adaption of Collette’s Gigi, starring the then unknown Audrey Hepburn who Loos claimed to have discovered in a hotel lobby in Monte Carlo. By the 1960s she would go on to begin writing a volume of memoirs which she would continue to do into the 1970s. On August 18, 1981, Loos would die from natural causes.
We all know what I mean! The "zing" when the character's faces are get close enough must come unexpected (but) when both of them are looking for romance/comfort.
For example:
Tripping over each other in the hallway
Person A covering their face with their hands and Person B prying them off, their eyes meeting...
Sitting next to each other in the library, elbows touching, and they happen to turn around to face each other...
Find a natural way to bring your characters the romantic atmosphere!
#2 Noticing the Other Person
It's natural to to see someone in a different way when there's romantic vibe pulsating in the air. Maybe your character notices that their crush has a speck of green in their eyes they didn't notice before.
#3 Build Ups
Describe how the characters feel moments before their lips touch. This includes things like racing hearts, sweaty palms, unsteady breathing. etc.
#4 Feeling all Self-Conscious
If you're writing a first-person POV or want to portray the nervous excitement of kissing a love interest for the first time, you can afford to have your character be distracted by how they feel inside, or worrying about how they smell/look, etc.
Maybe they feel like it's too early in the relationship to kiss
They're still thinking about that annoying math problem
Did I apply my new cherry-flavored chapstick? etc.
This should come in the same beat as the "notice the other person", heightening the romance tension between the characters.
Once they get closer and the kiss actually happens, these worries will melt away!
#4 Describing the Details
In most cases, it's best to keep things understated (especially in regards to tongues)
tongues cannot "tangle" or "battle" or "swish around"...please, no.
Focus on the lips and how the characters move (like hugging, pushing the other against a wall, breathing, etc.), adding the tongue as an afterthought.
Don't get too exicted about taste.
No, her tongue didn't taste like fresh roses and peaches, unless she was eating peach candy right before the kiss.
Focus on other sensations other than taste: especially touch, heat. the tickle of his breath on her cheekc, etc. Or even the smell of shampoo.
#5 The Pullaway + Reaction
Does the kiss end naturally, or does something else interrupt them?
How do the characters react: do they blush, say something, hug he other person, or run away with a deep blush? For couples, they can even tease the other.
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I know this blog is dedicated to Levi but I couldn’t help myself.
William James Moriarty x Reader
Summary: The reader is on the scales between justice and revenge after receiving a strange letter and mid party rendezvous with a long time crush. To what end is the reader willing to go and how will they tip the scales. (Implied female reader, however gender is never mentioned)
Warning mentions of violence and self-mutilation
Pleading self defence was a part of your agenda.
Lets Rewind.
9 hours prior.
You stepped out into the hallway that lead to the courtyard. The cool summer wind blew through the greenery and brushed your skin gently. You weren’t one for extravagant events especially those hosted in your favour.
Your thoughts linger on the letter you received yesterday. The implied accusations seemed far-fetched and irrational and more like a plot to get you to retaliate. However, the voice in the back of your mind whispered horrible things to make it seem as if the letter was genuine. It wasn’t long until someone rescued you from yourself.
“Do I dare say what a coincidence?” You spoke but didn’t turn to face the newly arrived company.
“Indeed I am here of my own volition.”
“So why is William James Moriarty at my suitor party? You didn’t come to ask for my hand did you?” You made it seems like a joke but in truth, William was a fine man and if he had come for that reason you wouldn’t decline. You knew this wasn’t the case. Your feelings for the man went largely unnoticed at least that was what you were under the impression of.
He lightly chuckled at your attempt to amuse him. The reality was that he knew that after you were set to marry, the two of you would no longer share mundane moments like these and if he were in honesty, he would deeply miss you. In another life, he would’ve asked you to marry him to share your life with him and him alone. That would be selfish right? To drag you into his world, surely you would resent him.
He’d rather keep you at a distance, for you to keep your light naïve demeanour. The world could use more noblemen like you.
