Are we really surprised though?
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YOU ARE THE REASON

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@pecene
Are we really surprised though?
Breaking into someone’s house, stealing a bunch of his food and drinks, and then singing a prepared diss track about how much he hates that you’re being assholes is absolutely wild and if I were Bilbo Baggins I would not help these people get their home back
This is basically what happened.
" I have no use for rings of gold, i care not for your poetry. I only want your hand to hold, i only want you near me. "
- Courting Song.
I can't wait for Jonathan's Pain Months. Because I just remembered. The night before the Weird Sisters almost made him one of them. He was writing while thinking of being like a lady who once had sat right there writing. While musing about the recurring of time, the meeting of past and present. Turns out there was a lady, or rather more than one. And he's the new one to join the past ones. It was foreshadowing. It's crazy.
Jonathan, dreamily: "Oh, to be a lady... writing love letters to a faraway beloved..."
Weird Sisters: "HEY GIRLY WANNA BECOME PART OF THE FAMILY??"
Jonathan: "YOU JUST APPEARED OUT OF NOWHERE!"
Weird Sisters: "If you join you can materialize from moonbeams, too <333"
Okay okay, I gotta say something serious about this.
So, you know how Dracula said those Things about old houses? How they have histories? Souls, even? Jonathan's my theatre bitch, so he picks up on this. He sneaks into this room and says "ah yes, I feel a feminine energy from this room, very comforting but wistful, yearnful, even". AND MY BABY GIRL WAS RIGHT?!
But while he has the romantic fantasy of being a lady worriedly waiting for her love to come back from battle, it is outshined by his desire to return to his real life back with Mina. He could have been one of them, but unlike the woman in his fantasy, unlike the women who accosted him, he does not toil away waiting to be found, he escapes, breaking the chain. I don't doubt that the latter two Sisters may have been lured in by the same peaceful energy that compelled Jonathan to stay in that room. But Jonathan had someone to run to, and they did not.
Great, now I got a lotta feelings about damsel Jonathan right now.
May 3rd, Jonathan Harker’s journal
(Mem., get recipe for Mina.) I asked the waiter, and he said it was called “paprika hendl,” and that, as it was a national dish, I should be able to get it anywhere along the Carpathians.
I had for breakfast more paprika, and a sort of porridge of maize flour which they said was “mamaliga,” and egg-plant stuffed with forcemeat, a very excellent dish, which they call “impletata.” (Mem., get recipe for this also.)
Recipe blog casually interrupted by nightmares and the howling of wild dogs. I’m sure it’s nothing.
must representation be “good”? is it not enough to watch two men destroy each other's lives
Hannibal 3.03 Secondo
"Please dont ship Dracula and Johnathan its toxic and Dracula wants to eat him uwu"
bro, being a Will x Hannibal shipper i dont recall that ever having stopped me before.
It's not gonna stop me now. the homoeroticism was written to be horrifying to victorian readers why not embrace it in modern times?
I'm absolutely dying at this kids adaptation of Dracula.
Obviously I'm not gonna post the whole book because we support the authors in this house, but omg, everyone just going, "Dracula! No biting!" and Dracula being like :(
solicitors HATE him! ancient vampire discovers 1 weird trick for buying property in England
honestly after seeing everything, from films to annotated books, say 1. him getting a "wicked desire" out of the sisters is Repression, or fear of dominant women, or it was hot and he'd enjoy it 2. him not recording what happened between him and Dracula the last night is him "hiding a homosexual affair" 3. him being unable to wake up to save Mina makes him a cuckold and "demoted" by the forbidden object of mina's desire... It's nice to see all three instances when he got assaulted (because 3rd Oct was an assault on him too dammit) being treated seriously, instead of turned into jokes or infidelity Actually.
I joke a lot about subjecting poor Jonathan to assorted horrors, but the truth of it is that while I do like throwing new twists and terrors his way, this guy was already very much subject to a wide array of nightmares and traumas that the rest of the cast never experiences, and for far longer. This obviously isn't to belittle the brisker and more immediately vicious attacks Dracula inflicts on, say, Lucy and Mina, but those same threats--exsanguination, death, undeath, automatic enslavement/entrapment--were all still very much intended for Jonathan on top of the rest of his two month marathon of psychological torture.
