Claire Keane
hello vonnie
wallacepolsom
🪼
taylor price
Stranger Things
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Kaledo Art
Lint Roller? I Barely Know Her
AnasAbdin
dirt enthusiast
Monterey Bay Aquarium
#extradirty
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TVSTRANGERTHINGS
DEAR READER
I'd rather be in outer space 🛸
Mike Driver
let's talk about Bridgerton tea, my ask is open
ellievsbear
seen from United States
seen from United States
seen from Türkiye
seen from Türkiye
seen from France
seen from Spain
seen from Germany
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United Kingdom
seen from United States
seen from France
seen from United States
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seen from Malaysia
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@mask131
Since it's Pride and all that I want to share here this old commercial for gay marriage, which I think about every time Pride comes around. It was... Oh gosh, fifteen years ago. I had the hardest time finding it back - but I thought it was quite a funny one.
You are one of those that want to make gay people miserable? Well then, just allow them to marry! You'll see - it will be WAY more efficient than anything you can come up with.
It is very true what Luckhurst points out: that the "impossible architecture" of the Overlook Hotel works in Kubrick's (potential) plan to subvert horror codes, as it shows that you do not require a building to be a dark, shadowy, spooky labyrinth to lose the viewer, it can confuse you with bright lights, clear colors and beautiful views out of windows that simply shouldn't be there.
Stephen King's Rose Red (2002) dir. Craig R. Baxley
Candle Cove doodles I almost forgot about when I rewatched it again a couple months ago lol (well the first one was drawn last night but whatever)
Book that was good: I liked it 👍
Book that was bad: this sucked 👎
Book that I wanted to like but which failed to live up to my hopes: I am going to write 10,000+ words explaining exactly why this book wronged me
As it should be
Venus Abandoned (Arnold Böcklin, 1860)
I feel you, girl
The reception of the "Rocky Horror Picture Show" today has... various problems, to be honest. But one of those (that I have not seen people talk about) is the loss of its main aspect... as a parody. Due to it becoming a cult movie, a cinematic reference and then a major part of popular culture, it seems a lot of people forgot or did not learn of how the RHPS is not a work that comes out of nowhere? This movie is a creation built upon many previous references and cultural elements that, while well-known at the time, tend to get lost on modern people.
The references that survive to this day are the most obvious ones within the movie itself - the obvious nods and homages to the cinematic Frankenstein and Dracula productions.
I am not aware however of how much people keep up with the idea that by making the mash-up of Frankenstein/Dracula an absolute queer figure (genderfluid pansexual, to try to use modern terms), the production was actually highlighting/playing with the inherent homo-erotic subtext of the two iconic works of horror (those same subtexts that people on Tumblr are getting crazy about). Of course, on a much more "simpler" level, it is the old joke "What is a transvestite? Oh that's an inhabitant of Transylvania" - but I don't know either how much of this remains.
Putting all of this aside, there's the topic of the opening song. "Science-Fiction Double-Feature". This song was, from my experience, already getting obscure for people by the early 21st century, but now it is probably even more? Yet this opening song is the key to understand what the "Rocky Horror Show" is meant to be. A queer, snarky, morbidly funny parody (but at times a more straight-forward homage) to the culture of the "late night movies", to the pantheon of "double-features". THE iconic midnight movie was created as an excentric and maniacal take on the science-fiction B-movies and the classics of horror cinema (with some of the movies name-dropped by the lyrics being doubled by visual references within iconic scenes).
And that's not even counting the many, MANY other (more or less subtle, more or less obvious) references to classics of cinema or "weird fiction" that are sparkled throughout the movie (I can't even put them all below because of Tumblr's image limit).
I shall add more things in a direct reblog, but I think it is important to stress the parodic nature of RHPS. A lot of people keep taking it at full first-degree when the very nature of a parody requires a second-degree reading first.
And then, there's of course the fact they chose Oakley Courts for the castle. OAKLEY COURTS! THE place forever associated with Hammer movies - especially their original B-movies (as in, the original use of the B letter) and their Hammer Horror (with other non-Hammer British horror flicks also using it).
With the funny thing being that, the movies that used the Courts as a set piece and that were released in the years preceeding RHPS literaly covering the RHPS "genre" in its entirety. One sex comedy, one Gothic horror, one erotic horror.
