#House keeping Course

[poorly-drawn-mdzs]

The penisest of tunes.

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[heph]

House and his Ducklings 🐤

[psalmsofpsychosis]

dogs unleashed;

—in continuation of this collaborative meta on the nature of Batman's relationship with pain.

// mitski - cop car // Emily Skaja, Brute // Batman: Europa // Sally Wen Mao, Mad Honey Symposium // Lingua Ignota, Pennsylvania Furnace //

[nogoodsheepstealing-greatgrandma]

Ok the Jace struggling to learn Valyrian scene will never not be dumb, it makes zero sense for Jace to not be fluent and they could have had him learning literally anything else more relevant to ruling. And the haircut is unforgiveable-

That being said, Harry Collett is adorably hilarious. Look how happy Jace is. Look at his excited 'Mum I'm learning Valyrian!' face. Look at his disappointed little shlump. He really thought he jaced it.

[chaos-has-theories]

Palamedes thought Naberius was hot, I repeat

I require 10k words of canon defiant morally questionable yaoi set in Ianthe's mind country manor STAT

[pynkhues]

I would LOVE to read your analysis of louis as byronic hero as apposed to his reading as gothic heroine. lots of the latter and zero of the former in the fandom.

Sure! Mmm, okay, so –

What are we talking about when we talk about Gothic Heroes?  

When we talk about gothic heroes, we’re really talking about three pretty different character archetypes. All three are vital to the genre, but some are more popular in certain subgenres i.e. your Prometheus Hero may be more common in gothic horror, whereas your Byronic Hero might be more likely to be found in gothic romance. That’s not to say they’re exclusive to those subgenres at all, and there is an argument that these archetypes themselves are gendered (in many ways, I think people confuse Anne being an author of the female gothic with Louis being a gothic heroine, but I’ll get into that later), but this is also not necessarily something that’s exclusive.

Anyway, I’m getting ahead of myself, haha, so the three gothic hero archetypes are:

Milton’s Satan who is the classic gothic hero-villain. You can probably guess from the name, but he was originated in John Milton’s 1667 poem, Paradise Lost. He is God’s favourite angel, but God is forced to cast him out of heaven when he rebels against him. As an archetype, he’s a man pretty much defined by his pride, vanity and self-love, usually fucks his way through whatever book or poem he’s in, has a perverted, incestuous family, and a desire to corrupt other people. He’s also defined as being “too weak to choose what is moral and right, and instead chooses what is pleasurable only to him” and his greatest character flaw, in spite of all The Horrors, is that he’s usually easily misguided or led astray. (I would argue that Lestat fits into this archetype pretty neatly, but that’s a whole other post.)

Prometheus who was established as a gothic archetype by Mary Shelley with Frankenstein in 1818. Your Prometheus Hero is basically represented by the quest for knowledge and the overreach of that quest to bring on unintended consequences. He’s tied, of course, to the Prometheus of Greek myth, so you can get elements of that in this character design too in that he can be devious or a trickster, but the most important part of him is that he is split between his extreme intelligence and his sense of rebellion, and that his sense of rebellion and boundary pushing overtakes his intelligence and basically leads to All The Gothic Horrors.

And the Byronic Hero, who as the name implies, was both created by and inspired by the romantic poet, Lord Byron in his semi-autobiographical poem, Childe Harold’s Pilgrimage which was published between 1812-1818. The archetype is kind of an idealized version of himself, and as historian and critic Lord Macaulay wrote, the character is “a man proud, moody, cynical, with defiance on his brow and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection.” Adding to that, he’s often called ‘the gloomy egoist’ as a protagonist type, hates society, is often self-destructive and lives either exiled or in a self-exile, and is a stalwart of gothic literature, but especially gothic romance. Interestingly too, in his most iconic depictions he’s often a) darkly featured and/or not white (Heathcliff being the most obvious example of this given Emily Bronte clearly writes him as either Black or South Asian), and b) is often used to explore queer identity, with Byron himself having been bisexual.

Okay, but what about the Gothic Heroine?

Gothic heroines are less delineated and have had more of an evolution over time, which makes sense, given women have consistently been the main audience of gothic literature and have frequently been the most influential writers of the genre too. The gothic genre sort of ‘officially’ started with Horace Walpole’s 1764 novel, The Castle of Otranto and Isabella is largely regarded as the first gothic heroine and the foundation of the archetype, and the book opens even with one of the key defining traits – an innocent, chaste woman without the protection of a family being pursued and persecuted by a man on the rampage.