And you're right. The latter is never, ever brought up in Dracula media other than Dracula itself. Certainly never with any kind of dignity, honesty, or acknowledgment of the horror involved. Part of the reason I write Mr. Harker into so many miserable corners--corners that, some have pointed out, he's only trapped in by dint of the Villain of the Moment taking a covetous interest in him, be it for his weird strengths or his charm or both--is to highlight the fact that he is a damsel in distress. One who is consistently targeted because he appeals to the monster(s).
Jonathan Harker is a good, sweet, strong, intriguing, desirable character.
Jonathan Harker is a victim of unwanted amorous and/or literally bloodthirsty attention from multiple aggressors.
Jonathan Harker is a traumatized individual who, regardless of what sequels or spinoffs try to twist in otherwise, spent months having his mind dragged over broken glass as he tried to juggle trying to get help, trying to escape, trying not to anger the undead horror keeping him prisoner, trying not to get magically coerced into laying back and letting the sexual predator-coded vampires take turns drinking from him or worse, trying at the very end of his rope to attack the monster only to get parried by yet another surprise superpower and the cheat of arriving minions and elements to conspire against him, trying, trying, trying everything he could think of to Not Be in This Hell, only to ultimately gamble himself on a cliff fall or death in the wilderness rather than stay another minute in that stone box of nightmares and undead eternity with the Weird Sisters.
Jonathan Harker has all this inflicted on him because, like Lucy, like Mina, he was wanted too much. And, like them, he did not want any of it.
Jonathan Harker is not weak for that.
No narrative that tries to warp him into either a quailingly repressed hater of powerful women, or secretly willing cheater with the Brides or Dracula, or any other copout to make it seem like a softer, ignorable, unctuous little footnote in someone else's liberating vampire fetish take on Dracula in which he is unceremoniously booted aside for Mina and the Count's ribald affair which is automatically a better thing than Jonathan daring to have such with the Brides or Dracula has any merit to it. Period. But the infuriating fact is, yeah. The latter are an overwhelming majority in films, shows, and books.
So I feel no shame whatsoever in being as indulgent as possible in my portrayal of Jonathan as the first and most long-term damaged victim of the Count; the only victim in the book who was not one of Dracula's idle afterthoughts, but a meticulous and coveted project. His pain and his appeal are both overdue a spotlight by over a century. So it's all going into whatever I write with him.
Why did Dracula "save" Jonathan for the very last night until his journey? We know from how he fed on Mina for three days she was pale and weak, but not dead, so he could have been feeding on him for a few days/week until he succumbed.
But he kept him unbitten until Jonathan's final letter was written and only then Dracula declared that "he is mine tonight", and the rest is history.
Dracula prefers foreplay over the climactic act when he's enjoying himself rather than pressed for time. He likes playing with his food and/or future conscripted vampires. With Jonathan, he gives the superficial reason of wanting the Englishman around to learn how to speak in the same way. Which might be part of it! But to have him prisoner and literal captive audience for two months implies the more likely desire of just enjoying the cat-and-mouse of it all. Teasing things out until the last possible night and what Dracula assumes will be Jonathan's last night as a human being full of terror before the Brides have their turn with him, forcing him into inevitable vampirism.
Even with the Demeter crew, we see him playing. None of the men aboard strike him as anything other than another revitalizing meal in potentia, so the only fun he has is playing the torturous game of picking them off one by one in the dark, but the play is there.
You mentioned how different his MO with Mina was--how brisk. I'd say it's because it was all business. And petty vengeance. Not only was he striking at an enemy by trying to conscript her, not only was he violating her and her husband in what played out very much like a rape and a hovering promise that in time she will very literally be another of his pretty undead pets like the Brides. It was also to (unsuccessfully) give him eyes and ears on the group using her borrowed senses. He was on the clock with Mina, which is why she gets the quickest treatment.
