#like same logic as nosferatu

[gods-favorite-autistic]

The only reason I could accept for a Frankenstein remake is so we can have book accurate intelligent monster that is my only wish

[thestarsaboveme]

Lads men x Reader who's really into horror movies

masterlist

this was a request from a kind anon.

summary: reader who really likes horror movies.

xavier | rafayel | zayne | caleb

sylus x reader | fluff

The room is dim. Just the glow from the projector and the shifting shadows on the walls. You sit forward as the scene plays out, dim lighting, an eerie stillness, then a sharp cut to a reflection. The victim sees themselves on screen seconds before impact. The screen goes black.

You don't react with a gasp or a flinch. Instead, you slap the pause button and spin toward Sylus with wide eyes.

''That. Was. Brilliant.''

He blinks slowly. ''The murder?''

''No!'' you grab the notebook, which is hanging on by one duct-taped corner, and flip it open in your lap. A folded page falls out. A post-it note sticks to your elbow. ''The reflection shot. The timing. The way the character becomes both observer and object. That is pure cinematic horror logic.''

Sylus watches you sift through the avalanche of scribbled diagrams and timestamp notes. ''I thought horror logic was people making bad decisions and tripping on air.''

You snort. ''That's surface-level stuff. I'm talking deep technique. Look,'' you tear out a page and spread it in front of him. ''See how the visual symmetry forces the viewer into complicity? It's not just a kill shot. It's a narrative trick. A loop of helplessness.''

He glances at the mess of arrows and shaky frame stills. ''This looks more like a tactical briefing than film analysis.''

''Same thing, honestly,'' you mutter, eyes still scanning the page. ''Predict the pattern. Anticipate the strike. Horror's just chess with blood.''

That makes Sylus pause. He leans back slightly, staring not at the notebook, but at you.

''…You really mean that.''

You look up, surprised by the softness in his voice. ''Of course I do. Horror is structure wrapped in chaos. You just have to be patient enough to unravel it.''

Sylus gives the smallest huff of breath. It's almost a laugh, which in his language might as well be a full-body chuckle. ''Sounds awfully familiar,'' he mutters under his breath. He glances at the paused screen again, the dim flicker of it reflected in his eyes. ''I never liked horror,'' he admits, still watching the frozen frame. ''Too irrational. People running toward danger. Splitting up for no reason. Poor decisions everywhere.''

You shoot him a grin. ''That's half the fun. The chaos. But that's only on the surface. Good horror has structure. Rhythm. Cause and effect.''

Sylus hums low in his throat. ''So you find logic in disorder.''

''Exactly.'' you point at him, pleased. ''Horror is controlled chaos. Like, okay, jump scares? They only work if you know how to set them up. They're math. Tension beats. Timing. It's practically music.''

He's quiet again, but this time, it's not dismissal. He's processing.

You tap your pen on your notebook. ''You look like you want to disagree.''

''I don't,'' he says, finally. ''I think I just…underestimated how methodical fear can be.''

The way he says it makes you glance at him, really glance. His voice calm, but there's something underneath it, like a wire stretched too tight. He's not just talking about films anymore. He rarely does.

You offer him a soft smile, shifting to sit cross-legged. ''I think that's why I love horror. You can understand fear. Control it. Break it down. It's never just violence. It's always saying something.''

Sylus looks at you, and for a moment, something flickers in his expression. Not surprise. Not amusement. Maybe something closer to…respect.

''I like the way your mind works,'' he says simply.

You blink, and for once, you're the one without words. Your pen slips slightly in your grip. The projector hums in silence.

And Sylus, without ceremony, leans forward to pick up a loose sheet from the floor. He holds it up to the light.

''…You've miswritten the year here. Nosferatu was released in 1922, not 1923.''

You gasp, scandalized. ''Disqualified. You're banned from horror club for nitpicking.''

''You run the club alone.''

''And you were almost vice president.''

A ghost of a smile lingers on his lips, and his eyes stay on you a moment longer before he sets the paper down and says, ''Continue. I'm listening.''

And just like that, your rambling resumes, animated and delighted, while Sylus sits in his quiet stillness, absorbing every word like it's data he never knew he needed.

[scary-grace]

PARIAH - a Shigaraki x f!Reader fic

Shigaraki Tomura was buried three days ago, struck down at last by the affliction that’s haunted him all his life. Now, with muffled screams emanating from the graveyard and the same affliction striking down villagers left and right, the priest has ordered Shigaraki raised from the grave and put to death properly this time. It falls to Spinner, wracked with guilt over his best friend’s fate, to seek help from a monstrosity equal to the one that haunts Shigaraki — the witch who dwells in the darkest part of the forest. In other words, you.

Nosferatu AU, Spinner POV, 5k+ words. Vampires, wolves, and witches, oh my! If you like Gran Torino this is not the fic for you.

part i part ii part iii

Not far now, Midoriya said the last time they stopped to catch their breath, but the woods seem to go on endlessly, and Spinner feels as though he’s been running for even longer. He’s no stranger to fleeing for his life. In one way and another he’s been doing it since he was born. But he’s never run for someone else’s life before. Never before has someone else’s survival hung in the balance of his heavy footsteps through the snow and the breaths of air so cold it sears his lungs. Spinner is the weakest of them, with the least to offer, closer to dead weight than a valuable ally. But in this moment, he’s the only one who can save Shigaraki’s life.

They came to this village six months ago, and for six months, life was quiet. The villagers were wary of strangers, of course, particularly strangers like Spinner and his friends, but for once, they all managed to keep their heads down. Toga made friends among the maidens in the village, while Twice made himself useful., and Dabi did them the favor of putting out fires rather than starting them. Spinner helped where he could, but mostly he watched Shigaraki. The evil that haunted Shigaraki had done so all his life, but it had only attempted a fatal strike when their backs were turned, and when they fled with the city in flames behind them, Spinner swore he would never allow such a thing to happen again.

Spinner kept a careful watch, but it didn’t matter. The affliction came again, weakening Shigaraki to the point where he could barely rise from his bed, and worse, it began to spread through the village. The villagers blamed Shigaraki and came to punish him, but they were too late. Spinner’s best friend died before his eyes three nights past, and the villagers buried him in an iron coffin before the sun could rise.

Or at least, Spinner had thought Shigaraki was dead. On the first day, he believed the muffled screams issuing from the graveyard were the manifestation of his own guilty conscience. But on the second day, the others heard them, too, and although the villagers believed they had locked away the source of the affliction, it continued to spread. The priest came to the graveyard, heard the screams, and ordered Shigaraki exhumed. Fool that he is, Spinner thought they meant to help him.

Then he and everyone else saw the ash stake in the priest’s hand, sharpened to a deadly point. It was an error to bury him whole, the priest said. This will quiet him forevermore.

They could not reason with him. No logic could overcome the priest’s certainty, nor the absolute faith the villagers had in him. It did not matter that Shigaraki had not left the house since falling ill. It did not matter that the coffin had been locked shut, nor that the surface above the grave was undisturbed. The priest and his followers buried Spinner’s best friend alive, and now they mean to dig him up and stake him through the heart.

Spinner hung back as Dabi and Toga and Twice argued. He’s worthless at arguing, just as he is at everything else, but as he stood at the edges of the conversation, someone caught his hand and drew him away. When Spinner looked down, he found Midoriya Izuku looking up at him. The strangest child in the village, known for daydreaming so vividly and so often that he falls into potholes at least twice a week, wore a determined look that shocked Spinner in its ferocity. You cannot stop the priest, he said. Only the witch can do that.

Every rural village has its superstitions, and this village has the witch – never seen, never spoken to, always blamed for blighted crops, missing livestock, and bouts of ill fortune. It is said that the witch is monstrous, raised by wolves and lies with them, too, an enemy of all that is holy. But when the affliction struck, not a single villager placed the blame on the witch. And when Midoriya Izuku spoke of her, he did so without fear.

He bade Spinner follow him, running across the bridge over the stream and down the sole path into the northern woods, and although Spinner questions the wisdom of challenging a mundane evil with a supernatural one, he has no other choice. He swore to protect Shigaraki, just as the others did, but he’s the one who failed. The witch will drive a hard bargain for her help, and Spinner will take it. What happens to Spinner doesn’t matter. Better by far that Shigaraki survives.

Not far now, Midoriya said, but each twist and turn in the path reveals only further twist and turns ahead. When Midoriya stops again to catch his breath, Spinner’s patience snaps. “There is no time. We must hurry.”

“The ground froze hard these past nights,” Midoriya gasps, “and they buried him deep. We have time. After this I will not need to stop again.”

“You had better not, or I will leave you here and find the witch myself.” Spinner says that, only to feel his nerves turn to water at the thought. “How do you know she will help?”

“I don’t know what she can do,” Midoriya says, and Spinner’s heart sinks further. “But I know that when the priest ordered me to kill a wolf-dog pup from my dog’s last litter, she came down from the woods to take it away.”

He straightens and picks up the pace, and Spinner chases after him, questions upon questions queued up on the tip of his tongue. “You’ve seen her?”

“Not – not really,” Midoriya admits as they careen around a corner. “She wore a veil over her face, and dressed all in white. But her voice sounded ordinary. Not as a monster’s voice should, or I think not. If she is not one, I have never heard a monster speak.”

Spinner has. It’s unmistakable – not just a hearing or a feeling, but a knowing, a terror beyond thought and reason. “I had to cross the bridge to bring her the pup,” Midoriya continues. “She would not cross to me, but when I gave it to her, she promised to raise it well.”

Spinner knew Midoriya was naïve, but this is ridiculous. “Did it not occur to you that she would lie? Monsters know only how to deceive.”

“She didn’t lie,” Midoriya says sharply. “I know when someone lies to me. She wouldn’t have hurt my pup. She –”

He stops talking, and stops running, too. Spinner fails to stop in time and bowls him over from the back, and as he picks himself up, he sees what caused Midoriya to balk. The path continues still further into the woods. But a wolf sits sentinel in the middle of it, blocking the way.

No, not a wolf. Spinner has seen wolves, more than his share of them, far more than he would have wished to. This is – “A wolf-dog?”

“Yes,” Midoriya says, his voice trembling with something like awe. “Mine.”

The wolf-dog’s ears prick upwards, and its tufted tail wags, scattering long-dead leaves away from the path. All at once it rises to its feet, turns, and lopes away, but only as far as the next bend in the path. There it turns and looks at them. Waits for them. “She wants us to follow,” Midoriya says, and he does so. Spinner follows, too, wondering who exactly Midoriya meant by she.

The wolf-dog keeps a brisk pace as the path, lined on either side with thick brambles, narrows such that Spinner and Midoriya must walk single-file. There are strange lights tucked away within them, emitting a pink glow that Spinner can classify neither as unholy nor divine. The wolf-dog rounds one turn in the path after another, and only when Spinner has thoroughly lost his sense of direction does it come to a stop. They’ve stopped at the edge of a large clearing, ringed in yet more of the odd pink lights. Within the clearing, there is a fence, its posts laden with wildflowers — the same flowers that climb the walls of the small cottage in the center.

It looks like something out of a children’s story. Not at all somewhere that a witch with the power to challenge the priest should live. Midoriya starts forward eagerly, and Spinner seizes his arm. “No. Even sweet things can be a trap.”

The wolf-dog noses the iron gate, and it swings open. “You want to save your friend, don’t you?” Midoriya asks. “She’s the only one who can help you. And you were wrong. She didn’t hurt my dog.”

Spinner is not at all convinced that it’s the same dog. It seems more likely the product of Midoriya’s wishful thinking. “I don’t like your friend,” Midoriya continues. “He frightens me, and everyone else. But he shouldn’t die for our fear. If you won’t go in, I will.”