The gothic heroine was, for years, defined by her lack of agency. She was innocent, chaste, beautiful, curious, plagued by tragedy and often, ultimately, tragic. Isabella survives in The Castle of Otranto, but she’s one of the lucky ones – Cathy dies in Wuthering Heights, Sybil dies in The Picture of Dorian Gray, Justine and Elizabeth both die in Frankenstein, Mina survives in Dracula, but Lucy doesn’t. There’s an argument frequently posited that the gothic genre was, and is, about dead women and the men who mourn them, and Interview with the Vampire certainly lends itself to that pretty neatly.

Of course, the genre has evolved, and in particular by the late 1800s, there was a notable shift in how the Gothic Heroine was depicted. The house became a place of imprisonment where they were further constrained and disempowered, she was infantilized and pathologized and diagnosed as hysterical, and as Avril Horner puts it in her excellent paper, Women, Power and Conflict: the Gothic heroine and ‘Chocolate-box Gothic’, gothic literature of this era “explores “the constraints enforced [by] a patriarchal society that is becoming increasingly nervous about the demands of the ‘New Woman’.”

This was an era where marriage was increasingly understood in feminist circles to be a civil death where women were further subjugated and became the property of their husbands. This was explored through gothic literature as the domestic space evolved into a symbol of patriarchal control in the Female Gothic.

Female Gothic vs Male Gothic

Because here’s the thing – the female gothic and the male gothic are generally understood to be two different subgenres of gothic literature.

While there are plenty of arguments as to what this entails, the basics is that the male gothic is written by men, and usually features graphic horror, rape and the masculine domination of women and often utilises the invasion of women’s spaces as a symbol of further penetrating their bodies, while the female gothic is written by women, and usually features graphic terror, as opposed to horror, while delving more specifically into gender politics. More than that though, its heroines are usually victimized, virginial and powerless while being pursued by villainous men.

The Female Gothic as a genre is also specifically interested in the passage from girlhood to female maturity, and does view the house as a place of entrapment, but she is usually suddenly “threatened with imprisonment in a castle or a great house under the control of a powerful male figure who gave her no chance to escape.”

That’s not Louis’ arc, that’s Claudia’s arc twice over, first with the house at Rue Royale, then with the Paris Coven, and Lestat and Armand aren’t the only powerful male figures who imprison her.

Claudia as the Gothic Heroine

Claudia in many ways is the absolute embodiment of the classic gothic heroine. Even the moment of their meeting is a product of Louis’ Byronic heroism – his act of implacable revenge against the Alderman Fenwick which prompts the rioting that almost kills her. She’s a victim of Louis’ monstrousness before they’ve even met, and while he saves her, he arguably does something worse in trapping her in the house with both himself and Lestat, holding her in an ever-virginal, ever-chaste eternal girlhood, playing into Lestat’s Milton-Satan by enhancing the perversion of family and ultimately infantilizing her out of his own desire for familial closeness.

Claudia has no family protection before Louis and Lestat – a staple of the gothic heroine – she is completely dependent on them in her actual girlhood, and again in adulthood, never developing the strength to be able to turn a companion, to say nothing about the sly lines here and there that further diminish and pathologise her (Lestat calling her histrionic, Louis making her out to be a burden, etc.). This is all further compounded again with the Coven, and when the tragedy of her life ultimately leads to the tragedy of her death.  

Louis as the Byronic Hero

Not to start with a quote, but here’s one from The Literary Icon of the Byronic Hero and its Reincarnation in Emily Bronte’s Wuthering Heights:

“Generally speaking, the Byronic hero exhibits several particular characteristics. He does not possess heroic virtues in the usual, traditional sense. He is a well-educated, intelligent and sophisticated young man, sometimes a nobleman by birth, who at the same time manifests signs of rebellion against all fundamental values and moral codes of the society. Despite his obvious charm and attractiveness, the Byronic hero often shows a great deal of disrespect for any figure of authority. He was considered "the supreme embodiment [...] standing not only against a dehumanized system of labor but also against traditionally repressive religious, social, and familial institutions" (Moglen, 1976: 28).

The Byronic hero is usually a social outcast, a wanderer, or is in exile of some kind, one imposed upon him by some external forces or self-imposed. He also shows an obvious tendency to be arrogant, cunning, cynical, and unrepentant for his faults. He often indulges himself in self destructive activities that bring him to the point of nihilism resulting in his rebellion against life itself. He is hypersensitive, melancholic, introspective, emotionally conflicted, but at the same time mysterious, charismatic, seductive and sexually attractive.”

