#crypt tv taylor

[moaninmoonen]

MIND BLOWING CONSPIRACY THEORIES

shane

[f444keitflowers]

Jackie/Shauna playlist

gifs with corresponding lyrics

Christine — Lucy Dacus

“ I see you look at him, and wonder if he’ll make you a mother. But if you’d get married i’d object. Throw my shoe at the alter, and lose your respect. I’d rather lose my dignity, than lose you to somebody who wont make you happy.”

-

Break — Alex G

“ I think im feeling it now, just like you did. Taking hits for you, cause i wanna feel like im supposed to. I could disappear, if this is what makes me feel so real”

-

Cardigan - Taylor Swift

“ But I knew you’d linger like a tattoo kiss, knew you’d haunt all of my what-ifs.The smell of smoke would hang around this long. Because I knew evwrything when I was young. I knew i’d curse you for the longest time. Chasing shadows in the grocery line. I knew you’d miss me once the thrill expired.”

-

Cartwheel — Lucy Dacus

“ When you told me 'bout your first time. A soccer player at the senior high. I felt my body crumple to the floor. Betrayal like I'd never felt before.”

-

The Blonde — Tv Girl

“ Cause anyone who ever had a brain, wouldnt stand out in the rain, or keep it up for very long, just to prove somebody wrong. And anyone who ever had a heart, or sang a lonesome song, would sell their little souls, just to make it with the blonde.

-

We’re in love — Boygenius

“ You could absolutely break my heart. Thats how I know that we’re in love. I dont need the symbol of a scar. So put down the knife, we’re not swapping blood.”

-

The Alcott — The National ft. Taylor Swift

“ It's the first thing you do (give me some tips to forget you).

You tell me your problems (have I become one of your problems?)

And I tell you the truth (could it be easy this once?).”

-

The Great War — Taylor Swift

“ You said I have to trust more freely. But diesel is desire, you were playing with fire. And maybe it's the past that's talking, Screaming from the crypt. Telling me to punish you for things you never did, So justified it.”

-

Last Kiss - Taylor Swift

“ So l'll watch your life in pictures like I used to watch you sleep. And I feel you forget me like I used to feel you breathe

And I'll keep up with our old friends just to ask them how you are. Hope it's nice where you are.”

[jackietaylorsversion]

love will have its sacrifices by SouthbySoutheast chapter three- "all things proceed from nature"

Rating: Mature Archive Warning: No Archive Warnings Apply Category: F/F Fandom: Yellowjackets (TV) Relationships: Shauna Shipman/Jackie Taylor, Shauna Shipman & Jackie Taylor, Natalie Scatorccio & Jackie Taylor Characters: Jackie Taylor (Yellowjackets) Shauna Shipman Taissa Turner Vanessa "Van" Palmer Lottie Matthews Natalie Scatorccio Misty Quigley Mari (Yellowjackets) Akilah (Yellowjackets) Travis Martinez Yellowjackets (TV) Ensemble Additional Tags: Alternate Universe - Canon Divergence Jackie Taylor Lives (Yellowjackets) Jackie Taylor "Lives" Vampire AU Blood and Gore

“Of course there’s something wrong with you, Jackie,” Nat says once she’s caught her breath. “There’s something wrong with all of us. We’re fucking starving, half of us are praying to the goddamn trees. Some of our friends died in a fucking plane crash, and we watched another friend fucking blow up. You almost froze to death. Of course something’s wrong with you.”

“I killed a moose with just my teeth!”

“Okay, hold the fuck up. I shot it!”

“After I ripped its throat out with my teeth!”

Or: Jackie has to deal with the aftermath of biting off a little more than she can chew last chapter.

---

It's been a while, but I've recently updated my vampire!Jackie fic! Weeks after I said I would! But, if you're still creeping around this crypt, the newest chapter is unalive! Like vampires? Like Yellowjackets? Maybe check it out!