Spinner is a coward. He knows he is. But even in his cowardice, he cannot allow this — a child taking the risk that belongs to him. He lets go of Midoriya’s arm and shoulders past him, past the wolf-dog, through the iron gate and along the path through the witch’s garden to the cottage’s front door. He knocks hard enough to bruise his knuckles. “Witch! I am here on a matter most urgent. Come out, or –”

“There’s no need to shout,” a perfectly ordinary voice says from behind him, and Spinner’s heart nearly stops in his chest. “I’m right here.”

Spinner wheels around, and there you are. There you have been sitting the entire time, concealed from view of the path behind your flower-entangled fence, dressed all in white just as Midoriya described and blending in with the snow. Just as Midoriya described, your face is veiled. All around you in the snow, wolf-dogs sit and sprawl, some ancient and grey-muzzled, others with the gangly clumsiness of pups. White roses are scattered around you, and even as you harken to Spinner, your fingers continue to weave them deftly into a crown.

“I thought I might have visitors today,” you say. “What are your names?”

“I don’t share my name with strangers,” Spinner growls, in the same moment as Midoriya blurts his out. “Shut up, you idiot!”

“The point of sharing names is to remove the designation of strangers,” you say mildly. Your veil is not quite opaque; Spinner sees your lips move beneath it. “I cannot blame you for your caution, but you mentioned an urgent matter. What brings you to my door?”

“The village,” Spinner says, biting down on the desire to curse its name. “It has been struck by –”

He runs out of words. He and the others have been careful in their description of it, for fear of being called insane. Even a village with such superstitions as witches is too skeptical to believe in – “Vampires,” Midoriya announces. He’s apparently abandoned caution; he’s crouched in the snow at the edge of the path, petting the wolf-dog he believes was his. “Each night more wake with bites, and not long after they fall desperately ill.”

“Are they drained of blood?” you ask. “Or is their skin simply rotting?”

“They haven’t been drained,” Midoriya says, frowning. “But the bites –”

“My friend was drained,” Spinner says, and you look to him. “He grew weak. He could not eat or drink, and visions tormented him at the end — or what we thought was the end –”

“They buried him,” you say, and Spinner nods. “But people continue to fall sick, and they believe your friend is the cause, so they intend to exhume him and put an end to him properly this time. Am I incorrect?”

Spinner can barely believe his ears. “How do you know?”

“Fear strips away reason. It comforts them to think that killing your friend will end their misery, and their desire for comfort only serves the greater threat.” Your hands work more quickly, plaiting the crown together. “You’ve come to me for help. What is it you wish me to do?”

“Stop the priest,” Spinner says. You tilt your head, studying him. “Prove my friend’s innocence.”

“That is within my power,” you say. You add a few more flowers to the crown, set it upon your head, and rise to your feet. “Is there time?”

“When we left they had already started digging,” Spinner says uselessly. “What price do you ask for your help?”

“None,” you say. You brush past Spinner, slipping into the house and emerging seconds later with a small satchel slung across your body. White deerskin with silver fastenings — not at all what Spinner would expect a forest-dwelling witch to possess. “We must travel with haste.”

“Yes. Have you horses?”

You shake your head, then raise one hand to your mouth and whistle, high and wavering. Within moments, Spinner hears the sound of heavy footfalls, and the shape that moves within the trees is so monstrously large that even Midoriya is scared up from the ground and closer to Spinner. “What is that thing?”

A wolf. Not a wolf-dog, but a true wolf, hulking and enormous, standing taller than Spinner at the shoulder. It dwarfs you as you approach it, but you approach without fear, and it lowers itself to the ground so you can speak quietly in its ear. You use no language Spinner can understand, but it is not the language of the demon, and in your ordinary voice it does little more than raise the hairs on the back of his neck. “This is a friend of mine, who has agreed to aid us,” you say, straightening up. You throw one leg over the wolf’s back and climb up, seating yourself just behind its head. “If time is as short as you say, it is not wise to hesitate.”

Spinner climbs up first, followed by Midoriya. “Keep low until we leave the trees behind,” you order, “and hang on.”

Midoriya promptly grabs hold of Spinner, but Spinner has no easy recourse. “To you? It’s not proper.”

“Would you rather be proper or survive the journey back to the village?” you ask impatiently, and Spinner secures his arms around your waist, his face miserably red. “Hold on.”

You whisper something else to the wolf, and it lurches into motion with such violence that Spinner tightens his grip in terror. He learns instantly why you ordered them to lower their heads — at the speed at which the wolf moves, a collision of their heads with a branch would result in decapitation. Spinner can’t watch the trees speeding past without feeling ill, so he shuts his eyes only to feel sicker. Opening them, keeping them fixed between your shoulder blades, is the only solution. That, and occupying his mind with something other than how inappropriate it is to hold you this closely.

You feel human. Spinner’s taken women in his arms before, human women of his own will and vampire women against it, and while the unholy attraction of the undead is absent from you, there is something undefinably strange about your presence. Perhaps all witches are thus. You have yet to do anything more witchlike than speak to wolves and live deep in the woods, and once again, Spinner begins to doubt. Who are you to challenge the priest, to counter the village’s faith in him? How could you save Shigaraki, when Dabi and Twice and Toga could not?

The wolf breaks through the tree line, and you sit up quickly. Spinner does the same, although it makes the ride significantly bumpier. Out of the woods, it’s easier to gauge the wolf’s true speed. It barrels down the hillside, as fast as any horse, and ignores the bridge in favor of leaping across the stream in a single bound. At the apex of its flight, Spinner feels you startle, then flinch, a sharp gasp exiting your lips. It’s as if you’ve been shot or stabbed, and for a moment, you go completely limp, your grip on the wolf’s mane relaxing. Only Spinner’s arms around you keep you from slipping sideways into the water – but then the wolf’s paws touch land, and you straighten up again. Spinner would think it his imagination if not for the audible catch in your breathing.

When the wolf reaches the graveyard, Spinner’s own breath catches in horror: Shigaraki’s coffin has been raised up from the earth, its lock shattered and its lid shoved aside. Between the coffin and the priest stand Toga and Dabi and Twice, and before Spinner can call out to tell them help has arrived, villagers seize his friends and drag them out of the way. The priest approaches, stake held high, and a shaking hand rises from the coffin in a weak attempt to forestall him. Shigaraki is alive, and awake – awake just in time for Spinner to watch him die.

“Wait,” he tries to call, but his voice shakes so badly that he can barely raise it above a whisper. “He isn’t –”

“Father Torino!” you call out, your voice strident and strong, and the priest stops in his tracks. He turns towards the sound of your voice and flinches as he beholds the wolf, and you and Spinner and Midoriya on its back. The villagers cower, and Dabi and the others seize the opportunity to get free and return to guard the casket — but they, too look wary. “Is it now the custom of the Church to murder innocent men by hand after burying them alive has failed to do the job?”

“This is no man, but an abomination,” the priest growls. He is a small man, and old, but neither matters when righteous fury animates him. “It is the custom of the Church to carry out God’s will and remove such things from the face of His earth.”

“If this man’s death is God’s will and not your own, then it can wait a few moments more.” You slide down easily from the wolf’s back and start forward across the graveyard, the villagers scattering from your path. “I will examine him, and prove his innocence or his guilt.”

The priest does not challenge your ability to do so, and a small measure of hope is turned loose in Spinner’s mind. He slides down from the wolf’s back as well, much less gracefully than you did, and seizes the back of Midoriya’s coat to prevent him from going face-first into the snow when he does the same. Ahead of him, you confront Dabi. “Stand aside. Let me see him.”

“What, so you can kill him?”

“Do you see a stake in my hands?” You spread them out, revealing them empty. Spinner notices for the first time the silver rings on your middle fingers, and the web of silver chains extending from them to connect to a matching bracelet around your wrist. “I only wish to examine him.”

“She can help,” Midoriya says, and Dabi’s eyes flicker to him. “Let her help.”

Dabi looks to Spinner. Spinner nods, and Dabi stands aside, allowing you to approach the coffin.

Spinner does the same, and what he sees fills him with a guilt so powerful that it nearly strikes him dead on the spot. As terrible as Shigaraki looked when they believed him dead, he looks worse now. Paler, sicker, more haunted than before. Blood stains his fingernails — what’s left of them, at least. Spinner imagines his best friend clawing at the lid of the iron coffin, desperate to get free, and nearly vomits at the thought.

Shigaraki is barely conscious, barely breathing, as you come close. Spinner was unsure of what to expect from you, but your first act strikes him as completely incongruous — you lift the crown of white roses from your head and settle it on Shigaraki’s. Shigaraki doesn’t stir, and on the other side of the coffin, the priest’s shoulders stiffen. “That proves nothing.”

“White roses are anathema to vampires. They teach you that in your book of demons,” you say. You unclasp one bracelet from around your wrist, slide one ring from your finger. “They speak of silver, too.”

You lift Shigaraki’s hand and slide the ring onto his finger. His hands are larger than yours, yet so skeletal that the ring fits easily. As does the bracelet, when you snap it shut. Once again, Shigaraki does not stir. The priest scoffs. “You expect me to believe that’s real silver?”

“I expect you to ask yourself what reason I among all others would have to collude with this affliction,” you say. You of all others? Spinner sees his confusion writ large on Toga’s face, on Dabi’s and on Twice’s. “But if it will satisfy you, I will ask someone else. Who here has something silver?”

It’s silent. Midoriya disappears into the crowd, then comes back pulling his mother. “Mother. Mother, show her — you have some –”

The woman clutches at her necklace, as though she expects you to rip it from her throat. “You will have it back unharmed,” you promise in that ordinary voice. Spinner no longer doubts that you are no monster; rather, you seem so human that he doubts your ability to help at all. “Either you will help to protect your village from a grave threat, or you will save an innocent man’s life. To save one life is to save the world entire.”

“Cease such pagan nonsense in my presence,” the priest snaps. “Even if he is no vampire, he has forfeited his right to life by bringing the affliction upon our village.”

You ignore him, and after a moment, so does Midoriya’s mother. She unclasps her necklace, and Midoriya places it in your hand. You hold it for a moment, then set it down in the hollow of Shigaraki’s throat. He does not move beyond the rise and fall of his chest. “Odd,” you remark. “A vampire should flinch from such things.”

The priest doesn’t answer. You gesture for Spinner to come closer, to stand alongside Dabi and the others. “Bite marks,” you say, and Spinner startles along with the rest of them. “Where were they?”

“He had many,” Toga says. She tended to Shigaraki most closely, and took his apparent death nearly as hard as Spinner did. “On his throat. His chest. Both wrists and ankles.”

“Were there others?” you ask. Toga shakes her head, and you raise your voice, addressing the crowd in the graveyard. “In the legends, a true vampire’s body bears no bite marks. The transformation erases them. Is it not so?”

The crowd mumbles assent, and Spinner wonders if this is why Midoriya insisted on summoning you. The priest’s frothing rage looks particularly mad when contrasted to your calmness. You look to the priest next. “Is it not so, Father Torino?”

“In tales and in history.” The priest speaks through gritted teeth. “Let us examine him. I — what are you doing?”

“My eyes must be clear,” you say, and you lift your veil.

Half the village recoils, but when you fold it back, Spinner sees nothing out of the ordinary about your face. There is no mad light in your eyes, no distorted sneer on your mouth, no dark magic writhing visibly beneath your skin. There is an odd pallor to you, but nothing more. You turn back to face the priest — the priest, who did not flinch. “Let us examine him.”