Though I think there is something else worth mentioning in how he preys on Lucy; the character we're meant to assume is the template for how he hunts out new undead members to the Dracula club. And what do we learn from her case?
We see that if it weren't for Mina, Van Helsing and the suitors' intervention, his playtime with Lucy would have been far, far shorter and had even less impression on him than the book already showed. Lucy has friends. Lucy has people giving her new blood to stall her undeath. Lucy's conscription keeps getting stalled--and that is what keeps Dracula interested. It's a matter of engagement, pride, and, most likely, the only reason he really bothers to play more extravagantly with her. Hence the theatrics of getting poor Berserker in on it.
And after all that back and forth and bleeding and biting and Bloofer Ladying? He immediately loses interest and starts sniffing after the Pretty Girl in Piccadilly. Which, while indicative of him being a glutton for beauties, shows another very lopsided treatment compared to how he toyed with Jonathan.
I've pointed out before how Jonathan is the only character in the book Dracula goes out of his way to have whole conversations with. Mina gets one villain monologue, the group gets some fist-shaking and moustache-twirling at the Piccadilly house, but even when he has no reason to, Dracula really does go full gothic horror 'courtship' mode with Jonathan. Chatting, cooking for him, maintaining the whole castle charade; true, with increasing acts of abuse and psychological torment, but he actually engages with Jonathan.
This, when Lucy doesn't get so much as a 'Hey xoxo ;)' and Mina is given a traumatic speedrun to get her into vampire mode ASAP.
Dracula shows minimal finesse with Lucy, none with Mina, and devotes two months to Being Very Intimately Weird with Jonathan. Which means the question is less 'Why did Dracula wait so long to bite Jonathan?' and more 'Why is Jonathan's treatment so different from every other victim of Dracula's period?'
—all these people think love's for show but I would die for you in secret
How I found a scene from Disney’s Beauty and the Beast buried in Stoker’s Notes for Dracula
(Art by my good friend Em ‒ who is available for commissions, in case you were wondering)
You know a work has left its mark on a culture when someone can get away with publishing whole extra books * containing nothing but copies of the author’s original working notes.
For the dedicated Dracula-nerd, though, there is some fascinating stuff buried in Stoker’s early notes ‒ mostly in all those ideas that didn’t make the final draft. I could go on about my favourite details, but no one thing gave me so much joy as discovering that an early plan for chapter 6 (back while Jonathan Harker is trapped in Dracula’s castle) included what sounds, to modern ears, far too much like that one scene from a certain Disney film:
Chapter 6 Jonathan Harker’s Diary Cont. Attempt to get away from castle—Wolves—wehr wolf—old chapel—carting earth—shrieks from grave—sights of terror & falling senseless—found by Count
Keep reading
Dracula: Hm, that human mother is being super annoying about her dead kid at the gate. How do I fix that? Wolves? I’ll say wolves.
Dracula: What’s that? My good friend Jonathan Harker wants to leave ahead of schedule? Think I’ll do some wolves about that.
Dracula: Damn, seems that old Dutchman has blocked off one (1) single window with garlic blossoms and now this one (1) specific girl in all of England is barred from me. Maybe I should use my title and/or some invented pretense to cajole the girl’s mother into letting me in. Or maybe I could just move on to a different victim out of the nigh endless blood buffet I specifically moved here to enjoy, none of whom have a small legion of blood donors and vampire-proofing scholars on their side.
Dracula:
Dracula, about to slam dunk a wolf through the window: Or,
I awoke in my own bed. If it be that I had not dreamt, the Count must have carried me here.
Wait that’s so cute?
Especially after he just told the ladies that he needed Jonathan to do work for him and shooed them away on that basis! I can’t tell if it’s cuter if
- he was lying to protect Jonathan and pretend he didn’t care about him, and actually didn’t have any work that needed doing and just wanted them to leave him alone so he could sleep
or
- he actually did want to wake Jonathan up to get work done, but then Jonathan was just sleeping so soundly that he couldn’t bear to wake him and instead carried Jonathan back to bed and tucked him in