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Every once in a while, there’s a film I’ll watch that as soon as I walk out the door of my local cinema (or turn off the TV, if at home), it sits in a rather gray area of my mind - I may have enjoyed it, but it’s something that I feel needs to sit in my mind much longer as I’m not 100% sure on what to feel.

And then as time goes on, it feels as if the film blossoms more in my mind the more I ruminate on it (and my experience with it). As if it just gets even better the more I think about it, and the more I search up about it online to see what others had to say.

That was my experience with 28 Years Later. Everytime I just think about it, or look it up, I just end up falling in love with it even more.

I always have a fond appreciation for films that grow on me.

(edit: I do not know why Tumblr automatically labelled this as mature content LMFAO anyways I got that out the way now)

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what would happen if i booped remmick on the nose (wrong answers only)

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A couple things I wanna say in regards to the posts I’ve seen relating to Sinners (2025):

Every single Smoke x Annie post I have seen on here has my whole heart. Every time a post relating to the two pops up on my tumblr during my scrolling, I always really enjoy reading what people have to say about them both. Just further reaffirming how much I loved seeing their dynamic throughout the movie 🥰

That one fucking part where Remmick is sitting in the dark somewhat covered in blood after biting and turning Bert (???- I think that’s the dude’s name) into a vampire scares the absolute fucking christ out of me and it’s an absolute jumpscare every time I see it (and yet my dumbass still likes the posts that contain images or gifs of it). Like he looks (and is) fucking scary 😭😭

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Michael b Jordan’s facial expressions as Smoke are so incredible. Smoke isn’t very talkative so he uses his face and eyes to convey his feelings.

One of my favorite moments is when Annie is praying over his Mojo bag. He’s puffing on his pipe, shaking his head like, “This some bullshit,” lmaoo yet at the same time his eyes are filled with curiosity, love, and acceptance.

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Hey so um I just wanna say that the analysis that I see people doing here in regards to Sinners is something that I always enjoy reading. Like it just adds so much more to the movie and I like seeing what people have to say about what goes on in the film in terms of their analysis, head-canons, etc.

Keep doing what you’re doing, I love seeing those kinds of posts. Heck, I’d love to see more things that you all took from the film, whether it’d be regarding characters, or the themes, etc.

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I fucking hate myself even more now for not having seen Sinners (2025) in the cinemas when it first came out because holy fucking shit it’s a goddamn masterpiece of a film.

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Gotta love how just a couple weeks before the 6th anniversary of Godzilla: King Of The Monsters, my brain has ultimately decided to conjure up a new paracosm largely focusing on King Ghidorah himself.

I think out of all the times where I was developing a new paracosm of mine, this one is definitely one where I felt like there was so much more going on with it in terms of the initial ideas, inspiration and themes.

I still don’t exactly know what is going on in it just yet, but there are a lot of esoteric ideas forming around that make me kind of excited to see how this King Ghidorah paracosm blossoms once it���s more solid and all.

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And yet some ppl on here try to convince me and others that Thomas is ultimately not good for her. Like…HELLO?!?!?! WHAT TF DO YOU MEAN BY THAT????

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I don’t personally ship these two

But I can’t stop thinking about the dynamic between Count Orlok and Ellen.

I’m not fully sure why, or how to properly explain it without sounding like I’m waffling on about nothing, but I keep on thinking and daydreaming about the two.

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I’m in the midst of writing a more clearer post about this but let me just get my annoyance and slight rage out the way because my fucking god it gets grating whenever I see this shit.

But if I see someone shit on others for what they have personally interpreted and taken out of a film such as the 2024 Nosferatu remake (which is an objectively multi-faceted work), I’m gonna slap someone in the face.

Like why the fuck do people take issue with some folk who saw and personally interpreted the film as being metaphorical/representative of sexual trauma? Or why the fuck do people act super iffy with other folk who thought of it as being about some kind of fulfilment of repressed sexuality, lust and desires (or however else they’d word it idfk)? And so on and so forth when in regards to other interpretations that aren’t those two?

It’s actually kind of pissing me off how people will act so pompous and arrogant when it comes to doing this bullshit. Like there is absolutely nothing wrong with viewing the film the way you personally took it for, but when you start trying to label others as being stupid or idiotic for having a differing viewpoint of it, then you’re just being narrow-minded.