Shigaraki does not react to your touch, but when the priest reaches in to grasp his arm and haul his wrist into the light, he shrinks back. “You see?” the priest demands. “He recoils from a man of God –”

“A man who was about to drive a stake through his heart. I’d recoil, too.” You have Shigaraki’s other hand, holding it carefully, and you turn it to expose his wrist to the light. “Look, Father. Those resemble bite marks to me. And here –”

You lift the wrist that Shigaraki pulled away from the priest. “More bite marks. Just as the maiden said.”

Shigaraki’s mouth opens, and the voice that issues from it is hoarse from three days of screaming. “Spinner –”

Spinner hurries forward, and without a word, you shift your examinations to Shigaraki’s ankles. “I’m here,” Spinner tells Shigaraki. “I’m sorry.”

Shigaraki shakes his head. “What’s — happening?”

“Midoriya took me to see the witch. She came back with us to help.”

“Witch?” Shigaraki rasps. “Doesn’t sound like a witch.”

“Her voice is wrong,” Toga agrees quietly. “I don’t know what she is.”

“You do not need to know. She is unclean, and those who fear God should stay far from her and her accursed woods,” the priest says. “And you, Shigaraki — you fear death a great deal for a man who does not fear God.”

Shigaraki’s red eyes flutter shut. He seems to have exhausted his strength, and Spinner finds himself watching the rise and fall of Shigaraki’s chest, fixated on the smallest motions. He kept this same vigil before, three nights ago, dreading every new second until the motion stuttered and stopped — or rather continued, so imperceptibly that everyone believed him dead. Whether you’re a witch or not, you are an effective counter to the priest, but what happens after you spare Shigaraki’s life? His affliction will not fade, and the evil that stalks him will not relent. Has Spinner saved Shigaraki’s life only to consign him to a slow, agonizing death?

Spinner’s thoughts are interrupted when your hand appears in his field of vision, parting the buttons on Shigaraki’s shirt to expose the bite marks directly over his heart. The priest grasps Shigaraki’s jaw and turns his head roughly to one side, revealing the bite marks on his throat as well.

Spinner remembers the first time he beheld the evidence of Shigaraki’s affliction. Shigaraki had kept it from them as long as possible, but one by one, they saw things that could not be explained, heard things in the night that could not be dismissed. They knew too much to find safety in ignorance, but they could not protect themselves if they did not know the truth, and so Shigaraki shared what he knew of the evil that had clung to him since childhood. They doubted him at first, but he must have expected it. Spinner will never forget the shiver of disgust that tore through him at the sight of the marks on Shigaraki’s throat – and how it grew ever worse with each set of marks he revealed.

The reminder alone of what Shigaraki suffers fills Spinner with disgust. He cannot imagine experiencing it and surviving with his mind intact, and yet Shigaraki has survived. And he will survive this, too. Faced with all the evidence you have revealed, the priest cannot kill Shigaraki now.

“Are you satisfied?” you ask, when the priest fails to respond. “This man is not the source of the affliction. He is its victim, as much as any of the others who have fallen ill.”

“Perhaps,” the priest says – and he raises his stake. “I’d rather be sure.”

Before he can bring it down, you seize it. Dabi does the same, and so does Spinner, while Toga and Twice throw themselves across the coffin to shield Shigaraki. “Careful,” you say to the priest. Your grip tightens, and Spinner feels the fire-hardened stake buckle slightly. “If you kill this man now, it will be murder, and your list of sins is not so short as to allow for the addition of one more.”

It’s a long moment before the priest releases the stake, and when he does, it splinters to pieces. Perhaps it was Dabi’s grip that shattered it; your hand is too small. “If you wish to save him, begone with him,” the priest says. “He is barred from the village until his affliction is cured. If it can be cured.”

Spinner’s heart sinks, but once again, you remain calm. “I will cure it,” you say. “I will take him with me, if he will go.”

“No,” Twice says at once. “He stays with us.”

“Let her take him,” Midoriya’s mother urges. Spinner thought she would have fled, but then again, her silver necklace still rests against Shigaraki’s throat. “The others will come for him tonight, and kill you to get to him, no matter what the priest says. It is safer to let him go.”

“We should come with him,” Toga says. You shake your head. “Why not?”

“The forest is unkind at night. I cannot shield your minds and heal his at the same time.” You look regretful, and ill at ease. “Stay here for the night, and visit in the morning. My friends will guide you to me.”

The wolves and wolf-dogs. Spinner remembers the rumor that you were raised by them, that you lay with them, and feels a surge of distaste — not for you, but for those who would start such rumors and spread them. “It’s Shigaraki’s choice,” he says. He looks down into the coffin at Shigaraki, at his pale face and bloody hands, swathed in silver with a crown of flowers on his head. “Do you wish to go with her?”

“Spinner.” Shigaraki’s voice is little more than a whisper. Spinner leans close. “Can she do as she promises?”

There seems to be nothing magical about you at all. Spinner doubts you can do anything — but he does not doubt that Shigaraki will be safer in the heart of the forest tonight than anywhere else. He nods. “I can’t face him tonight. Not like this,” Shigaraki says. “I’ll go.”

“Good,” the priest says. His disgust is etched deeply into his wrinkled face, and as he transfers his gaze from Shigaraki to you, it only grows. “As the filthy beast you rode in on has fled, I have no idea how you expect to remove him from my sight. Do you honestly think someone will lend you a horse?”

“I have no need of one.” You nudge Spinner to one side and lift the necklace up from Shigaraki’s throat, handing it back to Midoriya’s mother. Then you lift one of Shigaraki’s arms, looping it around your neck, and he expends what appears to be his last measure of strength to lift up the other. “I can walk.”

You can’t mean to carry him. Even half dead, half-starved, Shigaraki is bigger than you are. But as Spinner watches in horrified fascination, you slide one hand behind his best friend’s head and the other beneath his bent knees, and you lift Shigaraki from the coffin as though he weighs nothing at all.

Shigaraki slumps against your shoulder, barely conscious once more, and the crowd of villagers parts before you again. Your voice, still ordinary, carries not even a hint of strain when you speak to Spinner. “Come visit at first light,” you say. “No harm will come to him while he is with me.”

Dabi’s hand comes down on your shoulder, just as Toga grasps your elbow. “Swear it.”

You incline your head, and Spinner sees a web of faint scars across your brow. “I swear it by my blood.”

You set off walking at an easy pace, as though you aren’t carrying a grown man in your arms the way a lord might carry a maiden. Dabi’s voice is low in Spinner’s ear. “What did you do?”

“What?”

“Her kind don’t do favors,” Twice says. “What did you give her?”

“Nothing,” Spinner says. “She took nothing.”

“Except Tomura,” Toga says grimly. “In the morning we’ll take him back.”

“Damn right,” Twice says, ignoring the look the priest gives him. “We’ve tried everything but witches to heal him. Maybe she will fix him.”

“What’s wrong with him isn’t inside. It’s out there somewhere,” Dabi says. “Whatever she fixes, it won’t last.”

Dabi’s right, as much as it burns Spinner to admit it. All Spinner’s done in retrieving the witch is buy Shigaraki a little more time. One night where the villagers can’t come for him, howling for his blood the same way the evil that stalks him lusts for it. Spinner’s best friend has spent so many nights in misery and pain. If the best Spinner can do is secure for Shigaraki one night of relative peace, he’d have paid all you asked for and more.

But you asked for nothing. Spinner watches you approach the bridge, still walking smoothly with Shigaraki cradled in your arms, and wonders why.

part ii ->

[darklinaforever]

It's crazy how people can reject the very heart of the film Nosferatu 2024. Named the relationship between Ellen & Orlok.

Note that no one among the Orlok & Ellen fans denies that she loves Thomas, at least, I have never seen any fans of Orlok & Ellen claim otherwise.

Simply, we also integrate the fact that she has sexual desire for Orlok (because she is sexually frustrated with Thomas) and also a deeper connection than that with him on an aspect of her that only he can understand.

So why do I see people (more precisely fans of Ellen & Thomas ship) trying to deny any shared relationship between Ellen & Orlok, if not an abusive aspect of Orlok on Ellen (which exists, I don't deny it, and it's part of why we like this relationship, the toxicity, but it's not just that between the characters) ?

That she just hate him because she said to him ? As if in movies the dialogue and actions can't differ ? As if someone can't both hate and love someone ? You must be really boring not to understand that.

I can find tons of examples in fiction of characters who say they hate each other but love each other / have feelings for each other. Worse, saying it before a passionate kiss or even during sex. In cinema, it's mostly what happens on screen that matters, even if the dialogues have a certain importance and must be well done, they are not really the main attraction.

At the limit, people will recognize the erotic aspect between the vampire and the girl, but nothing more, refusing the aspect of connection that we are talking about.

And again, either some will accept that Ellen desires Orlok, but others will say that it is only a desire resulting from Orlok's manipulation thanks to his powers.

(Because apparently it's impossible to experience a sexual awakening with a monster in fiction ? Christine Daee had no problem experiencing her sexual awakening without magic involved thanks to Erik who nevertheless looked like a living corpse from what I remember...)

Some also try to say that the erotic aspect of the vampire exists but only between Orlok and Thomas. Seriously, wtf ?

(Even if yes, we can say that there is a form of tension between Orlok and Thomas but it is clearly not central to the story or very important)

And for some, Ellen would only be a form of Thomas by proxy for Orlok. Ridiculous.

(Especially since it would be the opposite logically, namely that Orlok has a tension with Thomas because he is linked to Ellen that Orlok wants)

And that Ellen on her side would have an ambiguity romantic and sexual with Anna only and not Orlok. Because I imagine that it is more tolerable that Ellen loves her husband and has ambiguous feelings for a woman rather than these two and the vampire that is Orlok in addition ?

People constantly try to belittle the Orlok & Ellen relationship.

While the film is very clear.

Not only is it a relationship based on eroticism but also on a deeper connection linked to the darkness in Ellen, an aspect of her that only Orlok can understand, and some romantic undertones between the two characters.

Seriously, in the interviews we talk about a love triangle. Of the vampire in love with Ellen. Of a sexual awakening (contradicting the idea that some fans have that Orlok forces this sexual desire in a "magical" way in Ellen) and of a love between a girl and a demon. Not to mention the take on inspiration from Death and the Maiden, the Beauty and the Beast and Wuthering Heights ! But yeah... nothing romantic between the girl and the monster at all here...

Anyway, it's always the same fucking story when there's a ship with a villain and a heroine... Just impressed by how quickly detractors of a fictional relationship can come forward. 🙄

[black-ak9]

Monster Mash-Up: A Hotel Transylvania Poll. Day 2.

If Van Helsing had actually killed Dracula in the third movie, who would have become the new authority in the monster world?And would a monster even hold that authority anymore, considering it was a human who won?

Uuf... Hard but a logical and possible scenario 🥀

If Dracula had died, as the next sovereign or leader between monsters and vampires, I think there would be a debate of creatures of legends that reach the same level as Drac.

I have a theory that this is denied to Mavis because of her age, for other millennial monsters she is not suitable enough for the position 😬😤

And Vlad... He is not an option to consider as they have shown and also because of his age

Therefore it would be either another older vampire or Dracula's competition in power and fame. A vampire more terrible and scary like Nosferatu could be, being a new ruler who seeks the opposite of Dracula (and with his death) would be to end humans as in the old days

I would also vote for some witch or sorcerer like possible Leader

[graves-yard]

Question about one, I know she can't touch liquid, but if he does does that mean the part that got touched would like, burn off, or would they just disintegrate in a whole? If it just hurts the part they touch, all I can imagine is one accidently touching liquid, and getting in immense pain and almost dying, and tails just like "OMG my kids gonna die!" And sobbing and freaking out the whole time.