[ao3feed-destiel-02]

This Ain't the Chelsea Hotel (We're Modern Idiots)

read it on AO3 at https://ift.tt/fWIjCH5 by the_oncoming_stormageddon Now with an actual permanent residence, Dean’s ready to get started on a long list of home improvement projects to make the Bunker feel a bit more like, well, a home– and as far as Dean’s concerned, needing an extra hand to paint his bedroom is the perfect excuse to get Cas to stay just a little bit longer. Castiel, currently playing hide-and-seek with Heaven, will always come when he’s called, even if he knows Dean only sees Cas as a tool to build a home that will never be his. AKA, Dean and Cas communicate, badly, while standing in the paint chip aisle of Home Depot. Title taken from “The Tortured Poets Department” by Taylor Swift Words: 5608, Chapters: 1/1, Language: English Series: Part 49 of alfie's destiel oneshots Fandoms: Supernatural (TV 2005) Rating: General Audiences Warnings: No Archive Warnings Apply Categories: M/M Characters: Castiel (Supernatural), Dean Winchester Relationships: Castiel/Dean Winchester Additional Tags: Getting Together, Episode: s08e17 Goodbye Stranger - The Crypt Scene (Supernatural), love how theres a specific tag for that, references to the warehouse of dead deans, First Kiss, Pining, Angst, Fluff, Angst with a Happy Ending, Castiel in the Men of Letters Bunker (Supernatural), Miscommunication, Misunderstandings, Dean Winchester Needs to Use Actual Words read it on AO3 at https://ift.tt/fWIjCH5

[deadcactuswalking]

REVIEWING THE CHARTS: 04/11/2023 (Taylor Swift's '1989' TV/Halloween/The Beatles' Final Single)

Content warning: some language

…Taylor Swift. Welcome back to REVIEWING THE CHARTS!

Rundown

It’s an interesting week this week, for sure. It’s kind of both more and less busy than it appears at first glance. A lot of that is to do with Taylor Swift but we won’t be talking about her for a long time - instead, we start our episode always with the notable dropouts - oh, Taylor’s other songs dropped out to make room for her new ones? Of course they did. We do bid a brief farewell to “Style”, “Cruel Summer” (from the top 10 as well!) and “Anti-Hero”, but the latter two will be back in no time and otherwise, we have plenty of songs dropping out of the UK Top 75 - which is what I cover - after spending at least five weeks in the region or peaking in the top 40. We bid adieu to “Angry” by the Rolling Stones, “Got Me Started” by Troye Sivan, Nines’ “Daily Duppy” freestyle video, “I KNOW ?” by Travis Scott, “Cheat on Me” by Burna Boy featuring Dave, “Used to be Young” by Miley Cyrus and “Riptide” by Vance Joy - that one’ll be back soon enough, not sure about the others.

There’s no need to concern though because we have a disproportionate amount of returns, especially consider there is a singular notable gain, “Lil Boo Thang” by Paul Russell at #52. As for our returns, we have “Kill Bill” by SZA back at #70 and the typical Halloween re-entries, which seemed to perform a bit better this year for whatever reason, maybe because the charts are weak, and we do actually have two new Halloween songs debuting, but as for the re-entries we have “Somebody’s Watching Me” by Rockwell featuring uncredited guest vocals from Michael Jackson at #44, “Monster Mash” by Bobby “Boris” Pickett and the Crypt-Kickers at #29, “Ghostbusters” by Ray Parker, Jr. at #21 and of course “Thriller” at #20. We also have the bizarre return of “Teenage Dirtbag” by Wheatus at #38, which thanks to a TikTok trend and a recent 20th anniversary tour, as well as a sped-up version being released last year, has finally gained enough traction to come back to the top 40. It’s a great song… kind of, so I’m not really complaining about it. In fact, I say this is revenge for when it was stuck at #2 for two weeks in 2001, blocked off by Atomic Kitten’s “Whole Again”, which is a fine enough song but really could have given Wheatus one week.

