[abandonedography]

Old abandoned grocery store repurposed as a library

[certifiedlibraryposts]

Certified Library Post

[azzandra]

"Hey, we need to renovate this grocery store into a library."

"Okay, I got you."

*Removes the B from the BREAD sign*

"Done"

[gothredy]

Out Of The Earth You Came, 1930

Cardwell Higgins (American, 1902 - 1983)

[light-grace]

[thewindowofthesummerhouse]

Ami Thompson

[zu-tata-ara]

some things never change ♡

[darklinaforever]

Orlok killed everyone Ellen ever loved and fed on her husband and abused Ellen so its how can you say Alysmond is worse? Aemond killed the Strongs but they weren't Alys family.

Everyone around Ellen represents the society that mistreats her. Symbolically, Orlok literally embodies its avenging hand—as well as her true self. Orlok is Ellen’s shadow; the embodiment of everything about her that society demonizes. We aren't meant to like the Hardings or Thomas in this film, for they personify Victorian society—the film's true villain. That society and its adherents are the ones truly abusing Ellen, not Orlok. In fact, it is she who enables him to kill the Harding family; early on, the little girls speak of her giving them to the monster. Ellen is the one who invites Orlok into their home. Robert Eggers’ film offers multiple layers of meaning; notably, it is a story of liberation for Ellen—of reclaiming power over herself and accepting who she truly is.

The difference with Alys is that, in *Fire & Blood*, nothing suggests she was mistreated by her entire family (yes, family, given that she was their illegitimate child)! Aemond is not a physical embodiment of the very things for which Alys is demonized! He is not her shadow! He doesn't commit that massacre to free her from anything; he does it for his own sadistic pleasure, acting as a misogynistic psychopath. Alys is living her life. He shows up, kills everyone—including the children she was looking after—and claims her as a war prize. That’s all there is to it. Until she manages to cleverly get rid of Aemond by leading him to his death.

The fact that you are unable to tell the difference, yet believe yourself to be intelligent, is astounding.

@ellensferatu

@ellenorloks

[ellensferatu]

I find it almost endearing how ordinary viewers talk about Orlok with such naïve, righteous outrage—as though he were a serial killer from a realistic thriller rather than the heroine’s demon-Animus in a Gothic fairy tale.

But here’s the thing, darlings: the plot of Nosferatu still makes sense even if Orlok does not exist at all. In fact, that is one perfectly valid interpretation—the heroine is in conflict with herself. Victorian society has taught her to hate herself for her sexuality, and she also hates herself for the darker parts of her soul: she genuinely desires death for herself and for those close to her. (“I was never so happy as in that moment when I held hands with death.”)

We are used to the young, attractive wife of the male protagonist always being virtuous and self-sacrificing. Popular culture is so accustomed to reading this type of female character in precisely those terms that it simply refused to believe in Ellen’s chthonic nature—she looks so sweet, and she suffers so visibly.

Rather than accept an unfamiliar narrative structure, the general audience took the well-worn path: they declared Ellen a poor little lamb and a martyr. It is far more convenient that way—no thinking required.

[nosferatu-roberteggers]

Bill Skarsgård's Full-Body 'Nosferatu' Prosthetics Left Him Afraid He Might Die (Exclusive)

[ellensferatu]

I didn’t see this interview of him, btw

[alderaanplacesss]

Scenes of Ellen and Orlok in the Nosferatu script.

I like that it is clarified that the darkness is her own. And that, at the end, she is FULFILLED.

[ellensferatu]

we should never stop posting screenshots from the scripts because there are still too many people who post bullshit like "he raped her" and "she sacrificed herself"

[xabura]

You have such beautiful eyes 👁👄👁 by snappieta

[feeplings]

quick art study to warm up and what better muse than zutara 🍳

haven't drawn in so long so this is like a long awaited birthday gift to myself

↬ support a kicked out artist yay! commission me 💌 | buy me a ko-fi ☕️

[in-love-with-movies]

Nosferatu (2024)

[janadoesstuffwrong]

No you don't understand this conversation occupies like half of my brain

Excuse me while I ramble incoherently.

Zuko pretty consistently thinks in terms of 'complete task = result'. (Capture avatar = Dad will love him; get gf food = gf won't be grumpy; light candles for date = date not sad etc.) In this case (following her threat) 'prove I won't hurt the others = Friendship with Katara'. He wants to be friends with all of them, not just allies.

He's done what he was told to, but it hasn't changed anything, what is he missing?

Zuko (and the audience) are under the impression that her anger with him is based in her protectiveness, her caution and her strong sense of morality... BUT THEN THIS HAPPENS

Katara turns around and lets him know EXACTLY what he's missing.

This is not about the others, it's not about him being a threat, it's not about Aang. Its about them! Him and Her!

The rug is pulled out from under our feet. And Zuko's. Katara won't forgive him because she did feel a connection to him, felt like she could trust him, and then he hurt her. Then after she's convinced herself that it was all a deception and doesn't matter, this idiot just shows up and reveals that oh, that wasn't a deception at all, that connection was genuine, but he still betrayed her. The others trusting him grates on her because SHE WAS THERE FIRST AND LOOK WHAT IT GOT HER!

I can't even put it into words how much I think about the line 'Oh, everyone trusts you now? I was the first person to trust you, remember?!'

She's reminding him that their relationship didn't start at the Western Air Temple, it started in the catacombs. Maybe Zuko thinks that who he was then is behind him, but Katara doesn't.

No wonder Zuko's next move is, okay, give me a new, specific task that will fix this problem. There must be something I can do to fix it. He tries by finding Yon Rha, but in the end it isn't his actions that lead to her forgiving him, it's her personal judgement and newfound closure.

I think realising that there's no easy task that can salvage their connection helps him move away from feeling like he can earn relationships from people. When he goes to his uncle (after talking to a certain someone might I add), he doesn't list what he's done right to prove why he should be forgiven (as he does when he joins the gaang), he just apologises and accepts that he might not be forgiven no matter what he does because its not something he can earn through performing services for people.

Altogether, this moment is so special because the show for once is willing to admit that the catacombs moment mattered to these characters and they haven't forgotten that.

Ugh they break my brain they really do.

[janadoesstuffwrong]

@littlepinksockofmine this made me cackle!

Katara brooding in the corner wearing this t-shirt:

[micahrats]

crazy style, of course

[digitaldiscipline]

This is the 85 year old creator of Roger Rabbit:

[zutara]

It's crazy, but it's true There's nothing I won't do I'd risk it all for you...

Artwork by x_asterr

[lost-in-love-maze]

south indian wedding zutara

commissioned the lovely NiahtiArt to recreate rashmika and vijay's adorable wedding pics and could not be happier with how they came out.

EDIT: i appreciate all the love on this!! just reiterating that i didn't draw this. i requested this commission from NiahtiArt and received their permission to post here and on twitter. if you want something similar, they take requests on vgen!

[irasemai]

Her Ladyship, Katara of the Southern Water Tribe

The First of Her Name, Queen of the Fire Nation, Daughter and Restorer of the Icebound South, Lady of the Dragon Isles, Keeper of the Tide and Protector of the Four Realms.

[zxid]

collection

[fishlung8877]

[keyofjetwolf]