I made a mistake saying liquid idk why I did that when I really just meant water lmao. Can’t fix it now tho, but she very much can have like. An apple juice or something lmao.

I’ve said this before but I’ll go into more detail this time. One can’t be in water or it could kill her similar to how vampires can’t be in sunlight or it kills them. And I’m going off old vampire nosferatu logic where sunlight genuinely burns them. However, with that same logic, she can still touch water a little bit and it’s like touching a flame. It gives you a quick burn but is relatively fine as long as you don’t keep touching the flame. So if One was outside and a drop of rain fell on her skin, then it would burn a little until she wiped it off. If she’s wearing water-proof clothes she should be fine tho.

Along with that, if she submerged her whole bare hand into a sink of water, no matter the temperature, it would act as if it was boiling her skin. And then dissolve her hand away if it got bad enough. That’s why Tails was so worried. It started raining HARD so suddenly that if One was still outside, it would been a very painful and terrible death.

[kolbisneat]

MONTHLY MEDIA: January 2025

New year, same me.

……….FILM……….

The Substance (2024) Despite not liking horror or needles, I was really excited for this. The premise sounded great and then I sit down and see a 2+ hour runtime and start getting nervous. Did I love everything about this movie? Yes. Do I think they could've done it in an hour thirty or an hour forty-five? Yes. Except the last 20ish minutes; keep that exactly as it is.

Beverly Hills Cop (1984) I knew this movie was written for Sylvester Stallone but I didn't realize that almost all of the comedy would stem from Eddie Murphy. Without him (or his stellar wardrobe), I suppose it's just a fairly straightforward crime/detective movie. Just an incredible performance.

The Lighthouse (2019) As someone who also lives where they work and does so in (mostly) isolation, I'm glad I watched this when I didn't have looming deadlines or the urge to get back to work. Anyway love a good fairytale movie and this is a good fairytale movie.

Nosferatu (2024) Watched this shortly after The Lighthouse and while it was fun to see overlapping visuals and themes, I kinda wished it was...weirder? Still so many beautiful scenes and bold performances, but not nearly as unhinged as I was expecting.

……….TELEVISION……….

Laid (Episode 1.01 to 1.08) Fun and funny and, for something that acknowledges the pandemic, really strikes a good balance of feeling contemporary but not immediately dating itself. I'm torn on the ending but it's definitely more hits than misses here.

Skeleton Crew (Episode 1.05 to 1.08) A nice breezy adventure. Perhaps expecting a few more narrative beats or one-off adventures but really I can't complain with what this is: an all-ages entry in the Star Wars universe that stands on its own.

Columbo (Episode 2.06 to 2.08) Some really fun...villains/murderers this season and I love the recurring doctor/vet visits. Peter Falk's comedic timing and charisma are on full display this season.

……….YOUTUBE……….

The Alt-Right Playbook x PhilosophyTube: Doublewrong by Innuedo Studios Don't fall into the trap of meeting a value-driven discussion with facts and logic. It doesn't work. Instead see where your values differ and focus on that. VIDEO

What Now? by Sophie from Mars This came out at exactly the right time (for me, at least). It's not denying the struggles ahead. Instead it's a perspective that sees a way through. Community above all else. VIDEO

Why No One Wins the Fast Fashion Debate by Broey Deschanel A thoughtful look at both the fashion industry and global economics. VIDEO

……….READING……….

The Truth by Terry Pratchett (Page 45 of 442) Always a treat to spend more time in the Discworld and it's been a while since the main character is wholly new. It's refreshing.

The Left Hand of Darkness by Ursula K. Le Guin (Complete) Given how much I love Le Guin's Earthsea series, I was really excited for this. Maybe it was the length, maybe it was that it was sci-fi, but I found it to be a slog. I could feel how groundbreaking this must've been, and appreciate how relevant it still remains, but the long stretches of world-building and describing arctic travel/survival was not for me.

Doctor Strange Vol 1 and 2 by Jason Aaron, Chris Bachalo, and more (Complete) I read the Donny Cates run a few years ago and didn't realize this was set before that. While I didn't like that run, I'm digging the visuals and narrative here. Doctor Strange feels a little too...quippy, but that's just because I've always liked the contrast of a very serious lead with a whimsical and unexplained setting. Happy to keep going with this and see how it ties up!

Batman - One Bad Day: Two Face by Mariko Tamaki and Javier Fernandez (Complete) A decent introduction to this series but it didn't really grab me. Great character writing but the...mystery....never really clicked.

Batman - One Bad Day: Mr. Freeze by Gerry Duggan &, Matteo Scalero (Complete) This, on the other hand, really worked for me and delivered everything I want out of a Batman comic: sympathetic villain, Bruce Wayne going undercover out of the costume, plucky Robin, and a cool bat suit. I'd definitely read this one again. Heck Mr. Freeze briefly has a sidekick called Frostbite! This is superhero comics at their best.

……….AUDIO……….

Sunflower by The Beach Boys (1970) Pet Sounds is one of my all-time favourite albums and yet I never really got into much of the other post-surf output from The Beach Boys. After seeing this review I dived in head first and now adore it. It really is a shame that they didn't blow up the same way as the Beatles, given how similar their musical trajectory was.

……….GAMING……….

Mika and the Witch's Mountain (Chibig) I don't really Kickstart video games so this was a gamble. The art direction and characters are great, but quickly realized there's really only one trick to this pony. I was even more frustrated that the trick (flying on a broom) never really clicked for me. There's potential here but it's not quite there yet for me.

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) The party is spinning so many plates that it's a marvel none of them have dropped yet. Right now they're investigating a murder tied back to their first session. You can read all about it here.

Wonderland: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) The Mof1 crew got back together for a one-shot! We had two character deaths but a lot of loot and XP for those that survived.

And that's it. See you in February!

[rxttenfish]

finished nosferatu!! can confirm, was REALLY good. much like the vvitch and the lighthouse (i have not seen the northman and am much less familiar with that specific part of history and mythology), i got REALLY excited while i was watching it because i kept noticing all of these little nods to older vampire mythology and beliefs and history surrounding those, and probably as i go back and rewatch it over and over i'll keep noticing more little things here and there.

ive said it before, but the reason i really like robert eggers is that i feel like he does a good job of showing and depicting what these beliefs and fears actually looked like at the time, and translating it into the modern era to evoke those same fears and feelings and lines of logic. so much i have the issue of running into people who disparage older vampire myths or just think they're stupid in comparison to the modern trope of vampires, so i think it's really nice to see a very sincere and love-filled interpretation of them put onto the big screen!!

(and yes, i did perk up and point that i knew EXACTLY what was going on with the "leading a young stallion over graves until it spooks over one, with that one being the vampire", the same as i did for using the fat of an unbaptized baby for flying ointment <3 )

[goblins-riddles-or-frocks]

I am endlessly fascinated and befuddled by the phenomena of people coming to you to debate and rebut endless interpretations of various media anonymously. Like, they have SO many thoughts about your interpretations, and they will be DAMNED if they have an open and honest conversation about them???!?

Anyway, I want to say that, while I have far less developed thoughts on horror than you (I’m a scaredy cat and my wife mainly drags me to movies), your thoughts on Nosferatu 2024 are essentially mine in much more eloquent terms; one of my biggest gripes was when I asked my wife afterwards “So, is Orlok a salmon?” His flunky had the book that explained what happened when Ellen gave herself to him willingly, he had to know, was his plan just to fuck and die????

AHAHAHA A SALMON

But yeah that’s especially an element where I miss the Expressionist style of the previous Nosferatu films. In being so rational, the film has more trouble selling the particulars of the story that operated a bit more on dream logic

I can only assume that Orlok probably thought he could leave before sunrise? But he is “an appetite” and is ruled by compulsion, so he could not resist drinking until morning, in the same way, he could not resist going to Ellen even if a book he has access to suggests that similar circumstances can lead to his destruction

Anyway, wrt my blog, I cannot pretend to understand what’s going on here! It’s funny because asks over a certain character count, or with certain formatting are clearly from tumblr users who have blogs but are choosing anon anyway! People apparently want to debate me really bad but they need to pull a paper bag over their faces to do it

I was saying just yesterday that I’ve seriously considered turning off anon because of the more frustrating Nosferatu asks specifically, but so far morbid curiosity has won out

I do generally enjoy talking to people and having an excuse to be opinionated on the internet, so I do like receiving asks! Being prompted to articulate my thoughts helps me come to firmer conclusions and consider things I usually would not have! But also lol and lmao

[see-arcane]

I mean. Eggers is filmmaker and as filmmaker he probably thought “if Browning, Coppola, and everyone else was allowed to do their fanfics, why can’t I do my own fanfic?” Meaning, as filmmaker he witnessed how countless directors played with source material as they pleased. Considering his age he existed in cultural atmosphere where various adaptations already shipped Mina or her equivalent with Dracula on screen and elsewhere. So while we are here scratching our heads about how on Earth he came to Ellen-Orlok ship, for him it must have been pretty easy thought. Plus he himself directed local stage adaptation of Nosferatu while he was teenager and even played Orlok in it, so yeah Orlok IS his self-insert character from his youth. Very typical male logic trajectory.

Oh, I'm not scratching my head about Eggers specifically. I'm just mind-boggled at the whole trend.

I mean it when I say that if I sanded off all the names from the characters in the innumerable Dracula-adjacent works for the past century and a quarter, I would sincerely enjoy so many of those movies and series and books more. They all boil down to the same Blood-dappled Forbidden Bodice Ripper Fantasy starring Dark Fuckprince Vampireman formula, which can be very fun! I love when monster and human do kissy bitey fun times and all the other human characters are LAME or JERKS and NO ONE UNDERSTANDS THEIR LOVE..!

...If it's original.

The issue is now and always that all of these directors and writers refuse to actually do justice to the characters or story they're hiding behind in a way that leaves anything recognizable. Instead they'd rather make an echo chamber of their Bizarroverse Dracula Fanfic which they've more or less been passing around for 127 years while convincing themselves They Are Doing Right By the Story by basically doing literary identity theft and stapling public domain names on their OCs.

And I just don't get why all these guys insist on "fixing" Dracula/Nosferatu this way instead of just making their own stuff

If you read the book and were so sure it would be better if only you removed, warped, or replaced every single trait of every single character and plot point, then maybe possibly You Did Not Actually Like the Story. Which is fine!

But if I went around saying "Oh boy, I love Star Wars! I'm going to make a bold and subversive but lovingly and faithfully crafted adaptation of the original films!" before turning around and making George Lucas' Star Wars, a film series wherein Darth Vader and Obi-Wan Kenobi are both played by GQ models and take up 90% of the screentime slobbering on each other while the rest of the cast sit in the background and scratch their asses, I think a few folks might be a touch baffled and disgruntled in the same way.

[carlosjijonwrites]

January 20th, 2025 - Nosferatu (2024)

I watched Nosferatu the other day and it’s one of those movies where it’s just very difficult to explain what exactly it is. So, it’s the second remake of an unlicensed adaptation of the original Dracula novel from 1897. Like the original book, it’s about a group of people confronting a horrible guy who might not just be a horrible guy but an actual, literal monster. This new version is directed by Robert Eggers, who has recently made a name for himself directing very cool-looking movies featuring strange religious rituals and… God, this is getting too long.