As for our top five, well, this is a family show,  but Taylor Swift doesn’t want it to be, clearly. Her re-recording of 2014’s 1989 of course hits #1 as you’d expect, and we have three songs from her in the top five, starting with “Slut!” at #5. Thankfully there are no re-recordings that charted, instead these are all the new “From the Vault” tracks. Sure, “Strangers” by Kenya Grace is at #4 and “Prada” by casso, RAYE and D-Block Europe is at #3 but then we’re back to Taylor with “Now that We Don’t Talk” debuting at #2 and “Is it Over Now?” at the very top, becoming Taylor’s third #1. It’s the Taylor show way later on however as we have one of the more interesting batches of new songs I think we’ve ever had. Try and put these songs together in one room and see what happens.

NEW ARRIVALS

#74 - “Heart Still Beating” - Nathan Dawe and Bebe Rexha

Produced by Nathan Dawe and Punctual

So we start with a pretty normal introduction to our list of new songs, that being a pretty typical house track with Bebe Rexha on vocals and for what it’s worth, it’s pretty well done. The chill-out atmosphere with the looming synth bass and beeping is designed damn well, especially with the trickling patter of keys against the 90s house percussion that builds up into a really fascinating pre-drop, that creates a strange tension with itself so you don’t expect it when the hurricane actually makes landfall on that ugly but undeniable synth flourish. I would have probably gone for a vocalist who isn’t as annoying as Bebe Rexha can be, especially when her vocals are taken to weird lengths and inflections in the second verse, but she can belt as effectively as she needs to when she does need to, and the song’s ultimately a pretty simple copy-and-paste trick even if that one trick is done very well, so it’s in and out. It’s far from an unpleasant experience when it’s in, though, I’ll give it that.

#73 - “MONEY ON THE DASH” - Elley Duhé and Whethan

Produced by Whethan and Dru DeCaro

Whethan is one of those artists that I think we probably touched upon on this show but I have no real way of knowing because he seems to be nowhere and everywhere at once, and he doesn’t often make appearances on the pop charts. Regardless, he’s an EDM producer that has remix and production credits for days and out of his solo work, I’m pretty sure I’ve only heard his song with Yeat so I have no idea how he’ll work with… someone’s favourite Tate McRaesque singer, Elley Duhé, who has definitely charted before, although not in much capacity. This song is actually from the start of this year but has just charted and what the Hell is that vocal inflection? I don’t know who told Ms. Duhé she could do a deadpan semi-rap where she decides to have an episode whenever she says the words, “control”, “high”, “dice” or “slow”, but it’s so incessantly annoying that it basically just goes full circle and becomes catchy. Whethan’s production helps here given that he and DeCaro have an almost deceitfully simple slap house bass track that seems to show all its tricks to you in the first verse - or hook, she doesn’t actually say anything else - but there’s something else there, specifically this weird respite with flubbing synths and a soaring acoustic guitar line that just continues to develop on itself with a very tropical-feeling build-up that is rendered absolutely irrelevant by the fact it returns to the plodding bass drop with no fanfare at all and no elements of that mix remaining. I can’t tell if it’s a genius way of playfully implementing the attitude of a DJ mix set into a track or if it’s just a troll but either way… I kind of groove with this one. I don’t know to what capacity, but I feel like it’s just weird enough to get a pass. Watch this space, I could see it growing on me.

