Just an idea but it would be cool if ghouls in Tokyo Ghoul originated from Mesopotamia as their folklore includes demons known as 'Gallu', later used in Arabian folklore and known and 'Ghul'.
They were found in stranded areas such as deserts, cemetaries, or old ruins, and distictly consumed human flesh. Going off of the theory that ghouls developed because of rc cells rapidly increasing in people who partook in copious amounts of cannabalism, one could suggest that as a means of surviving in the harsh desert, travellers would eat group members to stave off hunger, and if they're lost there's not much else to eat in the desert other than insects, reptiles and small mammals. That links to the ghouls' long periods of fasting; basically a perfect predator for these conditions.
Idk it was just something that came to my head while I was watching a video so I might expand on it later
DRSR is a Fanganronpa set in a fancy resort on an island far from the public eye. Shinsei Resort recruits 16 Ultimates who each have a flaw or two and invite them to stay at their resort with the promise of changing them for the better- rebirthing them into the best versions of themselves in the eye of The Phoenix. Little do these poor Ultimates know that their lives will soon take a turn for the worse when they find themselves trapped in a torturous killing game with no hopes of escaping.
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Not posting the entire essay as a lot of it is unrelated blab about the creative project, but here’s the small (and I really do mean small, I could’ve said a LOT more) section on Charles Winecoff.
Under the cut so it’s not a big paragraph spam! (Also, some of these paragraphs are out of order and plucked from the essay at different spots, so please excuse if the readability is a tad shit)
Returning to Winecoff, all of these questions should be asked by a historian who, in the event of discovering an obscure collection of archival records, wishes to reconcile these two distant works together without burning one or the other. Split Image, published four years after the death of Perkins, is undoubtedly an authoritative piece on the biographical history of a queer actor. As of August 2025, this single biography constitutes for 129 out of 293 references on Perkins’ Wikipedia page - 41.9%. Winecoff appeared as a biographical expert in a French documentary on Perkins titled Anthony Perkins: Beyond Psycho (2020), which is unfortunately inaccessible in multiple regions, and is not available for purchase online - an example of the failings of reliance on digital archival records.
As any record on Winecoff’s experiences or intentions in writing Split Image are apparently absent, we edge closer to the temptation of interpretive historiography in an analysis of a text that seemed to rely upon alternative historiography. In knowing that Winecoff is an openly gay man, as he expresses in Split Image and in self-published online works, with social and cultural ties to California, and who, at one time, practiced Hollywood studies and queer ‘culture-war’ discourse, we could begin to make guesses on Winecoff’s personal agenda, be it financial gain through sensationalism, or a genuine care to give narrative to a scattered historical record. Once again, unfortunately, it becomes harder to avoid slipping into a presentist framework when we take into consideration the Breitbart articles.
We can additionally apply Postlewait’s exploration of the multiplicity of the contributions made to a collaborative piece of theatre, and how time can obfuscate to a historian the individual identities and motives within a work. This idea may still apply to the lone individual writer, whose work is of a multiplicitous nature, where “we often misread the intermingled intentions … We thus fail to recognise that the apparent signs and clues of performance cannot be neatly separated from … various aims and agendas” (2009 p.39). There is a temptation to apply newly understood contexts and intentions, derived from future works, onto past works, in order to explain patterns of writing that seem inexplicable in their motives.
Here, we can now begin to summarise the Breitbart articles and their contents to complete the scenario. In the article titled, REVIEW: ‘8: The Mormon Proposition’ - Same-Sex Marriage and a Tale of Two Ninnies (2010), Winecoff uses inflammatory language, typical of conservative, anti-social justice rhetoric of the era, to denounce criticisms of the LDS Church and other Mormon institutions of homophobia by positioning queer Mormons, who had experienced persecution, as willful victims. In the article, Love, War, and Gay Marriage (2009), Winecoff rejects the movement for the advocacy of gay marriage, postulating that the desire for it’s legislation is borne from a place of imposition and insecurity - that gays who are unsatisfied with civil partnerships are intent on disrupting the sanctity of marriage out of spite. Most worryingly, in the article ObamaCare: A Fairy Tale - or How the Gay Community Lost its Magic Power (2010), Winecoff writes a satirical caricature of the AIDS crisis, framed as a children’s fantasy story, in which he suggests that many individuals in the queer community died as a result of a collective refusal to accept support from Republicans.