Here’s the point. All these movies have the same premise: A man leaves the comfort of his home and the warmth of his cartoonishly affectionate wife to go on a business trip to an isolated castle in Eastern Europe. There, he meets a very ugly, very eccentric man who can be called Dracula or Nosferatu or Count Orlok or whatever you want, frankly. And maybe this guy is just a weird guy who lives alone in a castle or maybe he’s actually the Devil himself. We can’t be sure. 

I recently read the original Dracula story by Bram Stoker and while it can get a little silly at times (the noble attempt to make it an epistolary novel is very hard to take seriously after a while), it is really quite good. It just has so many clever ideas and themes. The basic concept is that we’re following a group of ‘rational’ people being confronted by a situation that doesn’t follow any kind of scientific logic. That means that they’ll have to rely on superstition and strange rituals they don’t understand if they want to survive, which is by itself terrifying. And the story translates incredibly well to cinema because the iconic vampire imagery of a sinister looking humanoid creature drinking the blood of a helpless person hits you on an almost primal level. Just look at the other two Nosferatu movies. No matter how much time passes, they’re just so creepy. 

And while I truly admire Robert Eggers’, I don’t think this movie works at all. The filmmaking is awesome-looking and creative throughout, but the story and the characters all falter. While our antagonist, Count Orlack, is certainly as unpleasant as he needs to be, our heroes are just frustrating to watch. Our protagonist, Thomas (Nicholas Hoult), is painfully plain. He loves his wife and he wants to make money to support said wife and… yeah, that’s kind of it? I don’t know, maybe they ran out of time for characterization after overwriting the hell out of Lily Rose Depp’s character. She’s a young woman recovering from depression who was saved from her darkness by Thomas and is currently tormented by horrible nightmares, although she changes her mind on how serious these are fairly frequently. It’s a hell lot of backstory for a character who, in practice, doesn’t get to do all that much for most of the runtime.

The acting is all over the place. Aaron Taylor Johnson, for example, is extremely over-the-top while Willem Dafoe goes for a more naturalistic approach and it looks like they belong in different films. Depp deserves credit for all the flashy acting she gets done during the sleep-walking sequences, but when she’s awake it feels more like she’s reciting poetry than embodying an actual character. None of these people are bad actors. They’ve all been great in other stuff, but here they look lost.

There are some fun moments throughout. The sequence in which Nicholas Hoult enters Dracula’s castle and the cinematography makes it look like we’re walking straight into hell is amazing. There’s also one or two moments where the visuals reminded me of other Robert Eggers’ projects like The WWitch and it was good, but really those just work as isolated moments and not as part of a bigger story.

The main problem is that the film is just so fucking predictable. Sure, in all adaptations of Dracula we all know that he’s a vampire (duh). But the movies still make an effort to make things vague or at least show us that the characters have good reasons to not know just how horrible their situation is. Here, Count Orlock is so evidently diabolical it’s irritating to have our heroes argue about their next course of action for what feels like hours. “Guys, he’s a vampire! Stop messing around!” I could go on and on, but you get the picture. Nosferatu has lofty ambitions and good intentions, but unfortunately fails at the most fundamental tasks: creating likeable characters and giving them interesting things to do! Also, the monster design is not great. The filmmakers use every trick in the bag to make Count Orlock look like a terrifying zombie demon from hell but it doesn’t come close to the approach of previous Nosferatu movies, which use the more straightforward technique of finding an actor with a slightly weirdly-shaped skull and putting some pointy ears on him. That’s true horror.

[pb-dot]

Nosferatu the Re-Review

Or: Peebs tries to understand why he doesn't like Robert Eggers

Ok, so I saw Nosferatu (2024) and as regular readers of the blog might remember I didn't love it. Part of it is inevitable I think. Eggers is a very visual filmmaker and I am a Plot And Characters Guy to my very soul. Still though, I try to be as fair as I can and not mischaracterize films I've seen, especially when I wasn't crazy about them for this or that reason. So, I'm going to write a little bit about the new perspectives I've picked up since my initial review and, if I'm lucky, figure out what it is about Eggers' films that bother me so.

Having read some takes on the film by people who liked it more than I did, I've come to realize I might have been a bit unkind when I said the movie feels like it's about nothing. There is stuff going on there, the Hysteria parallels, there's a thread of trauma and not letting it consume you, and the healing power of love. Hell, even that hellish mustache the count sports is apparently in the style a nobleman of his time (I presume contemporary to the film, nobody fucking knows how old that rotting bastard is) would wear.

So what's going on? Is Nosferatu Good Now, according to the ultimately inconsequential word of Peebs? Not quite. While I will concede that Nosferatu is About Something, I'm still not overly fond of how it is about it, to once again paraphrase Roger Ebert. It boils down to two main complaints, one which I think is a good, solid objection and the other is a petty film logic problem that I wouldn't be surprised to see in a CinemaSins video, but it has captured my thoughts all the same.

I'll start with the petty point first. For a movie that is so reliant on night and day, the movie seems to have no ability, or no interest to give us any idea of how long a night is. It's only really a problem that final night, but the general "a night is as long as the plot needs it to be" problem does also arise a bit in the Orlok's Castle portion of the story. Granted, time being a bit fucky as our hero trips out on this hot new drug called Severe Blood Loss is both true to the original novel and seems to make enough sense to lie back and just ride the terror wave, which is a great state for logic to be in when it comes to gothic horror imo.

That said, there's some fucky timekeeping going on in the final night of Nosferatu, and it's entirely an unforced error. So, this movie's profoundly reduced Suitor Squad go to fuck up Orlok's lair which they hope will kill the bastard. Much like the equivalent plan of action in Dracula, though, it doesn't amount to much. For one, Orlok's not even home which shouldn't come as a surprise considering the nocturnal bastard has been out and about on his quest for some sweet ass, and also nonspecific evil, every night. The movie's a bit ambiguous whether destroying the crate of grave earth actually does anything, at any rate catching the count at home turns out to be a bust.

The problem, though, is that NotJonathan rushes home as soon as he realizes their quest was a futile one, and arrives just in time to see Orlok dead from sunlight and/or the sacrifice of an innocent and Ellen to breathe her last. Tragic, inevitable, sure. My problem? Where did the fucking night go?

I have to assume the Suitor Squad went to Orlok's lair first thing at night hoping to catch him before he went out (seeing as they clearly expect him to be there,) but oh no, Orlok's already at Ellen's place and gets to the sucking of blood and potentially also doing the nasty. Time flies when you're having a good time (or alternatively a painful time in certain ways I guess,) sure, except there's a ticking clock at play here. NotJonathan is rushing through town, and arrives at the crack of dawn. While I concede it might be a bit of a trek, it is mentioned that said decrepit lair neighbors NotJonathan's neck of the woods, but that could, granted, be overstatement. Most things in an urban environment can be considered just around the corner when you're from the most desolate mountain in Carpathia after all. Then again, then again, Wisborg isn't shown to be a huge metropolis, and I somehow fail to believe that an ostensibly healthy Nicholas Hoult can't make it across town in the 8+ hours night lasts at that longitude when his lady love's life is on the line.

Anyway, this is all nitpicking. Nitpicking that reveals a weakness in the storytelling I would argue, but it's relatively minor. What kind of gets to me is that it didn't have to be this way. Hell, NotVan Helsing is in on this burning the grave dirt business being probably pointless and is mostly buying Ellen some privacy to do The Needfull. Why not have him pull some sort of stunt delaying NotJonathan? That'd be a turn, and a powerful escalation of the stakes. Or heck, NotJonathan's former solicitor boss and Renfield equivalent could prove to be a bit of a challenge in some way, or the many many rats perhaps?

This is to say that my first complaint ties in with a second complaint that I consider way more salient, and honestly applicable across Eggers' filmography. Nobody Acts. Sure, people Do Things, and Things Happen, but nobody Acts. This is to say that it just about never feels like our protagonists have much of a say in how the plot goes, either as agency or as consequence. The Plot just Happens To Them. For an example, Ellen choses to sacrifice herself to kill Orlok by making him forget that whole "daylight kills you" thing that he has lived around for potentially centuries. She doesn't do anything to make this work other than lie back and think of England Germany, mind. Well I suppose she does at one point urge Big Tall And Nasty to Give It To Her Take It From Her, but it does feel absolutely minimal since Orlok didn't seem like he needed much convincing. As I said in my review, there's no shortage of ways the movie could've made this sacrifice feel more like an action than an inaction, and I find it hard to not conclude that it's a choice.

See, this, I think, is what pisses me off about Eggers' films. Nobody ever Acts. Things just Happen to them. Scary things, exciting things, memorable things, sure, but the characters aren't interacting with the plot in any memorable way. It is, I have to assume, an attempt at making the storytelling more realistic in some way, but all it ends up with are these alien almost-stories that act like stories but has none of the drive or engagement. It's like that tedious wannabe film critic that says "yeah, like that'd happen in real life" about this or that plot development got the creative reins of a storytelling endeavor.

I feel like I'm being unkind here, but honestly, where is the lie? The Lighthouse is Eggers best film in my opinion, because an artsy story of two weird dudes getting weirder and more stir-crazy is honestly great for this "nothing has impact" style of storytelling. In a story that's supposed to have a forward drive though, it feels really weird. This isn't, I would like to stress, a logic problem. I'm not asking "Why didn't character X do Y" I'm asking "Why are none of the characters doing any things?"

OK, the plot is driven by uncaring fate, I can fuck with that. Why do characters not struggling against that in any meaningful way? Where is the denial, where is the bargaining, where is the justifications? Why is the characters' every action seemingly to lie down and take what's coming to them in the tidiest way possible? That's not storytelling that's playing with dolls. That's self-congratulatory film school wank. That's looking at the nihilism of auteurs like Lars Von Trier and concluding that the pointlessness of it all is the point.

So in the end, I guess I didn't much care for Nosferatu. Yes it is about something, but the characters are just flapping in the breeze, and that seems to be where Eggers is comfortable with having them. It's a shame because Eggers has a strong eye for the visual, his set design in particular is incredible. I just wish someone, at some point, would hand him a script where the characters get to Do things.

[dcwnthercbbithcle]

Some quick things I need to make a meta on for The Lost Boys AU but am far too tired to fully delve into my opinions on tonight:

Doe, despite being actively turned by Mapplethorpe (a vampire who is fundamentally identical in his characteristics as the Lost Boys) is an entirely different beast than her sire. She is Vampiric, that much is without a doubt, but maybe not the same breed of vampire as them? Sort of like how Chihuahua’s and Great Danes are both still dogs despite the vast differences in both behaviour and physical appearance. That’s just Mapplethorpe’s theory on the matter though. (And he is an unreliable narrator at best when it comes to matters involving Doe and her vampirism)

Doe’s theory on why she’s so different from the others lays with the fact that she’s (essentially) an unconsecrated, desecrated, reanimated corpse. She thinks it makes her a little more Nosferatu and less Count Dracula. She’ll be first to admit though, it’s a flimsy theory that doesn’t hold much water. Doe doesn’t really care though. She feels like the ‘classifications’ are more-so semantic bullshit. A dog is a dog no matter the pedigree and she’s a vampire to that same logic. No need to complicate things. It is what it is.

Speaking of the fundamental differences in terms of physical appearance, personality & modus operandi. Doe is a solitary, more scavenger-esc hunter that prefers to keep to herself. Doe’s choice in joining the Belles was the survival equivalent of a insurance and tax benefits marriage. Does she need it? No. Does she want it? Debatable. But it’s giving her a better deal on survival and she can still split away to do her own thing and that’s important.

The location of the Belle’s home being a subterranean set of tunnels is also very helpful to Doe on a level that cannot be understated!

Doe can’t go FULL bat but her humanoid form can warp and become more and more monstrous and bat-like to suit her needs and her survival!