As much as my knowledge on gothic horror may not be the most substantial and well-versed, I‘m hoping I’m not wrong in assuming that it is a multi-faceted sub-genre of horror that opens itself up to all sorts of nuances and different readings depending on what an individual takes out of it? Thus, I feel like it’s ridiculous that some people give people some shit for how they personally felt the movie was about.

I’m not saying that I’m completely innocent from having done this tomfoolery before, because I am pretty sure that in the past I have engaged in something like this when it comes to other pieces of fictional media. But I’m actively making sure to take some time to understand that others will see things differently than I do, even in cases where I myself can’t absolutely understand why someone would see it that way.

No one’s stupid for thinking that Nosferatu (2024) was about S.A, and neither is the other for thinking that it’s about something else entirely different.

And if some of you take personal issue with that, then that’s a you problem. Please get off your high horse, and understand that every individual will read into things differently.

I hope this made sense, considering I wrote much of this in the midst of some anger lol

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Everytime I go onto my drafts here in order to continue writing a post, I always have to deal with being stared at by a Count Orlok gif

I don’t even remember why I have that as a draft 😭

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Excuse me being weirdly personal about Nosferatu

But is it cringe for me to think about how the dynamic between 2024!Ellen and 2024!Count Orlok weirdly remind me of my own relationship/experiences with my maladaptive daydreaming?

And I’m not saying this in the angle of any sort of dark romanticisation, no. It’d be extremely weird for me to romanticise a literal (possible) mental disorder I actively suffer from lol.

It’s just that I’m finding quite a handful of parallels that…kind of spook me out, I can’t lie 😭

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i want to boop count orlok’s nose

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Why in the absolute hell is one of my posts about Count Orlok gaining some attention again??? 😭😭😭

It’s also literally my most popular Nosferatu-related post atp too 💀

Like dang…y’all are THAT freaky, huh?

It’s funny looking back at that post because nowadays I’d say that me somehow going “…hear me out-“ on the dude is actually what makes me even more terrified and scared of him.

I’m aware I already said that before, but like…you’d expect for me to have more dignity and grace in the fictional characters I’d end up crushing on 💀

EDIT: Also…just to point out my self-hypocrisy- Why is it that I’m freaking out over him, when I’ve literally had a history of being attracted to other horrid villainous characters like Pennywise (IT), Villanelle (Killing Eve), and a few more? Like NOW’S the time for me to freak out about thirsting over a villain???

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Whilst I was writing my lengthy post regarding my jumbled thoughts on Ellen and Orlok’s dynamic as portrayed in the 2024 Nosferatu remake, I was only able to get through to finalising it by making this short playlist up:

At the time of listening to this short playlist once having finished making it whilst writing, there were only around four songs in it. Plus, this is the first time I ever made any kind of playlist for fictional characters before. I’m not exactly sure whether my selection here is fitting or if it perhaps needs some changing.

Though I do like what I have added so far, since I feel like it helped get me into the mood of finishing up the post.

Any thoughts or other suggestions I could add onto this?

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I feel like I should’ve started talking about this much earlier when I first started to obsessively post about the 2024 remake of Nosferatu. But it’s something that I feel like I needed more time to think about and process it. Even then, I’m not sure if my thoughts here will be thoroughly developed, so perhaps I’ll do a follow up to this post if I feel like I’ll have more to expand on with what I say here.

I’m going to be discussing about my own jumbled and currently unorganised thoughts in relation to the dynamic between Ellen and Orlok as portrayed in the 2024 version. But I do want to state that much of what I’ll say here is just my own personal interpretation and what I got out of it. I do understand that others will have a different take on it, which I think is absolutely fine. If I do get something wrong about certain details, please don’t be afraid to correct me in the comments or reblogs.

I feel, however, that what I will say here is perhaps not as clear or well-thought out as I want it to be. So I hope that me writing down my initial perceptions and interpretations will give me some leeway into following up on it with more clarity soon.

With that aside, let’s get into it.

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Whenever I think about the connection between Count Orlok and Ellen Hutter, a certain thought keeps on popping up in my mind - which became more prominent after my second viewing of the remake at the cinemas. I couldn’t help but keep on thinking how “just because someone may have a better understanding of what you yearn and desire for (as well as all the deeper parts of you that others may not properly understand), it doesn’t mean that it’s a good thing”. And for me, I think that thought served as the basis of what I ended up taking out of the portrayal of Ellen’s connection to Orlok.