#55 - “Spooky, Scary Skeletons” - Andrew Gold

Produced by Andrew Gold

Alright, so this year we get two new songs added into the recurring Halloween canon, making their first entry into the top 75, starting with Andrew Gold’s 1996 novelty single “Spooky, Scary Skeletons”. The late Andrew Gold was already long past his prime when this was released. He had his intermittent top 40 hits in the 70s and 80s but this song is taken straight from a children’s novelty album he made specifically for the holiday. Gold wanted the nine songs on that album to fill a void that hadn’t been filled for Halloween songs that were both fun and scary. Interpolating a piece of classical music by Chopin, the song has always just been a bit of a goof. There’s a little narrative at play at least, with the skeletons who just want to socialise, and the melodies are cute if a bit incessant and jabbering. Now the story of the song’s success is a really nice one, mostly because it originates in a really cute place: a 1998 throw-away Halloween VHS by Disney that adorably paid up the song with their iconic 1920s short The Skeleton Dance. Hilariously, the Disney version didn’t go viral - a recreation by a YouTuber who could not find the original did, and thanks to its memehood, the song took on a new life in the 2010s that it never really had before, partly because of just how well the song fit the video but also it fits with the quirky, random sense of 2010s humour that emerged around this time. It also fit electronic beats, as an EDM remix of the track by The Living Tombstone is probably the more well-known version nowadays. It’s terrible, but of course it is, and it helped propel the song to where it is now: frankly, a Halloween classic. Just as cute as the Disney video is the one of a man dressed up in some kind of pumpkin-fitted morph suit that is from a very obscure Nebraskan local broadcast and just ended up in the hands of the Internet who fused it with the viral track and made something incredibly special with it. I may not really like the song, but the story of its success is a pretty fun oddity and whilst it’s a shame Gold didn’t live to see it, it has granted more attention to his work especially in recent years due to TikTok and a vinyl re-release of said Halloween album, now including the remix. Now, perhaps, quite unfittingly after a song about skeletons, a posthumous single.

#42 - “Now and Then” - The Beatles

Produced by Paul McCartney and Giles Martin

Now check this: not only are we getting a song from the Goddamn Beatles, but we’re getting it only a day after it released, thanks to great streaming and expected but still impressive sales. This song has only been out for around a day and a band like The Beatles has flourished on the longevity of their music, so it almost feels wrong to comment this early, even if the song in some form has been around for a while. Lennon wrote this very simple song in the late 1970s. It’s a wispy hiss of a ballad that he never developed on during his lifetime. In 1994, Paul McCartney found himself in possession of Lennon demo tapes, and the three then-remaining Beatles recorded a couple songs using them. “Now and Then” never made the light of day, mostly because George Harrison wasn’t a fan, but decades later, the main problem of vocal quality has largely been fixed thanks to AI technology they’d already used to isolate conversations in their 2021 Get Back documentary. You can vaguely tell that machine learning was used, sure, but it was not to create a synthetic recording and rather improve the quality of an already existing one. There’s also a level of love-letter attention to detail here that really convinces me this isn’t just a cash-in: Paul starts the song with a countdown like he starts the first song in their catalogue, but he doesn’t have the energetic 1-2-3-4 this time around, just a steady 1-2 and a faint 3-count. The bridge actually takes harmonies from dense vocal takes George Harrison did for some of their classic tracks, ones you wouldn’t really be able to notice in their original form because of the sheer amount of layers and takes a lot of those songs have, and places them on top of each other in this new recording to make sure he had extra presence on the track, including a tribute to Harrison in the form of a George-style slide guitar solo from Paul. This song definitely feels special, even if it doesn’t really feel like much of a song. It’s a fleeting final moment, ending The Beatles with a feathery ballad, but it’s still a beautiful one. The core “song” is essentially still in demo form here, with Lennon’s frail, depressed vocal take standing out as particularly sad when it has the reverb and echo against a backdrop of melancholy pianos and an absolutely gorgeous string section. I have already listened to this song a LOT and this has been what’s grown on me the most: just the absolute despair in this insecure, paranoid love song. Ringo Starr’s drums click with little oomph until the first chorus, where they finally ramp up alongside the strings, and Paul starts harmonising with his long-passed friend, “now and then, I miss you - now and then, I want you to be there for me, always to return to me”. Whilst never meant to be, the lyrics find themselves easily re-contextualised in the context of the legacy of The Beatles, and it’s pretty damn heartbreaking, especially with a much older Paul having his voice back up a literal dead man’s final recordings. That soaring solo is also astonishing in how it slides off the baroque instrumentation, and the strings roll back into the harmonies that sound like they were made for the song even if Harrison had originally recorded them for other sessions. It all lines up incredibly well - for an after-the-fact job, the mixing work is intricate, and there’s something profound about it ending with Ringo in the distance appreciating that it was a good take. I expect this to gain next week but after that, I doubt this’ll stick around, or give them an 18th #1 for that matter, but it’s an excellent little joy to have while it’s here, so let’s savour every moment of it.