Louis as he exists in the show to me is pretty much all of those things, and I think to argue that he’s a gothic heroine not only diminishes Claudia’s arc, but robs Louis of his agency within his own story. Louis chooses Lestat, over and over again, he’s not imprisoned by the monster in the domestic sphere, he is one of the monsters who’s controlling the household, including making decisions of when they bring a child into it and when Lestat gets to live in it – he wanted to be turned, he wanted to live with Lestat in Rue Royale, and while there are certainly arguments to be made about their power dynamic within the household in the NOLA era, importantly Louis actually gained social power through his marriage to Lestat, particularly through The Azaelia, he didn’t lose it in the way that’s vital to the story of the gothic heroine.

Daniel Hart even said it in a recent twitter thread about Long Face, but there is an element of Lestat and Louis’ relationship that is transactional, and to me, for that to exist, they both have to have a degree of control over their circumstances and choices in order to negotiate those transactions. Claudia is the one who can’t, she’s the one who’s treated effectively as property, and she’s the one who lacks control over her circumstances.

While you could perhaps argue the constraints of the apartment in Dubai lend more to the gothic heroine archetype, I’d argue it as furthering the Byronic trope again by being representative both of Louis’ self-destruction and self-imposed exile. As Jacob has said a few times, Louis does seem to have known to a degree that Armand was involved in Claudia’s death on some level, and it’s that guilt and misery that has him allowing Armand his degree of control. The fact that Louis was able to leave Armand as easily and as definitively as he was I think demonstrates that distinction too – after all, to compare that ending to Claudia’s multiple attempts to leave the confines of the patriarchal house, both in Rue Royale and Paris, which were punished at every turn – first by her rape, then by Lestat dragging her back off the train, and then by the Coven orchestrating her murder.

Louis gets to leave because Louis can leave, he has both the social and narrative power to, and the fact that he does is, to me, completely at odds with the gothic heroine. Louis can, and does advocate for himself, Louis is proud, moody, cynical. Defiance is a key part of his character, just as his exile from NOLA society due to his race, and his chosen rejection of vampire society in Paris, is. He’s intelligent and sophisticated, travels the world, and has misery in his heart, guilt that eats him up, and self-destructive tendencies. That’s a Byronic Hero, baby!  

[theotherbuckley]

Okay but Tommy drops out of high school — he told his father he was gay and he told him he could either be homeless or go to military school. He goes to military school and joins the army and he likes flying the helicopters because it means he doesn’t have to do any of the killing himself. And he makes some friends.

There's one guy who's like the squad leader who's a few years old and built like a Greek god and Tommy's young and a little bit in love. And they're friends maybe even family because this whole group of people spend every waking (and sleeping) moment together. And they all talk like a family and they all say they love each other and tease each other and it's nice. And one night it's just the two of them trading a flask of some sort of alcohol that Tommy doesn't know the name of and the man asks Tommy why he joined the army and where he wants to be in five years and Tommy trusts this man. He's half way in love with him so he doesn't even think twice before he tells the story about the time he came out to his family and his father nearly beat him to death before sending him here. And the conversation tapers off after that and he doesn’t register the change in the air but when he wakes up the next morning he’s being dishonourably discharged because he poses “unacceptable risk to the high standards of morale, good order and discipline, and unit cohesion that are the essence of military capability”. He knows what that means.

Tommy joins the fire department because he doesn’t know what else to do. He represses anything regarding his sexuality because he knows now that it’s wrong. He almost feels like he has a family again because his captain seems to like him and some of the guys are cool even if they say things he doesn’t agree with. And then he starts agreeing because maybe they’re right and he’s wrong and he’s just inherently wrong. So he follows their leads and is just straight racist because that’s how he can fit in.

And then a black lesbian woman joins and says she’s a black lesbian woman and Tommy doesn’t understand that either because you can’t be queer you just can’t be because it’s wrong.

But he nearly dies and and an Asian man saves his life and a black lesbian woman comes up with a better idea than any of them had and she tells them she’s no different and she is just as capable. So he improves himself he does and he tries to be better but he still can’t be who he is because the last 2 times he was honest about that he was betrayed.