EXCEPTIONAL HEARING, I’d argue much better than her eye-sight even in the dark, so much so that Doe will often rely on it to get around and map her surroundings mentally

Doe CAN eat some human food, but it’s very… limited selection. Chocolate is a no go, as is Vanilla, and all of her former favorites (really!) Pasta, Bulb plants, tubers, baked goods, avocados. But she can eat some fruit! And insects, shell fish, physical meats (both cooked and otherwise), fish and SYRUPS. She has her little things! Unfortunately though, the likelihood of a person coming in and seeing Doe chugging Maple Syrup from the container is real

Doe doesn’t really sleep upsidedown? She’s a burrower on instinct, needing a ritual of returning to a tunnel or digging one out in the earth with her claws. I’m terms of Vampire lore, it’s less a ‘needing to return to the box she was buried in,’ and more a ‘ashes to ashes, dirt to dirt, return from whence she came’ type deal (even though she was never actually buried, weird how that works!)

Sleepy, end of the night Doe can and has tried to bring back some of her partners to stash them away in one of her tunnels. Doe sort of forgets that her wanting to cuddle up in the dirt is not a normal thing for the other vampires! And on that note: can Doe sleep upsidedown? Yes, but she doesn’t enjoy it. She’ll do it if she’s with a partner or trusted person in order to keep them company but never under any other circumstances. (She also falls from perches a lot, turns out her weird vampire bat feet just aren’t built for grasping and grabbing, they’re built for digging, which gives her one HELL of a deadly kick)

When emerging from her tunnels, rather than climbing all the way back out from where she entered, Doe tends to just dig straight through to the top, leaving an empty grave like hole in her wake (which Doe never fills in, I gotta be honest with ya, I know some poor person has accidentally fallen in one and gotten stuck)

Doe’s nightly activity is more Crepuscular than entirely Nocturnal! Doe IS awake all night though, and has her Nocturnal traits, but the biggest activities of her routine: hunting, digging out her burrow/escaping from them, flying out to scope her territory/getting where she needs to go. All occur in the Twilight! With the darkest parts of the night being more of an open space she can fill with less emphasis on the tasks needed for her continued survival!

Speaking of: and this is most important, WHILE DOE IS STILL VULNERABLE TO DAYLIGHT: SHE HAS A RESISTANCE TO THE LOWLIGHT OF SUN-RISES AND SUN-SETS AND CAN EXIST OUTSIDE DURING THEM AFTER THE EVENING-SUN HAS STARTED TO SET AND BEFORE THE EARLY MORNING SUN BURNS OFF THE TWILIGHT

(Mapplethorpe and Doe learned this after she walked out shortly after being turned to watch the sunset because her instincts told her it would be okay. She went out, unphased, unharmed. But when Mapplethorpe noticed and BOLTED to stop her and threw himself outside to pull her in, he very quickly went alight and Doe had to push him back in and stamp out the flames)

This fact of Doe’s existence is more of a detriment than a benefit cause it CONSTANTLY leaves her playing chicken with her life, hoping that she doesn’t chance a sunrise or put too much stock in the speed of a sunset and catch herself on FIRE.

On that note, Doe will ‘wake up,’ from her daily naps the second the sun starts setting! In Winter this can be as early as 3pm but in Summer it can be as late as 9pm! Predictably this fact has made Doe a bit of a winter girlie!

And one last thing: back on the subject of Doe’s voice: Doe IS capable of the Vampire Banshee Screech that will leave humans clutching their ears in pain, and IS capable of extremely loud protection with her screeching, snarling and growling. What does Doe use this fact for though? Mournfully wailing into the night sky. She sounds haunting, sort of like Loon mixed with something prehistoric. It’s become a real curiosity for whatever place she’s inhabiting, but it’s never been directly traced back to her and it’s a kind of venting in a way she refuses to express through violence. Sometimes she wants to think on all the dreams she’s had and will never come true, no matter her work, and WEEP. Mapplethorpe, for his part, uses these haunting cries of Doe’s in his continued effort to follow her and hopefully reunite. He misses his girlfriend, and he wants more than anything to comfort those sad songs away.

[darklinaforever]

The author of the Nosferatu post did not insult anyone, but only expressed her opinion. But instead of refuting her opinion, you're insulting her. Like…

I have tons of posts refuting her opinion.

Why am I going to bother repeating the same things to narrow-minded people ?

I said the person was condescending in his remarks, in addition to putting the wrong tags, which is true.

Because sorry, but saying that if we think that such a relationship is romantic (Saurondriel) it is therefore that we have fallen into the manipulation of the male character (Sauron), in the tag dedicated to the ship (while the romance between them is just canon in fact so a weird remark to make...), insted of the anti tag, and then putting in the tag dedicated to ellen x orlok (intest of simply the Nosferatu tag) that if we think that the relationship is erotic and romantic (something still canon once) it is because we want to fuck Orlok and that if we do it it is good but that we do not need the validation of the film, yes, all that, for me, is being fucking condescending.

Which makes her unbearable to me. My words are not revolting. They are just logical.

Again, this person is expressing a negative opinion (which is their right, even if it is canonically wrong) but with a form of condescension and more precisely in the wrong tag. And it's not the first time she did that.

So I think I can afford to say that she is indeed condescending, unbearable, and that her opinion is a shitty opinion.

Because from the moment you show up first in a tag dedicated to a ship that you don't like to voluntarily deliver your negative speech which will inevitably be badly received and will deeply disturb people, those who basically consult this tag with the aim of finding good content related to this ship have the right to say that this kind of opinion is shit.

[cleverhottubmiracle]