The reception of the "Rocky Horror Picture Show" today has... various problems, to be honest. But one of those (that I have not seen people talk about) is the loss of its main aspect... as a parody. Due to it becoming a cult movie, a cinematic reference and then a major part of popular culture, it seems a lot of people forgot or did not learn of how the RHPS is not a work that comes out of nowhere? This movie is a creation built upon many previous references and cultural elements that, while well-known at the time, tend to get lost on modern people.
The references that survive to this day are the most obvious ones within the movie itself - the obvious nods and homages to the cinematic Frankenstein and Dracula productions.
I am not aware however of how much people keep up with the idea that by making the mash-up of Frankenstein/Dracula an absolute queer figure (genderfluid pansexual, to try to use modern terms), the production was actually highlighting/playing with the inherent homo-erotic subtext of the two iconic works of horror (those same subtexts that people on Tumblr are getting crazy about). Of course, on a much more "simpler" level, it is the old joke "What is a transvestite? Oh that's an inhabitant of Transylvania" - but I don't know either how much of this remains.
Putting all of this aside, there's the topic of the opening song. "Science-Fiction Double-Feature". This song was, from my experience, already getting obscure for people by the early 21st century, but now it is probably even more? Yet this opening song is the key to understand what the "Rocky Horror Show" is meant to be. A queer, snarky, morbidly funny parody (but at times a more straight-forward homage) to the culture of the "late night movies", to the pantheon of "double-features". THE iconic midnight movie was created as an excentric and maniacal take on the science-fiction B-movies and the classics of horror cinema (with some of the movies name-dropped by the lyrics being doubled by visual references within iconic scenes).
And that's not even counting the many, MANY other (more or less subtle, more or less obvious) references to classics of cinema or "weird fiction" that are sparkled throughout the movie (I can't even put them all below because of Tumblr's image limit).
I shall add more things in a direct reblog, but I think it is important to stress the parodic nature of RHPS. A lot of people keep taking it at full first-degree when the very nature of a parody requires a second-degree reading first.
A little theory about the Backrooms.
Clark always brings back a memory of a discussion he had with his ex-wife that was caused by him breaking a glass and ended up with him being kicked out of their home.
But he's the thing. Clark is always portraying himself as the victim, and the whole film is about how memories can be deformed and twisted until they are completely unrecognizable.
In the Backrooms, the Still Life redhead is deathly afraid every time Clark's Still Life copy comes near, and she's the only Still Life creature besides Clark's copy that moves on their own.
So, what if the broken glass is another false memory? An euphemism to end all euphemisms.
Clark gets home drunk again one night and gets violent with his ex wife, breaking a few stuff, and she's so scared that she kicks him out of the house. And he, still wanting to play the victim, insists to himself and to his therapist that she was only angry because he broke a glass.
@mask131
I keep making Shining parallels... But THAT scene of Jack retelling the "incident"... Especially given how it contradicts the account given by Wendy earlier...
"De Sphaera" (Sphaerae coelestis et planetarum descriptio) is a magnificent 15th-century Italian illuminated manuscript and one of the most beautiful astrological books of the Renaissance. Created around 1470, likely for the Sforza court in Milan, it is currently preserved in the Biblioteca Estense in Modena. The text outlines the Ptolemaic vision of the universe, detailing the celestial spheres, zodiac signs, and planets. The manuscript is most famous for its extraordinary miniatures, which vividly depict the planets alongside highly detailed scenes of both aristocratic and everyday earthly life, illustrating how celestial bodies were believed to influence human destiny, character, and daily activities.
No-End House of Channel Zero is a great representation of how trauma can alter or erase your memories, through the cannibalistic personification of trauma that feeds on memories that still follows you despite trying to escape it
Another proof that Backrooms and Channel Zero have more than one thing in common
Mankinchō (漫金超) / Channel Zero (チャンネルゼロ) / Spring 1981 issue
I was looking for "Channel Zero" (the tv show) posts, but this shall do
I was speaking about "Garde à vue" with someone (the ORIGINAL French movie, thank you very much, not the American - and Americanized - remake "Under Suspicion") and... It is time for another strange TADC parallel! (you must be accustomed at this point to the way I link TADC to entirely unrelated things)
Given I have not watched the finale my point here might be already outdated and badly aged but who cares. See... Of course TADC and Garde à Vue have basically nothing at all to do with each other. Yet... Yet there IS something... There is.