Tommy leaves the 118 and “don’t ask, don’t tell” is lifted and he meets this guy he likes who likes him back and the 217 don’t seem to have a problem with the gender neutral pronouns and he slowly but surely lets himself open up again and be who he is and when the thing with that guy doesn’t work out because he’s moving to New York and Tommy’s not sure he’s ready to leave, it’s okay because his crew is there and they support him and he can still be himself.

[thankstothe]

MMM YEAH.

many interesting questions right here!

[peacesmovingcabaret]

You know, aside from the complete abandonment of the Wittebane storyline (not to mention the mostly pointless inclusion of the Collector), I think the major issue I have with The Owl House is Luz as a protagonist.

I have honestly never seen a plot twist and contort itself to the point of being an unrecognizable mess just to validate a character who never even really deserved it!

[heph]

Call me crazy for reading so much into a show like House MD but I think the main theme of House is that despite doing everything perfectly and being a good person, shit happens.

Sickness and pain will be inflicted on you and your loved ones and there's nothing you can do about it, but to persevere, to fight for your life, to keep living despite it all - to love is a part of the human condition; our capability of love is what makes life worth living, despite all the pain that you will inevitably experience.

This show exemplifies the pain of living and the needs and desires of human beings to keep going despite it all

And idk... There's something beautiful about how a show with so many stupid whimsical dumb scenes can impart something so profound in my stupid little brain

[kimmiessimmies]

Is this an alternate universe...?

...or a dream...?

...or maybe...

...the future?

This is, of course, non canon. For now. Or maybe forever. I've just reallyyyy wanted to do this for a long time. And she totally melts my heart. Because I couldn't resist, I've aged her up too, and she's so pretty....

Oh, and p.s., if you haven't zoomed in on that face yet, you really should! 🩷

[bambiraptorx]

I know that logically Draxum probably got away with making the mutagen and oozequitos because he was very careful about hiding his research and whatnot, but the much funnier explanation is that he's already so weird that when he rolled up to an academic conference two months after his lab exploded the first time with his 200 page paper on how he's going to bioengineer mosquitos to be the size of his hand (without giving a single reason as to why he wants to do this), the most he was met with was maybe a few raised eyebrows and a couple people wondering how he still gets grant money

[simgerale]

gwen's adventures at the annual fall festival !!! (1/2)

[tethys-the-aquatic-sea-godness]

The worst thing is, Viconia would've fit perfectly in Shadowheart's storyline. From Viconia's (non-romanced) epilogue, we know this:

Viconia does found a cult of Shar in Waterdeep and she is betrayed by one of her followers. She is, not Shar. Shar, in fact, admonishes Viconia for this, showing she clearly never ordered that. And Viconia does not give a damn. This is the woman who left the cult of Lolth and went to the 'lighter' option that was Shar (compared to Lolth). She already deals with agents sent by Lolth, she's not going to let Shar tell her what to do.

The nature of the betrayal Viconia was the subject of is left entirely up to the player. With Viconia and Shadowheart's backstory being what they are, Shar's plot for a Selûnite child could've been perfectly inserted as the reason for Viconia's falling out with Shar.

Viconia left Lolth because of how children were treated, how she was treated herself. She did not turn to Shar to do the same thing. She would reject Shar's plot the moment the order came, and that would be the perfect trigger for one of her follower to turn of her. Shar's cult being what it is, I don't think taking down the whole lot is overkill to avoid further backstabbing. There aren't many who will pick their priestress over their goddess, especially not with how Sharran's faith emphasizes self-effacing. Can't make a decision for yourself when you don't think for yourself.

Shar's reprimends following what Viconia did further proves this wasn't what the goddess wanted. Complete that by adding she's incensed Viconia rejected her order and slaughtered her willing clerics, and you've got the perfect connection between Viconia and Shadowheart.

In BG 3, we could've met Viconia in Baldur's Gate, rather annoyed because she's been getting an influx of Sharran agents after her, and she's tracking the source to put an end to it. A Shar-aligned Shadowheart could've the mission to purge the cloister that failed to kill her, while a Selûne-aligned Shadowheart would work with her to put and end to the cloister, to give them both some peace and quiet.

Epilogue could've them both sharing tips on 'How to best kill an agent of faith sent after you'. They both have sharp tongues and a similar past, they could've had fantastic banter.

Instead we have this mess.

[bloodcoveredgf]

longlegs is a movie about mother/daughterhood for real. throws up thinking about it actually

[whoblewboobear]

Jace is shaking his flat white ASS in a cute little cowboy get up at the renaissance world tour. That man loves Beyoncé.