You leaned on the concrete railing. “ Don’t you find it odd?” you spoke up “ How a perfectly healthy woman woke up dead from an unexplainable illness?” You hardly spoke of your mother and he never pressed you. He tried not to get too involved in your life choosing to ignore the things he picked up through his keen observation skills.
“Pay no mind to my words, perhaps I am just reminiscing since I’m due to be married” Your words stung a little as if your acknowledgement of the situation made it seem more real. William gently takes your hand and places a penny in your palm, You look at him confused. “ A penny for your last thoughts” He whispered.
You held the penny up to your heart. “We can no longer meet like this.” you remind him you can’t be his. You turn to leave and he allows you to walk away.
You enter the large ballroom, “ Cheers to my child’s engagement, Italy is a fine place indeed.” So he had decided to ship you off to Italy, Father of the year alright.
You didn’t return to the party instead you returned to your quarters and waited for all the guests to empty out of the manor. You then approached your father’s study.
“It’s late, you have an awful amount of packing tomorrow before you leave for Italy, I suggest some rest is in order” Your father was strict almost like he had no care for you. A mindless pawn for his disposal but not anymore.
“ I received a strange letter…” Intrigued he looked up at you and you passed the letter to him. “ It isn’t true right?’
“ Of course not, don’t be naïve!”
“Right of course father, it seemed quite ridiculous”
“Have you shown this letter to anyone?”
Bingo!
“ How could I, that letter is extremely incriminating to our family name” you place a glass of wine on his desk. He gets up and picks up the glass, swirling the liquid inside. before abruptly throwing the glass against the wall behind you.
“How foolish of you to think I would fall the same trick I used against your mother.” He pushed you against the wall aiming a shard from the broken glass at your throat.
“ Now I will kill you just like I did your mother and everyone will think you were so in love that you rushed to Italy to be with your dear beloved. I’ll be free of burdens, Oh how long I waited for…” You pulled the letter opener out from his chest.
“ The wine was never poisoned” you grabbed his hand making a slight incision on your neck with the glass shard. He fell to his knees and you placed your foot on his shoulder pushing him onto the wooden floor of the study to simulate a struggle.
“Now, I’ll kill you and plead self-defence!”
You watched as the light slowly left his eyes before dropping the letter opener and running off frantically begging for help to sell your act.
You walked out of the station that morning cleared of charges and framed as the victim, it turns out your father committed many crimes over the last decade which came to light upon his death.
When you stepped into the street you were faced with none other than William. He was about to open his mouth to say something but instead, you spoke up first.
“Wait one moment…” you rummaged through your pockets before stepping closer to him. You whispered in his ear. “ A penny for your thoughts?” you leaned back slightly placing the penny in his jacket pocket near his chest.
He gently placed his hands on either side of your face stepping closer.
“ Marry me,” he whispered on your lips before kissing you softly.
Perhaps you’d have a place in his world after all.
Flowers have a long history of symbolism that you can incorporate into your writing to give subtext.
Symbolism varies between cultures and customs, and these particular examples come from Victorian Era Britain. You'll find examples of this symbolism in many well-known novels of the era!