"Then, in the year of eight tens and two, the fairies began to wither by the thousands and fall from the sky. No one knew why. So those who were still of able body came together again to build a new safe haven specifically for their sick brothers … But the elders, led by the prophet Larry Kramer, soon became weary of doing all the work themselves. They wanted support from the royal court … Even though there were many fairies in Hollywood, the elders imagined that the king, whose name was marked by a malevolent ”R,” would round up their infected friends and lock them in concentration camps. The fairies only trusted royals whose names boasted a benevolent ”D.” So fearing the worst, they paid no heed to the warnings of their own shamans. Instead, they fought to protect their underground turf from the imaginary menace of the “R” invaders by keeping their fairy-only, non-reproductive recreation centers open. Thousands more fairies fell from the sky. Time passed. Powerful potions were eventually conjured up to keep infected fairies healthy and alive … The fairies were celebrated and honored for the injustices they endured. The peasantry took extra care to be more tolerant of fairy feelings. But the fairies couldn’t reciprocate. They didn’t know how to trust or to let down their guard. They had become addicted to attention, self-pity, and anger.” (2010)
Winecoff, C. (2010). ObamaCare: A Fairy Tale - or How the Gay Community Lost its Magic Power
Internet Archive’s Wayback Machine only keeps recordings of webpages that have been actively captured as snapshots by users. The final captures of Winecoff’s blogs for Big Hollywood and Big Government, before the links became entirely defunct, were made on the 26th of May 2011. Those snapshots indicated that all of Winecoff’s posts had been removed, for reasons still undetermined. When applying these revelations to a revisionist analysis of Split Image, whose subject passed in 1992 from complications of AIDS, it could be that the desire to apply presentist interpretations to our assessments may paint Split Image as less of a salacious yet earnest attempt at biographical, alternative historiography, and instead suggest an intentional malice in its framing of Perkins throughout.
The argument is not that Winecoff’s work is entirely adrift from reality. Split Image does contain reliable recollections of verifiable historical events in Perkins’ life. However, it also contains a substantial amount of unverifiable, anonymous claims, all presented by Winecoff in his narrative without skepticism. He often includes uncorroborated stories of sexually explicit natures (1996 pg.92). One story of note, attributed to Jo Van Fleet, goes as far as to imply that Perkins may have been a pedophile (1996 pg.153). Winecoff writes of these unsubstantiated claims with the same tone of curiosity one might find in a gossip tabloid.
The official video for “Never Gonna Give You Up” by Rick Astley. Never: The Autobiography 📚 OUT NOW! Follow this link to get your copy and listen to Rick’s ...
ok I joke but seriously
Arcanary
Chapters: 1/10
Fandom: Psycho (Movies 1960-1990)
Rating: Mature
Warnings: Creator Chose Not To Use Archive Warnings
Relationships: Norman Bates/Original Character(s), Norma Bates & Norma Bates
Characters: Norma Bates, Norman Bates, Original Male Character
Additional Tags: hi., Road Trip, Alternate Universe - Canon Divergence, Psychological Horror, Angst with a Happy Ending, Generational Trauma, Aromantic, Autistic Norman Bates, Sigmund Freud Bashing, and now the content warnings, Past Child Abuse, Physical Abuse, Childhood Sexual Abuse, Incest, Abuse Apologism, Dissociation, Unreality, Intrusive Thoughts, Suicidal Ideation, Alcohol Abuse/Alcoholism, Disordered Eating, Vomiting, Mild Sexual Content, Dubious Consent, Homophobia, Sanism, It’s better than it sounds I promise
Summary:
“Whoever heard of a house haunting a person?”
With the murder of Marion Crane, Norman Bates is on edge when a new person turns up in the Bates Motel. A serious crime, and the stranger offers Norman an escape: lay low for a few days out of town, enough to provide an alibi and lose any suspicion. Norman agrees, but must protect his mother.
OH MY GOD ITS FINALLY UNDERWAY. Disclaimer that things may shift around, as the entire fic isn’t finished, but I did want to get this out before someone’s birthday, and sort of to prove I was writing given the first few chapters are done. It’s been over a year since I began, and I’m so happy with where I am now!
you're honestly one of the realest people I've come across. like ever. can't get enough of your preaching bro
[ID: An edited version of the woodcut “The living room of Raskolnikov” by Victor Delhez. It depicts the protagonist of Crime & Punishment laying on his couch in a cramped room, but it is edited so he is now looking at his phone and blushing with joy. End ID.]
dededos
gummygunk
jacobvanloon
titsay
germansingergirl