#14 - “This is Halloween” - Danny Elfman

Produced by Danny Elfman, Bob Badami and Richard Kraft

Now this is the second Halloween song newly entering, and frankly the story is a lot less interesting. It’s the opening theme for a Halloween movie. It’s an incessantly catchy song performed by the citizens of the film’s zany setting conceived by Tim Burton in 1993’s The Nightmare Before Christmas which I have not seen since I was a child. I mean, it’s more accessible than the songs from The Rocky Horror Picture Show, I guess, but it’s kind of funny how this is the highest-peaking Halloween song this week given that it’s the most on-the-nose of the Halloween tracks but also the one perhaps least understandable if you don’t know the context given the amount of characters performing and to me, this has always been a fun novelty wherein I’m just not in on the joke. The song that the Official Charts Company credits also doesn’t really exist. There is not a version credited to Danny Elfman anywhere - there’s the version by “the citizens of Halloween”, which is the film version then tributed re-recordings by Panic! at the Disco and… Marilyn Manson. Well, isn’t that the scariest thing about this holiday? Get that man away from children’s media.

#5 - “Slut!” (Taylor’s Version) (From the Vault) - Taylor Swift

Produced by Taylor Swift, Jack Antonoff and Patrik Berger

Welp, now we’re in Taylor Territory and I will try to keep it brief - after all, these are barely even singles. These are deluxe tracks she cut off the original and waited damn near a decade to re-record and re-release, the fact that they’re being promoted and streamed is more a by-product of them being Taylor Swift songs rather than on the merit of them being, you know, songs. This was the intended single - things didn’t really work out, more on that later - and I should warn you, I don’t like 1989 that much to begin with. It has some of her best singles but is also much less sonically cohesive than it should be and has some of her all-time worst songs, some of which were actually improved in this re-recording. This is still a finished song though, and a pretty decent one too, with Taylor sarcastically convicting herself of the “crime” of being lovestruck with a guy and losing her mind about him, but with the acknowledgement - and looming threat - of how the media and society as a whole treats women and their sexual relationships. You can kind of tell she wrote this before she started swearing because the title drop is so faint and sounds borderline accidental with her typical breathy delivery amidst an expectedly reverb-drenched synthpop instrumental. The harmonies in the pre-chorus are particularly beautiful and whilst I really don’t like the flat-feeling percussion, I understand it kind of comes with the material as far as it comes to indie-infused pop from the mid-2010s. For a song called “Slut!”, it does a lot to make itself sound kind of cute and bouncy, and I can appreciate that dissonance, especially on the oddly glitched outro which is a pretty nice surprise by the end of the track, which does kind of run its course at that point. Anyway, next.

#2 - “Now that We Don’t Talk” (Taylor’s Version) (From the Vault) - Taylor Swift

Produced by Taylor Swift and Jack Antonoff

Continuing the relationship story, we have a post-breakup track where Taylor reminisces but honestly most just bitches about this guy that she can no longer know the inner workings of because they don’t talk anymore. This one’s just fine. The lyrics have a similar level of detail but there are also just less lyrics to think about, and her falsetto in the chorus, as well as her generally staccato delivery, is kind of grating against a particularly rubbery synthpop backing that feels much more like an 80s pastiche than the other vault tracks. I guess she just really wanted to replicate the feel of the original album with this one. That’s not a compliment.

