"Anthony Perkins, Psycho. Corn syrup. Same stuff they used for pig’s blood in Carrie"
Scream dir. Wes Craven | 1996
One Nice Bug Per Day
No title available
Jules of Nature

ellievsbear
let's talk about Bridgerton tea, my ask is open

★
occasionally subtle
Sweet Seals For You, Always
"I'm Dorothy Gale from Kansas"
hello vonnie
i don't do bad sauce passes
ojovivo

Kaledo Art
d e v o n

roma★
2025 on Tumblr: Trends That Defined the Year
Monterey Bay Aquarium
dirt enthusiast
AnasAbdin
Sade Olutola

seen from Türkiye
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seen from Malaysia

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@sktoosmooth
"Anthony Perkins, Psycho. Corn syrup. Same stuff they used for pig’s blood in Carrie"
Scream dir. Wes Craven | 1996
Ants pot by Bradley Macom, 2023
Jude Bellingham
Nishiyama Hoen, Insect Procession,
detail, ink and color on silk, 1851
@entomanija <3
by Nikolett Emmert
The Libation Bearers Ramble Review
The Libation Bearers by Aeschylus feels heavier than The Agamemnon.
Years after the murder of Agamemnon, it follows Orestes returns from exile to avenger his father, reunites with his sister, Electra, and they plot the deaths of Clytemnestra and Aegisthus.
And much like it's prequel, the play's morality never stays black and white.
We see the fallout of Agamemnon's death. The household is haunted by his ghost, Orestes is exiled, and Electra is treated no better than a slave. So what follows next is believed to be the House of Atreus's restoration.
There's debate on whether Clytemnestra's grief reaction to hearing of her son's supposed death is genuine, but personally, the trilogy keeps exposing how she uses the roles of mother and lady of the house to her benefit.
While she claims she sent Orestes away for his own safety in The Agamemnon and that Phocis is an ally of Argos, she never brought him back after her revenge. And the nurse Cilissa claims her joy was hidden behind grief. (I swear, she deserves an Oscar.)
She pleas to Orestes that she's his mother, how she raised and nursed him, but Cilissa previously revealed that she was the one who did so.
Hot take, but if nurturing makes a parent, then Cilissa was more of Orestes' mother than Clytemnestra herself.
And yet, despite all of this, the play succeeds in making matricide never feel easy.
One of the play's saddest parts is how Orestes is encouraged to sever his relationship with his mother completely, to define himself only as Agamemnon's son, so that their emotional bond is destroyed to clear his guilt.
And after killing Clytemnestra, a disoriented Orestes returns to the chorus and begins unraveling as they celebrate their city's 'liberation':
"All that’s been done and suffered, all my bloodline grieves me, in my defiled, unenviable victory." - Line 1016-1017
There's no real victory here.
Agamemnon killed his daughter Iphigenia, so Clytemnestra avenged her by murdering him, and then Orestes avenged him by murdering his own mother. Every act of violence had a reason behind it, but it did them no good. It was just passed to the next person.
And Orestes' "choice" was never fully his own to begin with.
He explained how Apollo threatened him with disease, madness from the Furies, and a lonely death if he failed to avenge Agamemnon. While he said he would have done it anyway, he was still cornered.
A god didn't just command him. He threatened to pick one life to be destroyed: his or his mother's.
And the cruel part is Apollo's warnings still happen.
The Furies appear as Orestes’ mind begins to slip, and he’s driven to madness, running out of the stage.
In the end—for now—nobody wins in the House of Atreus.
Prometheus Chained to the Caucasus
Artist: Jean Charles Frontier (French, 1701-1763)
Date: 1744
Medium: Oil on canvas
Collection: Louvre Museum, Paris, France
Description
In ancient Greek mythology, the Titan Prometheus defied Zeus by stealing fire and giving it to humanity. As punishment, Zeus ordered Prometheus chained to a remote, desolate rock in the Caucasus Mountains, where an eagle would daily devour his regenerating liver.
The legend is the basis for the ancient Greek tragedy Prometheus Bound, traditionally attributed to the playwright Aeschylus.
── ⋆⋅𖤓⋅⋆ ──── ⋆⋅𖤓⋅⋆ ──── ⋆⋅𖤓⋅⋆ ──
Sun God Nika
Warrior of Liberation, Joy Boy
Joy boy is a benevolent spirit or Iwa, from Caribbean Mythology, associated with joy, laughter, and the celebration of life. He embodies the essence of happiness and is a symbol of hope for many.
Sakarabru [Agni mythology]
In the religion of the Agni people, who live in Senegal in Guinea, Sakarabru is known as the demon of darkness. He is a very dangerous spirit.
Aside from his role as a demon of darkness, Sakarabru presides over the changing of the seasons, as well as the renewal of the moon. During these times, a dancing ritual is performed for this spirit.
Interestingly, while Sakarabru is a malicious creature and the Agni people greatly fear him, he can also be called upon to heal illness. In fact, he is known to administer justice as well.
In modern English, the words ‘god’, ‘demon’ and ‘spirit’ are usually associated with three distinct classes of supernatural beings, that sometimes but not usually overlap. But in many religions, this isn’t always the case. Sakarabru, for example, has been referred to as all three, because a being of worship isn’t always easily classifiable for translators.
Interestingly, Sakarabru did not originate in the indigenous mythology of the Agni people. He started out as the deity of the Yacasse village before being incorporated into the mainstream Agni religion.
His place of worship is a richly decorated hut with fetishes and with paintings of alligators and snakes on the walls, as these animals are associated with Sakarabru. The spirit itself is represented by a ball-shaped idol made of maize and grains, and the hut also contains a collection of egg shells, bones, wreaths and dried seeds.
I have noticed that depictions of Sakarabru (which are pretty rare to begin with) tend to show him without arms. I’m not actually sure where that came from, or if it was always a part of the Agni religion.
Sources: Graves, R. & Guirand, F., 1987, New Larousse Encyclopedia of Mythology, Crescent Books, New York, 479 pp., p. 472-473. (Image source: Robert Ingpen)
ARÓN PIPER scuffers.co
george dureau at new orleans museum of art
Marcos Rin