Le Manoir du Diable (1896) (considered the first horror film in history)
Une nuit terrible (1896)
Le Chateau Hanté (1897)
Le Diable Au Couvent (1899)
Évocation Spirite (1899)
Le diable géant ou Le miracle de la madonne (1901)
Le chaudron infernal (1903)
Le cake-walk infernal (1903)
Le monstre (1903)
Le diable noir (1905)
Les quatre cents farces du diable (1906)
Other Short Films
The Sealed Room (1909)
Frankenstein (1910)
Dr. Jekyll and Mr. Hyde (1913)
The Fall of the House of Usher (1928)
Famous Classic Horror Films
Das Kabinett des Doktor Caligari (1920)
Dr. Jekyll and Mr. Hyde (1920)
Nosferatu (1922)
Häxan (1922)
Orlacs Hände (1924)
The Phantom of the Opera (1925)
Vampyr (1932)
House on Haunted Hill (1959)
Plan 9 from Outer Space (1956)
The Bat (1959)
The Last Man on Earth (1964)
Night of the Living Dead (1968)
Other Films
10s-30s
Der Golem (1915) // Der Golem - Wie er in die Welt Kam (1920) // Genuine (1920) // Dr. Mabuse, der Spieler (1922) // The Hunchback of Notre Dame (1923) // Wolf Blood (1925) // The Cat and the Canary (1927) // Svengali (1931) // White Zombie (1932) // The Monster Walks (1933) // The Most Dangerous Game (1933) // Ghoul (1933) // The Vampire Bat (1933) // Maniac (1934) // The House of Mystery (1934) // The Beast of Borneo (1934) // The Ghost Walks (1934) // Phantom Ship (1935) // Revolt of the Zombies (1935) // Sweeney Todd: The Demon Barber of Fleet Street (1936) // The Man Who Changed His Mind (1936) // The Rogues’ Tavern (1936) // 夜半歌聲 (Ye Ban Ge Sheng) (1937) // The Riders of the Whistling Skull (1937) // The Devil’s Daughter (1939) // The Face at the Window (1939) // Torture Ship (1939)
40s-50s
The Mummy’s Hand (1940) // The Devil Bat (1940) // The Ape (1940) // Doomed to Die (1940) // King of the Zombies (1940) // Invisible Ghost (1940) // Spooks Run Wild (1941) // The Ghost Train (1941) // The Mad Monster (1942) // Bowery at Midnight (1942) // The Corpse Vanishes (1942) // The Living Ghost (1942) // The Ape Man (1943) // Dead Men Walk (1943) // The Ghost and the Guest (1943) // The Monster Maker (1944) // Voodoo Man (1944) // One Body Too Many (1944) // The Flying Serpent (1946) // Devil Monster (1946) // Mesa of Lost Women (1953) // The Snow Creature (1954) // The Phantom from 10,000 Leagues (1955) // Dementia (1955) // Indestructible Man (1956) // La maldición de la momia azteca (1957) // 20 Million Miles to Earth (1957) // Frankenstein’s Daughter (1958) // La momia azteca contra el robot humano (1958) // Night of the Blood Beast (1958) // The Screaming Skull (1958) // I Bury the Living (1958) // The Devil’s Partner (1958) // Attack of the Giant Leeches (1959) // A Bucket of Blood (1959) // Beast from Haunted Cave (1959) // The Killer Shrews (1959) // The Wasp Woman (1959) // The Manster (1959) // Terror is a Man (1959)
60s - 70s
Teenage Zombies (1960) // Horror Hotel (1960) // The Little Shop of Horrors (1960) // Atom Age Vampire (1960) // Ein Toter hing im Netz (1960) // 13 Ghosts (1960) // Tormented (1960) // Last Woman on Earth (1960) // The Naked Witch (1961) // The Beast of Yucca Flats (1961) // Creature from the Haunted Sea (1961) // Werewolf in a Girls’ Dormitory (1961) // Night Tide (1961) // The Devil’s Messenger (1961) // Bloodlust! (1961) // Eegah (1962) // Carnival Of Souls (1962) // The Brain that Wouldn’t Die (1962) // The Devil’s Hand (1961) // Hands of a Stranger (1962) // The Dungeon of Harrow (1962) // Trauma (1962) // El barón del terror (1962) // Ring of Terror (1962) // Terror of the Bloodhunters (1962) // The Terror (1963) // Dementia 13 (1963) // Monstrosity: The Atomic Brain (1963) // À Meia-Noite Levarei Sua Alma (1964) // Two Thousand Maniacs! (1964) // The Strangler (1964) // The Faceless Monster (1965) // Il boia scarlatto (1965) // Creature of the Walking Dead (1965) // The Beach Girls and the Monster (1965) // The Eye Creatures (1965) // The She Beast (1966) // Jesse James Meets Frankenstein’s Daughter (1966) // Manos - The Hands of Fate (1966) // Curse of the Swamp Creature (1966) // Night Fright (1967) // Creature of Destruction (1967) // Spider Baby or The Maddest Story Ever Told (1967) // In the Year 2889 (1967) // The Ghosts of Hanley House (1968) // It’s Alive! (1969) // How Awful About Allan (1970) // La figlia di Frankenstein (1971) // Blood Thirst (1971) // Snake People (1971) // Horror Express (1972) // Frankenstein ‘80 (1972)
Click here for more
Here’s a list with almost 200 public domain horror movies
Here’s a handful of recommendations I chose for people who are not specifically into bad movies. These are, if not Fine Cinema, at least interesting and entertaining.