#1 - “Is It Over Now?” (Taylor’s Version) (From the Vault) - Taylor Swift

Produced by Taylor Swift and Jack Antonoff

Now this is what the fans essentially chose as the single, and I can see why because this is fantastic. From the slightly off-beat echoing vocal loops in the beginning of the track that seem to collude around this faint very 80s synth propulsion to the contradicting lyrical detail, anxiety is ridden through this confessional track about mutual infidelity taking place at the very end of a dying relationship. The drums have a real power to them, coming in alongside a bright synth flare that really hits hard in that pre-chorus, and the way that Taylor’s vocals handle the wordy, off-rhythm lyrics is really interesting, it’s like she’s constantly doing damage control for her own song, which devolves into bitter half-rapping with some of the best vocal takes I’ve ever heard from Taylor. This is what all of Midnights should have sounded like - Hell, it doesn’t even sound like it came from 1989, it sounds straight out of her recent work. Maybe it was just a timeless track, but I find it very difficult to imagine that Taylor - or Antonoff for that record - passed on what would be an absolute slam-dunk of a single nine years later. Either way, it’s here now, it’s excellent and we’ll see how long it lasts. I have a feeling it’ll be longer than we expect.

Conclusion

Well, ultimately, like I said, it was a very interesting week and honestly, a pretty great one where I’m excluding the Halloween tracks on the principle of novelty - they function less as real songs than even the Christmas tracks - but liked pretty much everything else, except Taylor Swift’s “Now that We Don’t Talk” which does get the Worst of the Week but batting 2 for 3 is not that bad at all, and she grabs the Honourable Mentions with both “Slut!” and especially “Is it Over Now?”. The Best of the Week… I mean it wasn’t ever a competition, was it? It goes to “Now and Then” by The Beatles as you could see from a mile away. Anyways, we start the holiday season with practically the next episode, with Taylor acting a send-off to… normal music, so be prepared for that. For now though, thank you for reading, goodbye to Matthew Perry - we’ll try to keep it down - and I’ll see you next week!

[cryptmonsteruniverseimagines]

Any shipping headcanons for Taylor x Jaina ?

Honestly? Not really.

This isn't to say that I don't think they wouldn't work as a couple -- it's just that I'm not really into SFC. Maybe it's the lack of monsters, maybe it just feels too much like the generic tv dramas that I come to Crypt to get away from. Plus, there were so many open ends left by the time the series ended that it kind of...made me mad? Like, what happened to Karen and Jaina and Allie Ann and everyone else? It felt like they just ceased to exist for Season 3 and everything was focused on Roger.

My own hangups aside, I do think Taylor and Jaina would be a cute couple. Jaina helps Taylor come out of her shell a lot, and while it doesn't always turn out well it's good for Taylor. Jaina is probably the more outwardly-volatile one and people would never guess that Taylor's the one they have to watchout for.

I also inwardly chuckle at the thought of Allie Ann being all "i fucking knew it" when their relationship goes public. Like, she totally called it back in Season 2. I'd probably take a victory lap lol

[playlistjunkie]

The 99 Best Halloween Songs Your Party Playlist Needs ASAP

Cosmopolitan - 8/3/23

Bloody Mary - Lady Gaga

I Want Candy - Bow Wow Wow

Superstition - Stevie Wonder

Werewolves of London - Warren Zevon

Halloween - Misfits

Highway to Hell - AC/DC

Scary Monsters (And Super Creeps) - David Bowie

The Number of the Beast - Iron Maiden

Dracula's Wedding - Outkast

Is It Scary - Michael Jackson

Cemetery Drive - My Chemical Romance

Dracula - Gorillaz

Paint It, Black - The Rolling Stones

Heads Will Roll - Yeah Yeah Yeah

Unholy - Sam Smith ft. Kim Petras

Goo Goo Muck - The Cramps

Haunted - Taylor Swift

I Love the Dead - Alice Cooper

There Will Be Blood - Kim Petras

Nightmare - Halsey

Scary Monsters and Nice Sprites - Skrillex

Monster - Lady Gaga

Take What You Want - Post Malone

Disturbia - Rihanna

Feed My Frankenstein - Alice Cooper

Everyday Is Halloween - Ministry

She Wolf - Shakira

Bury a Friend - Billie Eilish

Dracula’s Wedding - Outkast feat. Kelis

Ghostbusters - Ray Parker Jr.