I personally feel that between the two (and which I think the film makes this obvious in terms of general/surface-level reading), love is practically impossible for them - mainly due to the abusive and coercive ways that Orlok goes about with the way he tries to get Ellen to submit to him. And though there is perhaps some kind of genuine carnal desire and lust between the two, it didn’t guarantee for me that they were “meant for each other”, in a way. Like for me, I couldn’t really gloss over that. This was definitely made more concrete as a result of my second viewing (no offence and disrespect, Ellen x Orlok enthusiasts).

However, I’m aware that this is me reading into the dynamic of the two based off of what’s made obvious - the Text, in other words. With a film like this, there’s definitely going to be way more to unpack and to take in than what appears on the surface - which is where the Subtext is taken to account. From what I’ve seen in other people’s personal analyses of the movie, there’s a lot to discuss in terms of repression of desire and sexuality (especially in the context of Victorian women and the societal climate of that time period), as well as other themes that others have pointed out that I haven’t mentioned or have forgotten about.

But what stuck out to me a lot was when I saw someone else’s tumblr post discussing something in regards to validation in terms of Ellen and Orlok’s dynamic (which I honestly wished I remember which tumblr user it was because I think some of the points made in their post made a lot of sense). I sort of forgot what it was specifically that much of the post said, but I do remember how it made me feel more haunted by the connection between Ellen and Orlok.

Which I think makes things more sad and tragic in terms of how it all started for Ellen:

Being a lonely teenager, calling out to whoever and whatever to ease her loneliness and sorrow

and then the universe responding by gifting her a monstrous being who both sees and understands all the parts of her that almost everyone around her has shunned and misunderstood, whilst also bringing great trauma to her that haunts her all the way to her adulthood.

It’s scary when the person that ‘validates’ all the repressed parts of yourself is also the person that traumatises (or at the very least, hurts) you.

Orlok sees, knows, and exactly understands Ellen’s repressed lust and desires, which is what makes the way he pursues after her feel more daunting the more I reflect back on this film - he not only violates her, but puts the lives of those she’s close to (Thomas, as a notable example) in heavy danger. All of that, just to satiate his own appetite and lust for her. And yet that undeniable lustful pull between the two exists; it’s a very real thing between them both, even if it’s not healthy and good at all (especially for Ellen, who blatantly expresses the pain and shame she feels with how parasitic and toxic it is).

Now there’s obviously way more to take into account of in terms of how the two could be interpreted way beyond what I just said here. Plus, I feel that I can’t just box up Ellen as being solely a victimised individual, and nor can I reduce Orlok into solely being an abusive figure - whilst those aspects are definitely one of the core parts that make up both their characterisations, it’s not the only thing that exists about them. Again, there’s so much more ground for me to explore in terms of what I have taken in with regard to how these two are portrayed in this remake of Nosferatu.

Now I would’ve ended this post here, but there’s some more that I have to say - especially in regards to how weirdly…personal it got into making this post.

With Orlok and Ellen’s dynamic, it was something that I did often think about whenever I began to reflect back on my general experiences, but never would have thought that it would ever end up feeling personal to me. But as I was thinking much more about it whilst writing this, that’s when it started feeling like I was looking down at shards of a broken mirror - in each piece, held a clear-as-day reflection that gazed back at me.

Their dynamic started to remind me of certain aspects of my life that I will not delve into heavy detail about, but let’s just say it was quite intimidating (and eventually became saddening) at first when my mind began to see elements of those aspects within the way Orlok and Ellen’s dynamic was portrayed here. And it definitely put into more perspective as to why I saw this Nosferatu remake in the ways that I do (and definitely made me feel even more scared and shameful of the divisive and super problematic attraction my brain had developed towards Bill Skarsgård’s portrayal of Count Orlok). But perhaps that’s what this film is meant to do - create a kind of dissonance between me recognising the horror in what unfolds whilst also feeling the undeniable dark perverse eroticism in it.

It ended up making this post somewhat more challenging to write out than I was anticipating. But I guess that’s what just makes Nosferatu (2024) so impactful for me, even if what I expressed here isn’t enough to truly convey what this film holds.

I hope this post made sense, but admittedly I feel that it’s quite rambling, maybe lacking backbone, possibly misunderstanding some things, and all-over-the-place. Again, I may make a follow-up to this when I feel like the things I have to say are a lot more concrete.

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you know what fuck this I’m fighting 2024!orlok in my head for invading my daydreams i have personal beef with that bitch now