A sort of core ambiance... People trapped together in a locked, empty space, while the rest of the world goes on out there... People being stuck trying to solve a mystery that cannot be solved, following false lead after false lead, to the point of believing and convincing themselves of false things... People who annoy, exhaust, anger, wear-out each other and yet seek a form of friendship, bonding, as they have to open themselves, to reveal more about themselves than they shared with anybody... People forced together in a situation they hate but sharing and understanding their misery until in the end they grow dependant on each other in the most dire conditions, yet with the suspicions of/the haunting of previous tragic disappearance and traumatic "deaths" hanging over their every gesture, every word...
(Well I say "people" in plural, but in the movie it is clearly just Martinaud)
And then, more obviously, the "shots of the outside world". This specific technique of reinforcing the inherent claustrophobia of the movie by having the past events and outside elements visually alluded by eerie, empty, fragmentary shots... The Jax flashbacks anybody? That one sudden creepy fragmentary IRL intrusion?
I could even go as far as to make a parallel between madame Martinaud and Abel.
I can go VERY far when I want to.
Luckhurst offers this fascinating interpretation of Jack's behavior when he goes "full crazy".
Jack is constantly quoting or paying homage to other things, outside references (which some might interpret as part of Kubrick's maybe intended parody of the horror genre). Luckhurst suggests that maybe it can translate how at this point the Overlook utterly "emptied" Jack, who is now but an empty shell, and thus can only imitate other or behave or pre-existing things. To loosely quote myself: "He steals a speech from Humbert Humbert. He tickles the locked door like Oliver Hardy. He limps like Fritz in 1931's Frankenstein. He recites the traditional story of the Three Little Pigs. He becomes an evil Johnny Carson. And his "Wendy, I'm home" rresonates with the line of Ricky Ricardo in "I Love Lucy" - likely chosen to corrupt the carefree spirit of this familial sitcom so typical of the 50s. This is in line with the decay Jack is undergoing."
Burnt Offerings (1976)
Burnt Offerings is one of those movies that feel disturbing enough for me (I wanted to say "horrible" as in "horror inducing" but I remembered that last time I used this word people thought I meant "bad quality") because, for a "haunted house/evil house" movie, it is not so much about the house. The house is not the mystery (everything is made clear and laid out early on in the movie, for the viewer to understand what story they are getting into) and isn't even truly a character (unlike other productions of the sort). Rather the story entirely focuses on the breaking down, the decay, the "burning" of the family - and thus it is more of a character-study movie. And I believe this movie will speak oh so much more to people who are used or have experienced dysfunctional families.
What made it echo with me, and thus made me feel "disturbed" (but in a good way) was the fact I actually knew all of these people IRL. Each and every of these characters (except for the chauffeur), I met IRL at different points in my life, in different places, but it is so eerie to see these fictional portraits of very real people - it added for me a level of "realism" which I don't think everybody will have when watching this obviously supernatural movie...
by Belgian photographer Alfonse Van Besten, 1913
Pre-Raphaelite photography
When it comes to TADC, I have one hefty criticism, one mild criticism, and one criticism where I hate it but I get it.
When you have a fandom this brainlessly literal who exist as emotional black holes, you don't have many choices. I think it was unnecessary for the story and broke the world just a bit. But if making your show worse makes them happy, why fight the rising tide?
I definitely felt Goose was trying to extend an olive branch to these people while simultaneously falling out of love with her own story due to the crushing expectations and the fact no one obviously wanted HER story. Just another mood board to say "omg that's me" about.
Still, for how much I hate it, she used it very well. It is such obvious training wheels for younger viewers, so I can respect it while still resenting it.
I hesitated reblogging this because I still don't know what the heck happened in this finale - I am still carefully waiting - but from the spoiler-free reviews, reactions and musings I have been blasted, I eerily had the exact same feeling as described in the third paragraph here.
From what I vaguely got, it had this sort of "rushed" feeling of a work that you want to wrap up for good despite having a lot more story to share, but it also had this "We'll make the fans happy" mindset, and so - without knowing exactly what this bloody ending is - the way people have been vaguely describing it evokes this exact feeling as said above. The feeling of someone writing an ending for a story they are growing distant with, but who still wants it to be a nice ending that will please people. Not a "spite" ending as some people feared, but just someone who wants to be at peace with a burial. A "tired but gentle farewell" ending.
Of course don't take my words for any worth, I still have NOT watched the ending... I am just wondering and pondering, and laying out my preliminary feels to compare them to what will actually appear on Youtube. And I have seen some people wonder if the ending would have been different, had there not been all this harassment, nonsensical drama and psychological mess that made Gooseworx decide to not continue anymore.