Monster - Kanye West feat. Jay Z, Rick Ross, Nicki Minaj, and Bon Iver

Spellbound - Siouxsie and the Banshees

Season of the Witch - Donovan

All Around Me - Flyleaf

Tombstone, Baby - Peaches

Somebody’s Watching Me - Rockwell

Monsta’ Mack - Sir Mix-a-Lot

Witchy Woman - Eagles

Enter Sandman - Metallica

Love Potion No. 9 - The Clovers

Black Magic Woman - Santana

Suspiria - Goblin

I Was a Teenage Werewolf - The Cramps

Debaser - Pixies

Rhiannon - Fleetwood Mac

Time Warp - from The Rocky Horror Picture Show

Release the Bats - The Birthday Party

X Files - Génération TV

Dead Man’s Party - Oingo Boingo

Howlin’ for You - The Black Keys

Shadows of the Night - Pat Benatar

Cold - The Cure

Ghost Ride It - Mistah F.A.B.

I Put a Spell on You - Screamin’ Jay Hawkins

Hungry Like the Wolf - Duran Duran

Halloween Theme - John Carpenter

Monster Mash - Bobby “Boris” Pickett & The Crypt-Kickers

Bela Lugosi’s Dead - Bauhaus

Nothing's Gonna Hurt You Baby - Cigarettes After Sex

Night - Zola Jesus

The Haunted Man - Bat for Lashes

Red Right Hand - Nick Cave & The Bad Seeds

Never Land - Sisters of Mercy

Tainted Love -Soft Cell

The Devil Went Down to Georgia - Primus

Psycho Killer - Talking Heads

Werewolf Bar Mitzvah - Tracy Morgan and Donald Glover

(Don’t Fear) The Reaper - Blue Öyster Cult

Turn Off the Light - Kim Petras feat. Elvira, Mistress of the Dark

Ghost Town - The Specials

(Ghost) Riders in the Sky - Johnny Cash

Are You Ready for Freddy - The Fat Boys

Living Dead Girl - Rob Zombie

Devil in Me - Halsey

Zombie - The Pretty Reckless

Seven Devils - Florence and the Machine

Black Magic - Little Mix

Kill V. Maim - Grimes

Brujas - Princess Nokia

Mothercreep - FKA Twigs

Hang Me - Tancred

Haunted - Beyoncé

Bring Me to Life - Evanescence

Stranger Than Earth - Purity Ring

Bitch - Allie X

Roses - ABRA

Chimera - HANA

Gemini Feed - BANKS

Baby You're a Haunted House - Gerard Way

Zombie - The Cranberries

Spooky Scary Skeletons (Dma Illan Remix) - Andrew Gold

The Monster - Eminem feat. Rihanna

This Is Halloween - from The Nightmare Before Christmas

A Nightmare On My Street - DJ Jazzy Jeff and The Fresh Prince

Antichrist - The 1975

I'd Rather Be Burned As a Witch - Eartha Kitt

I Was All Over Her - Salvia Palth

Baby One More Time - The Marías

Thriller - Michael Jackson

[undeadroleplayer]

Hi guys! Looking for someone to write as Billy Loomis against Taylor from Crypt TV's Sunny Family Cult!!!

Basically Taylors family runs a murderous cult and she's had to be involved but she's not sure how she feels about it. Billy could join the cult if we want! We can discuss plot details!

This is gonna be on discord. Long-term, 3rd person past tense. I know how to use tupperbox too!

Pls like this and I'll reach out or message me if you're interested!

[chriscdcase95]

My crossover prompt of the week. (Not that I have an actual fic in mind with this concept, but my mind likes to go places)

So I’m re-watching Sunny Family Cult, and it was pointed out on a Dead Meat Kill Count video how Taylor’s actress, Trew Mullen, resembles a combination of Megan Fox and Amanda Seyfried. 

Now that I see it, I can’t unee it.

With this in mind; imagine a crossover AU of Sunny Family Cult and Jennifer’s Body. 