Das Kabinett des Doktor Caligari (1920) impressionist classic
House on Haunted Hill (1959) Vincent Price being a total bitch
A Bucket of Blood (1959) Light-hearted beatnik comedy with the great Dick Miller
Carnival Of Souls (1962) Creepy, surreal, striking
The Brain that Wouldn’t Die (1962) Surprisingly raunchy, a main character you love to hate, well-deserved revenge all around
Night of the Living Dead (1968) Genuinely terrifying
Horror Express (1972) Peter Cushing and Christopher Lee being total bitches to each other, truly risible science, also Telly Savalas is drunk
There are several more on here that I love dearly for being Really Really Bad but not everyone laughs at bad movies the way I do.
And here are some that I regarded as disappointments:
La momia azteca contra el robot humano (1958) mostly flashbacks using footage from previous movies
I Bury the Living (1958) interesting premise, incredibly stupid ending
The Naked Witch (1961) no nudity and barely a witch
The Screaming Skull (1958) interesting as a depiction of gaslighting in cinema but a real snore otherwise
So I've been warning people to not use the tumblr live feature and i had this discussion in the notes of one of the people i warned
said person already used live themselves and was not aware of what all TumblrLive's partner MEETME collects with its feature and i wanted to take the time to make a post going over the privacy policy for anyone who is interested
for the first part here MEETME talks about how creating an account (downloading) (or having a tumblr account that auto updated to include the tumblr live feature (which is a vast majority of the tumblr mobile population in the US rn)) automatically makes any information they collect visible to any of the partners they have
the three partners mentioned there Skout Flurv and Boy Ahoy are all dating sites that promote primarily their location tracking fuck all knows what they want with your live data most likely they want to advertise singles near you??? but MEETME's other current partners are apps like PlentyfFish Zoosk Chispa and Badoo which is Match.com and Bumble
the main important parts to notice from section ii of the privacy policy is the location information limit mobile ad tracking and do not track signals the rest of the section mainly puts the onus of revealing private information that can be used maliciously on the user ie. don't share your password say your full name in a live video where you live etc.
as far as the location information goes what its saying here is that they collect the location information when you first register for tumblr live when you first log in and whenever your phone is on even if youre not using tumblr live
what does it use this information for??? well advertising purposes of course!!!
now they try to get around saying they dont track your location or share it with other users by using this word precise several times now what that means is they have a rough geotag of your location
(your ip address they dont say here its your ip address but in later parts of the document they do in fact say they collect your ip address and if you want an idea how close an ip address can get to your exact location enter your ip address in google maps sometime)
theyre being intentionally vague about that so when you see on the live tab something that says near you you could probably not follow that exactly to said persons house but you can damn well be you will at the very least find their city
heres a reminder to all of you who havent most phones now bury in the settings an option to disable adID do it now!!! but remember that TumblrLive can still use all other information they gather they do not at all process do not track signals so you arent safe there and what data would that be that they can collect other than your location and adID??? glad you asked!!!
this is a non exhaustive list which means there is DEFINITELY other data they collect about and from you
so they collect:
your email and phone number
any info in your tumblr bio
any metadata connected to any photo youve ever uploaded
adID
ip address
cookies and beacon
which devices you use
which features you use
which pages you visit
which chats you use
anything in your private chats or posts
anything from any connected social media accounts
how well ads are doing
what youre interested in
and in some cases even your biometric information
and what do they do with this information???