Lily-Rose DeppWith her slender figure, prominent cheekbones and cute pout, Lily-Rose Depp has won over both Chanel – she has been the face of the house since she was 16 – and film directors, who are fighting over the young star. Sensual in the series The Idol, femme fatale in 070 Shake’s latest music video, gothic beauty for the premiere of Nosferatu, out in cinemas on December 25th, 2024, stepping on the Cannes’ red carpet with her timeless charm or wandering the street of Paris as the incarnation of the French woman, here are 13 looks that have shaped Lily-Rose Depp’s aesthetics.Lily-Rose Depp at the Chanel Spring/Summer 2016 show on October 6, 2015 in Paris © Getty Images, Photo by Dominique Charriau/WireImage.Lily-Rose Depp at the Chanel Spring/Summer 2016 show on October 6, 2015 in Paris © Getty Images, Photo by Dominique Charriau/WireImage.1. Her first Chanel fashion show: Lily-Rose Depp is following in the footsteps of Vanessa ParadisIn 2015, Lily-Rose Depp had barely turned sixteen and while most teenagers her age are forging their style in high school, her famous parents and growing success are naturally pushing her to the front rows of the most prestigious Parisian fashion shows, like Chanel, which invited her for its Spring/Summer 2016 collection.For this first event, which Lewis Hamilton and Marine Vacth, among others, attended, the future actress opted for a pair of skinny jeans at the cutting edge of fashion at the time, along with a multicoloured tube top and elegant matching red scarf that perfectly highlighted her graceful neck.An additional tousled bun, natural make-up and platform heels and there she goes – Lily-Rose Depp does not overdo or underdo it, while embracing the codes of her teenage years. Her entry into the big league was a resounding success and probably stemmed from the simple, ingenuous charm that made her mother Vanessa Paradis such an icon in the early 90s. The two shared the catwalk together.Lily Rose Depp at the 2017 © César Revelations Dinner Photo by Stephane Cardinale – Corbis/Corbis via Getty Images.2. Lily-Rose Depp: muse of Karl Lagerfeld and Chanel since she was 16Whether she finds herself walking on the steps of the MET Gala or simply around the city, Lily-Rose Depp is always dressed in Chanel. So it’s only logical that she should call on the house to dress her for the prestigious “Révélations” dinner in 2017. Noticed for her role in Planetarium a year earlier, then nominated for a César in the ‘Best New Actress’ category with The Dancer the following year, the young actress, who was 18 at the time, saw her career take off.Since 2015, she has also been the face of Chanel. In the same way that he fell for the lolita charm of Vanessa Paradis in 1991, Karl Lagerfeld, artistic director of Chanel, was also starstruck by Lily-Rose, who resembled her mother perfectly. The latter shot her first Chanel campaign with Jean-Paul Goude, walked the catwalk for fashion shows and posed hand in hand with the illustrious designer during photoshoots, but also in real life. This specific photo seems to be her tribute to him, appearing all dressed up in a two-piece suit with a black and white tie. Chic and oh-so-French in this androgynous ensemble, Lily-Rose Depp is using that night celebrating her acting talents as a way to confirm her status as a fashion muse.Lily-Rose Depp at the 76th Venice Film Festival in 2019, on the red carpet of the film “The King” on September 2, 2019 © photo by Marilla Sicilia/Archivio Marilla Sicilia/Mondadori Portfolio via Getty Images.3. Lily-Rose Depp as an ultra-glamorous Chanel heroine at the 2019 Venice Film FestivalLike her parents, Lily-Rose Depp chose to become an actress at a very early age. At just 15, she made her mark on the big screen in Kevin Smith’s film Tusk (2014), starring alongside her father. From then on, she had a series of carefully chosen experiences, with a preference for French cinema, such as Planetarium (2016) directed by Rebecca Zlotowski, in which she co-starred with actress Natalie Portman.Another highlight of her career was walking the steps of the Venice Film Festival for the film The King in 2019. On the red carpet of this high-profile festival, she made a splash alongside Franco-American actor Timothée Chalamet, in her sumptuous, evanescent strapless gown by Chanel. Cut from dark purple chiffon, the light fabric would twirl with every step she took. This glamorous piece was enhanced by a delicate scarf wrapped around her neck, illuminating her hair pulled back in a bun to emphasise her doll-like face.Lily Rose Depp at the Met Gala “Camp: Notes on Fashion” on May 6, 2019 in New York Getty © Images, Photo by Karwai Tang.4. Lily-Rose Depp making a fashion statement dressed in a Chanel archive gown at the MET Gala in 2019Already targeted by the paparazzi when she was knee-high to a grasshopper, Lily-Rose Depp has always kept her public appearances limited. So when she steps onto a red carpet, the young actress thinks carefully about her outfit. The famous MET Gala evening was the event that helped her claim her status as a fashion icon, drawing the attention of the press and fans alike for her style. In sync with her generation, she knew how to choose pieces that would be a hit and, above all, that would perfectly fit her body.Ahead of what would later become a widespread trend – that is, wearing archive dresses from major fashion houses – Lily-Rose Depp decided to make her own one of the most iconic dresses designed by couturier Karl Lagerfeld for Chanel. Not only does this black ensemble adorned with large chains and gold camellias from the Spring/Summer 1992 couture collection suit her beautifully, it also fits in perfectly with the theme “Camp: Notes on Fashion” of the 2019 MET Gala. You only have to delve into the archives to understand the importance of this dress, first sported on a catwalk by supermodel Christy Turlington in 1992, and more importantly by Penélope Cruz in a now cult scene from Pedro Almodóvar’s 2009 film Broken Embraces…Screenshot from @i_dfrance account5. Lily-Rose Depp in a Kate Moss-inspired dressNothing scares Lily-Rose Depp. As the angelic face of Chanel since 2016, the actress dares to be extravagant by being photographed in the simplest of outfits. For the February 2023 issue of i-D Magazine, she paid tribute to a look sported by Kate Moss in the 1990s, immortalised in a now iconic photograph of the 19-year-old British supermodel. That shot portrayed Kate Moss in a simple iridescent sheer dress and black knickers, holding a cigarette in one hand and a beer in the other, while attending the Elite Model Agency party at the Hilton Hotel in London.Twenty years later, Lily-Rose Depp has been captured by the powerful black and white lens of French photographer Karim Sadli. With her frozen pout, in a simple sheer dress by New York label Martin Keehn and black knickers, the illusion was perfect. Very comfortable in front of the cameras, the actress flirts with the controversial heroin chic aesthetic in this photo series.That aesthetic, which gained momentum in the 2000s, was controversial since some saw in it a glorification of drugs and encouragement of the cult of thinness and eating disorders. Embodied by the supermodels of the time and very much on trend in the fashion world, this former heroin chic trend opened up a debate on the beauty ideals conveyed by the catwalks. Since then, it has given way to a better inclusion of all bodies in fashion, for the greater good.Lily-Rose Depp at the Chanel Cruise 2022-2023 show on November 4, 2022 in Miami Beach, Florida. © Getty Images, Photo by Alexander Tamargo/WireImage. 6. Lily-Rose Depp: a Chanel silhouette from California to Paris“American? Californian? Parisian? New Yorker? […] I’m never completely one or the other,” Lily-Rose Depp told Num��ro in December 2022. With an American father and a French mother, Depp has forged her identity between the Californian, sunny beaches and the Parisian, chic streets. From her full lips, reminiscent of the greatest Hollywood stars, to her mad, natural charisma inherited from French icons, the actress uses her dual nationality as her major asset.The proof was in her appearance in November 2022 at the Chanel cruise fashion show, where she wore a sky-blue tweed ensemble composed of a mini-skirt and a crop-top. Waving her hair in the wind, she posed on a Californian beach, with the ocean and sky in the background. She had for only accessories a chain belt emblazoned with the two C’s, a tiny, black handbag and a pair of black and white pumps. Simple and effective, her outfit seemed to draw both on her mother’s elegant, effortless wardrobe, and on the pastel colour palette and short, summer cuts that are so characteristic of Los Angeles, where she grew up until her 16th birthday.Screenshot of an Instagram post from the @lilysredrose account.7. Lily-Rose Depp embraces the Y2K trendA few years ago, Lily-Rose Depp used to share her intimate, uncompromising confessions on her blog ‘Kalilyfornia’, post crop-top photos, but twerk on a TV set without a care in the world. Yet, her growing success has now given way to a complicated relationship between her and one of the leading social networks of her generation: Instagram. Some 7.5 million followers are looking at her photos, which are now more controlled than ever, but she never forgets to be natural, snapping a few intimate shots of her friends and family between two Chanel runway shows.Beyond the media hype, the paparazzi’s stolen pictures and the glossy campaigns, the actress is taking part in the fashion trends that are invading social media, such as the devastating Y2K aesthetic, reminiscent of the 2000s. This major trend in today’s fashion landscape has finally been brilliantly adopted by Lily-Rose Depp.Captured by American rapper 070 Shake, she appears in this photograph with her futuristic sunglasses hiding her eyes on and her signature heart-shaped mouth, wearing an ultra-tight outfit – a crop-top and skirt ensemble with a baroque print drawn from the Jean Paul Gaultier archives. These pieces from the Spring/Summer 1998 collection, inspired by the Mexican artist Frida Kahlo, emphasised the star’s slim figure as she looked more in tune with her image than ever.Screenshot of an Instagram post from the @lilyrose_depp account.8. Lily-Rose Depp as a pop star in the series The IdolOne thing is for sure, the scandalous series The Idol (2023) has already been widely discussed by the media, as it portrays the worst part of the entertainment industry. The American media Rolling Stone describes it as “cruel, violent and way worse than you’ve heard”. The HBO series was directed by Sam Levinson (Euphoria) and Canadian singer Abel Tesfaye, also known as The Weeknd, and boasted a five-star cast with a host of cutting-edge looks.As lead actress in The Idol, Lily-Rose Depp appeared on screen in ultra-light, erotic outfits. Indeed, a few weeks before the premiere of the first episodes, a picture of the French actress posted on her Instagram account went viral and quickly reached 1 million likes.The reason? The photo shows the star in a sultry, sheer, candy-pink bodysuit revealing her body, along with the enigmatic name ‘Jocelyn’. This sexy preview of the fashion pieces worn on set confirms the reckless, sensual attitude of the artist, who is not strip down.Lily-Rose Depp at the Cannes © Film Festival Virgile Guinard, courtesy of Chanel.9. Lily-Rose Depp in a Chanel little black dress and pumpsAlthough the Cannes Film Festival is famous for its grand red carpet, Lily-Rose Depp decided to keep things simple this year. For the photocall for her new series The Idol, she opted for a tweed, little black dress designed by Chanel, of course. At night, she stepped on the red carpet in a black sequin Chanel archive dress adorned with a camellia on the chest from the Fall/Winter 1994-1995 collection.Seemingly simple, this sophisticated look was a testament to the young actress’s cutting-edge style, as she coupled a tube dress with long, black chiffon gloves, tights and a pair of tiny heels – more often worn in the very elegant streets of the 16th arrondissement in Paris than for official events. A surprising choice of course, but one that reflects her taste for timeless, feminine fashion, which embodies the legacy of both her mother Vanessa Paradis and the prestigious fashion house located Rue Cambon.Lily-Rose Depp at the Chanel cruise 2024-2025 show in Marseille in May 2024. © Photo by Stephane Cardinale – Corbis/Corbis via Getty Images.10. A crop top and a mini skirt: Lily-Rose Depp’s fashion essentialsTrue to her status as the face of Chanel, Lily-Rose Depp rarely misses the company’s runway shows. For each event, she sports the latest creations from the ateliers Rue Cambon, and adapts them to her fresh, contemporary style. This includes the mini, and even micro skirts trend, which has been on for several seasons, as well as crop tops, brought back to life thanks to the return of Y2K fashion that the actress particularly likes.Last May, for instance, she walked the catwalk of the Chanel croisière 2024-2025 show in Marseille, wearing a black mini-skirt embroidered with pink and silver flowers and paired with a tiny black cardigan revealing her sculpted silhouette, in spite of the windy, grey sky threatening South-East France that day. A daring outfit that simply revamps the essentials of her everyday wardrobe in a couture version.Screenshot from @lilyrose_depp account.11. Lace and knee-high socks: Lily-Rose Depp’s sultry, sexy styleIt is in her more personal projects and social networks that Lily-Rose Depp fully expresses her interest for fashion and style. On her Instagram account, the actress collects shots of herself wearing her most recent looks – most of them are very sexy ones.A see-through dress, a little jumper worn with nothing but tights… or a grey cardigan – the ultimate trend of the Fall/Winter 2024-2025 – and lace knickers, paired with white knee-high socks and gold Chanel pumps that are a tad outdated.Striking the pose in her flat, Lily-Rose Depp asserts herself as a modern-day femme fatale, just like in the latest music video of her girlfriend 070 Shake. In a subdued bar, she strolls and dances sensually, sublimated by an ultra-tight iridescent pink dress, leaving the rapper (and viewers of the video) speechless.Lily-Rose Depp at the Governor Awards on November 17, 2024. © Chanel. 12. Vintage and glamorous, the essence of Lily-Rose Depp’s styleMid-November, the Governor Awards were an opportunity for Hollywood to show the best gala outfits off. Lily-Rose Depp didn’t stray from her style, appearing in an ultra-glamorous and elegant Chanel gown as usual.With its Empire cut and long train, the dress takes on late 19th-century accents and recalls the actress’s passion for vintage fashion, as she digs up archive pieces for every public appearance. An old-fashioned look, reminiscent of the time period in which Lily-Rose Depp’s upcoming film is set…Lily-Rose Depp at the premiere of Nosferatu on December 4, 2024 in London. © Chanel. Photo by Samir Hussein/WireImage. 13. Nosferatu introduces Lily-Rose Depp to method actingA year after the series The Idol and the numerous debates that came with its release, Lily-Rose Depp is making her comeback to the silver screen with Nosferatu, in cinemas on December 25th. The film is a good opportunity for the actress and model to try her hand at the famous trend of method dressing on red carpets, already mastered by Zendaya and Anya Taylor-Joy…The theme of the film? A horror story featuring a vampire-like aesthetic and a terrifying narrative that offers Lily-Rose Depp a host of gothic, vintage fashion possibilities, just like this grey satin Chanel look she wore earlier this month to the film’s premiere in London. With its ruffled petticoat, corset top, choir collar and large necklace adorned with many precious stones, it looked like a late 19th-century crinoline.For any questions/feedback regarding the above mentioned products/brands, please do contact us anytime by clicking here Source link

[norajworld]

