'i am that very witch,'

i know people who don't do feminist analysis and those people are cowards

[witchsteria]

wysteria (witchie) — he/she — twenty three

letterboxd ! — storygraph ! — currently playing: slay the princess

[witchsteria]

heather langenkamp and robert englund in a promotional shoot for nightmare on elm street: dream warriors

[sephirothhh]

 It has nothing to do with Satan, Mama. It's me.

Carrie (1976) dir. Brian De Palma

[witchsteria]

my weirdest case of australian - american culture dissonance is finding out how gender scouting is in the us. most scouting here is mixed gendered and girl guides are often viewed as a little different than scouts on a technicality. the us boy scouts gender desegregating fully in 2007 is so bizarre because like,,, the major scouting body here was gender desegregated starting from 1971 to throughout the eighties. if someone in australia said they did scouts, it’s usually mixed gendered. i don’t think i’ve ever met a guy my age who’s done scouting where its just boys but i have met women my age who’s done girls only scouting via girl guides.

[witchsteria]

it’s fascinating how so few pop stars are doing films but specifically really interesting films; cher has a genuinely great filmography. she’s worked with robert altman in a film with fucking kathy bates and karen black and held her own in that ensemble. moonstruck is an all timer. madonna’s in one of the greatest sport films of all time, desperately seeking susan gave my mum her teen wardrobe. it’s not pop stars aren’t in films but outside of charli xcx being in an araki film, there’s a lack of interesting projects but also well done performances

[gusvanscant]

'Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean' (dir. by Robert Altman) [1982]

[ravenlynclemens]

proud to be one of the four people online who has drawn assassins fanart

[dannyarchers-blog]

Prove how just a little finger Can change the world.

[ghostlypawn]

BRANDON URANOWITZ as LEON CZOLGOSZ ASSASSINS | OFF-BROADWAY [2022]

[yellow-yellow-jacket]

nothin in musical theatre like a good Sondheim crash out

[mintaii]

the magic she loves

[witchsteria]

i do think what gets ignored about carrie as a character is that she’s an incredibly easy target to bully; she’s a chubby, sheltered acne ridden teenage girl who wears frumpy grandma clothes and regurgitates the jesus freak shit her violently abusive mother tells her. she has violent thoughts about her classmates and is uncomfortable to be around. she’s far more interesting being a victim that’s somewhat uncomfortable to be in the head of than a tragic waif. she’s not a martyr, she’s a child and a child who’s been victimised her whole life shouldn’t have to be kind and angelic to be recognised as a victim. suffering teenage girls shouldn’t just be presented on screen as toned down glamorous thin ophelias, suffering teenage girls can be fat and poor and think violently. i do think we need to examine why culturally we need teenage girls to be beautiful and kind to valorise their suffering and treat it as bad

[witchsteria]

adding onto this thought, i feel like this extends to how sue and especially chris are presented; chris is a deeply privileged cog in the machine that believes she’s allowed to punch down on people she views as less than human, as pigs but she also is a victim. depalma’s adaptation plays him as an idiot but billy within the novel frequently victimises chris, beats her, gropes her fantasies about killing her. a guy who’s significantly stronger than her is constantly harming her because he wants to and she can’t leave, she keeps telling herself she likes it. acknowledging carrie as an imperfect parental abuse victim should also come with acknowledging chris as an imperfect domestic violence victim. what makes sue (and tommy) stand out is that they aren’t victims of direct abuse, you can argue they’re victims of social hatred of children — them both being painted as more responsible for what happened to chamberlain than, say, the social services failing carrie — there’s a traditional ‘normalcy’ to both of them that contrasts carrie alongside billy and chris. carrie’s exploration of abuse as a text gets into how victims can be unlikeable! they can harm others! they can be uncomfortable to be around! it just doesn’t erase the fact that they are victims. suffering doesn’t turn you into an angel. carrie wasn’t a monster but she wasn’t a saint, i think that’s the power of carrie as a text; a blunt 200+ page statement about how victims are human first and foremost

[witchsteria]

i don’t like the way a lot of people talk with writing like writing is just stringing big beautiful words together when it’s not, it’s building a feeling from those words; metaphors and similes are suppose to connect to the text, the characters, what they’re feeling. i’m sorry to tell you this but your english teacher could absolutely tell that you’re bullshitting, you can smell bullshit off a page because there’s no substance to the words being written. when holden caulfield is talking about being the catcher in the rye, he’s describing a fantasy that connects to his fear of becoming part of the class that hurt him (adults.) salinger didn’t add it because he wanted to use big bullshit metaphors, it actually means something. it communicates a core part of the narrative and its lead

[know-fear]

Resident Evil CODE: Veronica X (2001)

[cinemaspast]

EYES WITHOUT A FACE (1960) dir. Georges Franju

[berlogauwu]

Love to death

[berlogauwu]

Prove to me I’m not gonna die alone. Put your arm around my collarbone, And open the door.