ads of course
and to give anything they want to cops :)
i dont make this post in order to like ruin peoples fun when it comes to this new feature or to try to talk down to anyone or make anyone feel stupid or anything im not here to make fun of people or belittle anyone but i think its real fucking important people know what privacy rights they are forfeiting by having their phone on right now with this new feature
also everyone please feel free to give a kind fuck you to tumblrs current ceo @photomatt
This is a lot of text just to tell you the main thing you can do is DONT use Live.
BUT YOU CAN DO MORE. YOU CAN BLOCK ITS CONNECTIONS FROM YOUR PHONE ENTIRELY.
Step 1) Install a DNS-based adblocker if you don't have one. The best one available on Android and iOS is Blokada. It's free to use and straightforward to set up.
Step 2) Block any domains that look related to Tumblr Live. So far I've blocked:
api.gateway.tumblr-live.com
auth.gateway.tumblr-live.com
tmg-stream.gateway.tumblr-live.com
video-api.gateway.tumblr-live.com
video-live.gateway.tumblr-live.com
assets.video.tumblr-live.com
But if you see any others that look suspicious, block them too!
Now you'll no longer see those tumblr live ads in between posts, and if you go to the Tumblr Live tab, it will simply show nothing!
You want to install Blokada 5, which is free. If the first thing you see on Blokada.org is "Cloud" or "Plus," you need to scroll the page.
"Blokada 6" is their set of premium cloud-security and VPN apps, which require a subscription. These are not needed to get system-wide adblocking on your phone!
staff literally took these images down and deleted op's account like within the last few hours I've seen this post multiple times today with OP still active and the images still there
Here's THE masterpost of free and full adaptations, by which I mean that it's a post made by the master.
Anthony and Cleopatra: here's the BBC version
As you like it: you'll find here an outdoor stage adaptation and here the BBC version
Coriolanus: Here's a college play, here's the 1984 telefilm, here's the 2014 one with tom hiddleston
Hamlet: The Kenneth Branagh 1996 Hamlet is here, the 1964 russian version is here and the 1964 american version is here. THe 1964 Broadway production is here, the 1948 Laurence Olivier one is here. And the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation. Have the 2018 Almeida version here.
Henry IV: part 1 and part 2 of the BBC 1989 version. And here's part 1 of a corwall school version.
Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.
Julius Caesar: here's the 1979 BBC adaptation, here the 1970 John Gielgud one.
King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. The 1974 version with James Earl Jones is here.
Macbeth: here's the 1961 one with Sean Connery. Here's the 1971 by Roman Polanski, with spanish subtitles. Here's the 1948. The 1988 BBC onee with portugese subtitles and here the 2001 one). The 1969 radio one with Ian McKellen and Judi Dench is here and the 1966 BBC version is here. The Royal Shakespeare Compagny's 2008 version is here. Here's Scotland, PA, the 2001 modern retelling.
Measure for Measure: BBC version here.
The Merchant of Venice: here's a stage version, here's the 1980 movie, here the 1973 Lawrence Olivier movie, here's the 2004 movie.
The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.
A Midsummer Night's Dream: have this sponsored by the City of Columbia, and here the BBC version.
Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here's the 1984 version.
Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you've got the BBC version here and there.
Richard II: here is the BBC version
Richard III: here's the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link.
Romeo and Juliet: here's the 1988 BBC version.
The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one I'm not quite sure what it is or when it's from, it's a modern retelling.
The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one.
Timon of Athens: here is the 1981 movie with Jonathan Pryce,
Troilus and Cressida can be found here
Titus Andronicus: the 1999 movie with Anthony Hopkins here
Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.
The Winter's Tale: the BBC version is here
Please do contribute if you find more. This is far from exhaustive.
(also look up the original post from time to time for more plays)
To much time on my hands @edwardian-daydreams - Tumblr Blog | Tumgag
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