Lily-Rose DeppWith her slender figure, prominent cheekbones and cute pout, Lily-Rose Depp has won over both Chanel – she has been the face of the house since she was 16 – and film directors, who are fighting over the young star. Sensual in the series The Idol, femme fatale in 070 Shake’s latest music video, gothic beauty for the premiere of Nosferatu, out in cinemas on December 25th, 2024, stepping on the Cannes’ red carpet with her timeless charm or wandering the street of Paris as the incarnation of the French woman, here are 13 looks that have shaped Lily-Rose Depp’s aesthetics.Lily-Rose Depp at the Chanel Spring/Summer 2016 show on October 6, 2015 in Paris © Getty Images, Photo by Dominique Charriau/WireImage.Lily-Rose Depp at the Chanel Spring/Summer 2016 show on October 6, 2015 in Paris © Getty Images, Photo by Dominique Charriau/WireImage.1. Her first Chanel fashion show: Lily-Rose Depp is following in the footsteps of Vanessa ParadisIn 2015, Lily-Rose Depp had barely turned sixteen and while most teenagers her age are forging their style in high school, her famous parents and growing success are naturally pushing her to the front rows of the most prestigious Parisian fashion shows, like Chanel, which invited her for its Spring/Summer 2016 collection.For this first event, which Lewis Hamilton and Marine Vacth, among others, attended, the future actress opted for a pair of skinny jeans at the cutting edge of fashion at the time, along with a multicoloured tube top and elegant matching red scarf that perfectly highlighted her graceful neck.An additional tousled bun, natural make-up and platform heels and there she goes – Lily-Rose Depp does not overdo or underdo it, while embracing the codes of her teenage years. Her entry into the big league was a resounding success and probably stemmed from the simple, ingenuous charm that made her mother Vanessa Paradis such an icon in the early 90s. The two shared the catwalk together.Lily Rose Depp at the 2017 © César Revelations Dinner Photo by Stephane Cardinale – Corbis/Corbis via Getty Images.2. Lily-Rose Depp: muse of Karl Lagerfeld and Chanel since she was 16Whether she finds herself walking on the steps of the MET Gala or simply around the city, Lily-Rose Depp is always dressed in Chanel. So it’s only logical that she should call on the house to dress her for the prestigious “Révélations” dinner in 2017. Noticed for her role in Planetarium a year earlier, then nominated for a César in the ‘Best New Actress’ category with The Dancer the following year, the young actress, who was 18 at the time, saw her career take off.Since 2015, she has also been the face of Chanel. In the same way that he fell for the lolita charm of Vanessa Paradis in 1991, Karl Lagerfeld, artistic director of Chanel, was also starstruck by Lily-Rose, who resembled her mother perfectly. The latter shot her first Chanel campaign with Jean-Paul Goude, walked the catwalk for fashion shows and posed hand in hand with the illustrious designer during photoshoots, but also in real life. This specific photo seems to be her tribute to him, appearing all dressed up in a two-piece suit with a black and white tie. Chic and oh-so-French in this androgynous ensemble, Lily-Rose Depp is using that night celebrating her acting talents as a way to confirm her status as a fashion muse.Lily-Rose Depp at the 76th Venice Film Festival in 2019, on the red carpet of the film “The King” on September 2, 2019 © photo by Marilla Sicilia/Archivio Marilla Sicilia/Mondadori Portfolio via Getty Images.3. Lily-Rose Depp as an ultra-glamorous Chanel heroine at the 2019 Venice Film FestivalLike her parents, Lily-Rose Depp chose to become an actress at a very early age. At just 15, she made her mark on the big screen in Kevin Smith’s film Tusk (2014), starring alongside her father. From then on, she had a series of carefully chosen experiences, with a preference for French cinema, such as Planetarium (2016) directed by Rebecca Zlotowski, in which she co-starred with actress Natalie Portman.Another highlight of her career was walking the steps of the Venice Film Festival for the film The King in 2019. On the red carpet of this high-profile festival, she made a splash alongside Franco-American actor Timothée Chalamet, in her sumptuous, evanescent strapless gown by Chanel. Cut from dark purple chiffon, the light fabric would twirl with every step she took. This glamorous piece was enhanced by a delicate scarf wrapped around her neck, illuminating her hair pulled back in a bun to emphasise her doll-like face.Lily Rose Depp at the Met Gala “Camp: Notes on Fashion” on May 6, 2019 in New York Getty © Images, Photo by Karwai Tang.4. Lily-Rose Depp making a fashion statement dressed in a Chanel archive gown at the MET Gala in 2019Already targeted by the paparazzi when she was knee-high to a grasshopper, Lily-Rose Depp has always kept her public appearances limited. So when she steps onto a red carpet, the young actress thinks carefully about her outfit. The famous MET Gala evening was the event that helped her claim her status as a fashion icon, drawing the attention of the press and fans alike for her style. In sync with her generation, she knew how to choose pieces that would be a hit and, above all, that would perfectly fit her body.Ahead of what would later become a widespread trend – that is, wearing archive dresses from major fashion houses – Lily-Rose Depp decided to make her own one of the most iconic dresses designed by couturier Karl Lagerfeld for Chanel. Not only does this black ensemble adorned with large chains and gold camellias from the Spring/Summer 1992 couture collection suit her beautifully, it also fits in perfectly with the theme “Camp: Notes on Fashion” of the 2019 MET Gala. You only have to delve into the archives to understand the importance of this dress, first sported on a catwalk by supermodel Christy Turlington in 1992, and more importantly by Penélope Cruz in a now cult scene from Pedro Almodóvar’s 2009 film Broken Embraces…Screenshot from @i_dfrance account5. Lily-Rose Depp in a Kate Moss-inspired dressNothing scares Lily-Rose Depp. As the angelic face of Chanel since 2016, the actress dares to be extravagant by being photographed in the simplest of outfits. For the February 2023 issue of i-D Magazine, she paid tribute to a look sported by Kate Moss in the 1990s, immortalised in a now iconic photograph of the 19-year-old British supermodel. That shot portrayed Kate Moss in a simple iridescent sheer dress and black knickers, holding a cigarette in one hand and a beer in the other, while attending the Elite Model Agency party at the Hilton Hotel in London.Twenty years later, Lily-Rose Depp has been captured by the powerful black and white lens of French photographer Karim Sadli. With her frozen pout, in a simple sheer dress by New York label Martin Keehn and black knickers, the illusion was perfect. Very comfortable in front of the cameras, the actress flirts with the controversial heroin chic aesthetic in this photo series.That aesthetic, which gained momentum in the 2000s, was controversial since some saw in it a glorification of drugs and encouragement of the cult of thinness and eating disorders. Embodied by the supermodels of the time and very much on trend in the fashion world, this former heroin chic trend opened up a debate on the beauty ideals conveyed by the catwalks. Since then, it has given way to a better inclusion of all bodies in fashion, for the greater good.Lily-Rose Depp at the Chanel Cruise 2022-2023 show on November 4, 2022 in Miami Beach, Florida. © Getty Images, Photo by Alexander Tamargo/WireImage. 6. Lily-Rose Depp: a Chanel silhouette from California to Paris“American? Californian? Parisian? New Yorker? […] I’m never completely one or the other,” Lily-Rose Depp told Numéro in December 2022. With an American father and a French mother, Depp has forged her identity between the Californian, sunny beaches and the Parisian, chic streets. From her full lips, reminiscent of the greatest Hollywood stars, to her mad, natural charisma inherited from French icons, the actress uses her dual nationality as her major asset.The proof was in her appearance in November 2022 at the Chanel cruise fashion show, where she wore a sky-blue tweed ensemble composed of a mini-skirt and a crop-top. Waving her hair in the wind, she posed on a Californian beach, with the ocean and sky in the background. She had for only accessories a chain belt emblazoned with the two C’s, a tiny, black handbag and a pair of black and white pumps. Simple and effective, her outfit seemed to draw both on her mother’s elegant, effortless wardrobe, and on the pastel colour palette and short, summer cuts that are so characteristic of Los Angeles, where she grew up until her 16th birthday.Screenshot of an Instagram post from the @lilysredrose account.7. Lily-Rose Depp embraces the Y2K trendA few years ago, Lily-Rose Depp used to share her intimate, uncompromising confessions on her blog ‘Kalilyfornia’, post crop-top photos, but twerk on a TV set without a care in the world. Yet, her growing success has now given way to a complicated relationship between her and one of the leading social networks of her generation: Instagram. Some 7.5 million followers are looking at her photos, which are now more controlled than ever, but she never forgets to be natural, snapping a few intimate shots of her friends and family between two Chanel runway shows.Beyond the media hype, the paparazzi’s stolen pictures and the glossy campaigns, the actress is taking part in the fashion trends that are invading social media, such as the devastating Y2K aesthetic, reminiscent of the 2000s. This major trend in today’s fashion landscape has finally been brilliantly adopted by Lily-Rose Depp.Captured by American rapper 070 Shake, she appears in this photograph with her futuristic sunglasses hiding her eyes on and her signature heart-shaped mouth, wearing an ultra-tight outfit – a crop-top and skirt ensemble with a baroque print drawn from the Jean Paul Gaultier archives. These pieces from the Spring/Summer 1998 collection, inspired by the Mexican artist Frida Kahlo, emphasised the star’s slim figure as she looked more in tune with her image than ever.Screenshot of an Instagram post from the @lilyrose_depp account.8. Lily-Rose Depp as a pop star in the series The IdolOne thing is for sure, the scandalous series The Idol (2023) has already been widely discussed by the media, as it portrays the worst part of the entertainment industry. The American media Rolling Stone describes it as “cruel, violent and way worse than you’ve heard”. The HBO series was directed by Sam Levinson (Euphoria) and Canadian singer Abel Tesfaye, also known as The Weeknd, and boasted a five-star cast with a host of cutting-edge looks.As lead actress in The Idol, Lily-Rose Depp appeared on screen in ultra-light, erotic outfits. Indeed, a few weeks before the premiere of the first episodes, a picture of the French actress posted on her Instagram account went viral and quickly reached 1 million likes.The reason? The photo shows the star in a sultry, sheer, candy-pink bodysuit revealing her body, along with the enigmatic name ‘Jocelyn’. This sexy preview of the fashion pieces worn on set confirms the reckless, sensual attitude of the artist, who is not strip down.Lily-Rose Depp at the Cannes © Film Festival Virgile Guinard, courtesy of Chanel.9. Lily-Rose Depp in a Chanel little black dress and pumpsAlthough the Cannes Film Festival is famous for its grand red carpet, Lily-Rose Depp decided to keep things simple this year. For the photocall for her new series The Idol, she opted for a tweed, little black dress designed by Chanel, of course. At night, she stepped on the red carpet in a black sequin Chanel archive dress adorned with a camellia on the chest from the Fall/Winter 1994-1995 collection.Seemingly simple, this sophisticated look was a testament to the young actress’s cutting-edge style, as she coupled a tube dress with long, black chiffon gloves, tights and a pair of tiny heels – more often worn in the very elegant streets of the 16th arrondissement in Paris than for official events. A surprising choice of course, but one that reflects her taste for timeless, feminine fashion, which embodies the legacy of both her mother Vanessa Paradis and the prestigious fashion house located Rue Cambon.Lily-Rose Depp at the Chanel cruise 2024-2025 show in Marseille in May 2024. © Photo by Stephane Cardinale – Corbis/Corbis via Getty Images.10. A crop top and a mini skirt: Lily-Rose Depp’s fashion essentialsTrue to her status as the face of Chanel, Lily-Rose Depp rarely misses the company’s runway shows. For each event, she sports the latest creations from the ateliers Rue Cambon, and adapts them to her fresh, contemporary style. This includes the mini, and even micro skirts trend, which has been on for several seasons, as well as crop tops, brought back to life thanks to the return of Y2K fashion that the actress particularly likes.Last May, for instance, she walked the catwalk of the Chanel croisière 2024-2025 show in Marseille, wearing a black mini-skirt embroidered with pink and silver flowers and paired with a tiny black cardigan revealing her sculpted silhouette, in spite of the windy, grey sky threatening South-East France that day. A daring outfit that simply revamps the essentials of her everyday wardrobe in a couture version.Screenshot from @lilyrose_depp account.11. Lace and knee-high socks: Lily-Rose Depp’s sultry, sexy styleIt is in her more personal projects and social networks that Lily-Rose Depp fully expresses her interest for fashion and style. On her Instagram account, the actress collects shots of herself wearing her most recent looks – most of them are very sexy ones.A see-through dress, a little jumper worn with nothing but tights… or a grey cardigan – the ultimate trend of the Fall/Winter 2024-2025 – and lace knickers, paired with white knee-high socks and gold Chanel pumps that are a tad outdated.Striking the pose in her flat, Lily-Rose Depp asserts herself as a modern-day femme fatale, just like in the latest music video of her girlfriend 070 Shake. In a subdued bar, she strolls and dances sensually, sublimated by an ultra-tight iridescent pink dress, leaving the rapper (and viewers of the video) speechless.Lily-Rose Depp at the Governor Awards on November 17, 2024. © Chanel. 12. Vintage and glamorous, the essence of Lily-Rose Depp’s styleMid-November, the Governor Awards were an opportunity for Hollywood to show the best gala outfits off. Lily-Rose Depp didn’t stray from her style, appearing in an ultra-glamorous and elegant Chanel gown as usual.With its Empire cut and long train, the dress takes on late 19th-century accents and recalls the actress’s passion for vintage fashion, as she digs up archive pieces for every public appearance. An old-fashioned look, reminiscent of the time period in which Lily-Rose Depp’s upcoming film is set…Lily-Rose Depp at the premiere of Nosferatu on December 4, 2024 in London. © Chanel. Photo by Samir Hussein/WireImage. 13. Nosferatu introduces Lily-Rose Depp to method actingA year after the series The Idol and the numerous debates that came with its release, Lily-Rose Depp is making her comeback to the silver screen with Nosferatu, in cinemas on December 25th. The film is a good opportunity for the actress and model to try her hand at the famous trend of method dressing on red carpets, already mastered by Zendaya and Anya Taylor-Joy…The theme of the film? A horror story featuring a vampire-like aesthetic and a terrifying narrative that offers Lily-Rose Depp a host of gothic, vintage fashion possibilities, just like this grey satin Chanel look she wore earlier this month to the film’s premiere in London. With its ruffled petticoat, corset top, choir collar and large necklace adorned with many precious stones, it looked like a late 19th-century crinoline.For any questions/feedback regarding the above mentioned products/brands, please do contact us anytime by clicking here Source link