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say what you will about the historical figure of Cardinal Richelieu but the ‘black breastplate over cardinal’s robes’ look is some warhammer shit

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thinking abt how fucked up steam engine boiler explosions can look. theyre just pipes under there

gives me the idea of a ghost/monster engine that looks normal, albeit a bit battered, only to swing their smokebox door open and a myriad of pipes come bursting out like fucked up tentacles

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headcanon: newt as a child took ages to get to sleep, so theseus read to him for more than an hour every night. but whenever he got too tired, he would wrap the story up with endings like:

- “and then the dragon ate everyone, the end”

- “and then the sphinx got tired of asking riddles and retrained as an accountant. she was very good with numbers. everyone lived. no one had to solve anything, okay, bedtime”

- “and then the unicorn decided politics was too complicated and opened a pie shop instead, seriously newt go to sleep I’m leaving”

- “and then they all had to file their tax returns, which took ages, and nobody had any more adventures ever again because the paperwork was simply too much bother”

- “and with a mighty crash, they both knocked over their cauldrons and had to spend the rest of the afternoon cleaning up the mess, which really put things in perspective, the end, no I will not explain further”

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*pounds a monster at 9pm* why can't I ever sleep at night

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clenches fist. i must not discourse. discourse is the mind killer. discoursing is the little death that brings more discourse. i will ignore the posts. i will permit the discourse to pass over me and through me. and when it has gone past i will turn my tumblr blog to see its path. where the discourse posts have gone there will be nothing. only i will remain.

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Younger writers. Please, just know that you could not skip to different songs on a cassette tape, that’s CDs. With tapes you pressed fast forward or rewind and prayed.

Also, VHS tapes did not have menu screens. Your only options were play, fast forward, rewind, pause, stop, or eject.

Y’all are making me feel like the crypt keeper here, I’m begging you 😭

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Rope (1948) Dir. Alfred Hitchcock, based on the 1929 play by Patrick Hamilton.

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Belted Kingfisher I know you don’t care but you mean everything to me girl

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"I want to make it 80 and wipe that grin off your face. I don't like gentlemen who grin at me."

Ingrid Bergman as Alicia Huberman in Notorious (1946) dir. Alfred Hitchcock

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yeah you know that one gay film from the 40s by that hitchcock director..... it was called hm... i can't remember.... " the something of something"? or was it just a plain "something"....? i can't recall

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Towards the end of the film, Charlie realizes her uncle is a killer. She not only comes to see that he is a serial murderer but also that he wishes to kill her, having cut through her staircase and locked her in a gas-filled garage. This forces Charlie to discover her own murderous potential, as she calmly warns her uncle that she could kill him herself, thus reflecting the vampire’s ability to contaminate others, especially innocent females. Indeed, at one point in the film, Charlie does seem to have taken on characteristics of the vampire for, having become suspicious of her uncle, Charlie decides to visit the local library in order to check a newspaper story which she feels pertains to her charismatic relative. Charlie runs to the library, encountering the ire of a local policeman after she jaywalks, a transgression which is quickly followed by another, for Charlie arrives at the library after the end of opening hours and has to beg to be let in, echoing the vampire’s traditional asking for admittance. Therefore, Charlie has experienced two negative interactions with those who maintain law and order—a policeman and a librarian—and though the rules Charlie has broken are undoubtedly low-level, they do, nonetheless, signal that Charlie is now willing to act outside of the law and, if necessary, to take on the role of renegade while searching for the truth about her uncle. Charlie’s new-found willingness to disrupt society reveals how proximity to Uncle Charlie is corrupting. The librarian allows Charlie to enter the building, whereupon Charlie finds circumstantial evidence that Uncle Charlie is a killer: initials etched on the ring he produced earlier in the film match the initials of one of the Merry Widow Murderer’s victims. […] Charlie now acknowledges her uncle’s murderous qualities and, momentarily, she exhibits vampire-like qualities of her own, for, following the night-time visit to the library, Charlie sleeps all through the next day and does not wake until sundown. Having transformed to some degree into a dangerous creature, Charlie now has the power to harm her uncle, for the ring, which was a symbol of unity, is now both an object of conflict and a symbol of her empowerment. The ring is proof of her uncle’s crimes, and as long as Charlie keeps possession of the ring, she has power over her uncle.

Victoria Williams, “Reflecting Dracula: The Undead in Alfred Hitchcock’s Shadow of a Doubt,” in Images of the Modern Vampire: The Hip and the Atavistic (eds. Barbara Brodman and James E. Doan)

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REAR WINDOW (1954) dir. Alfred Hitchcock