Taylor’s character, and her arc remains otherwise the same...except this time she is a Needifer child. Obviously, there would have to be an age/timeline adjustment (I’m one of those writers who really does the math on these kind of things. Other than that, she’s still this dark messianic figure of prophecy, still raised and groomed into a murder cult. 

And is targeted by Roger for the same reasons.  The only major difference is that she is Jennifer and Needy’s daughter, and would either be part or full succubus. This Taylor’s still conflicted about her place and destiny in all this (in part of her succubus side).

The reason this isn’t much of a plot bunny for me is because I can’t think that much on what their dynamic is. Maybe this Taylor is kidnapped by the cult at a young age ? Maybe Needifier is on and off in raising her, and are estranged for other reason; only it’s only in the present day they become more part of her life.

I can’t think of much as far as parenting headcanons go, but one thing I can see is that Jennifer and Needy would have the Fun Parent, Responsible Parent dynamic, although between the two, Needy is the more murderously protective (Needy: “The worst Jennifer will do is kill ya. Me ? I get creative.”) 

While Jennifer’s personality otherwise remains the same, her more motherly slide slips through the cracks only every now and then. This is Jennifer Check we’re talking about. One thing I can see is Jennifer noticing how close Taylor and Jaina are, as “friends” and tease her relentlessly over it, while trying to help her out of the closet.

Like I said, I don’t have that much to think off for a story, just these different ideas.

[happy24-7]

Here’s what I just spent the last few hours on. When you watch a show about a cult, your art gets dark really quick.

[doodleferp]

Avengers: Endgame but the Avengers Army is the Crypt Monster Universe

[taylor-sunny-family]

A few things that I changed in Taylor's cannon

I've aged her up to 18.

I'm tempted to have her not kill Robert and/or take the book with her, but I'm still flip-flopping on this.

She's getting an MK AU, although I think a krossover can work.

[terrorfreak]

TerrorFreak’s Top Five Horror TV Shows

Tales from the Crypt (Art by Ken Taylor)

The Twilight Zone

Stranger Things (Poster by The Sonnyfive)

The X-Files (Poster by Munkone)

Masters of Horror

Honorable Mentions: Are You Afraid of the Dark and Scream

[ao3feed-destiel-02]

This Ain't the Chelsea Hotel (We're Modern Idiots)

This Ain't the Chelsea Hotel (We're Modern Idiots) https://ift.tt/C4FYzjX by the_oncoming_stormageddon Now with an actual permanent residence, Dean’s ready to get started on a long list of home improvement projects to make the Bunker feel a bit more like, well, a home– and as far as Dean’s concerned, needing an extra hand to paint his bedroom is the perfect excuse to get Cas to stay just a little bit longer. Castiel, currently playing hide-and-seek with Heaven, will always come when he’s called, even if he knows Dean only sees Cas as a tool to build a home that will never be his. AKA, Dean and Cas communicate, badly, while standing in the paint chip aisle of Home Depot. Title taken from “The Tortured Poets Department” by Taylor Swift Words: 5608, Chapters: 1/1, Language: English Series: Part 49 of alfie's destiel oneshots Fandoms: Supernatural (TV 2005) Rating: General Audiences Warnings: No Archive Warnings Apply Categories: M/M Characters: Castiel (Supernatural), Dean Winchester Relationships: Castiel/Dean Winchester Additional Tags: Getting Together, Episode: s08e17 Goodbye Stranger - The Crypt Scene (Supernatural), love how theres a specific tag for that, references to the warehouse of dead deans, First Kiss, Pining, Angst, Fluff, Angst with a Happy Ending, Castiel in the Men of Letters Bunker (Supernatural), Miscommunication, Misunderstandings, Dean Winchester Needs to Use Actual Words via AO3 works tagged 'Castiel/Dean Winchester' https://ift.tt/R0oZV3W April 20, 2024 at 10:33PM

[deadcactuswalking]

REVIEWING THE CHARTS: 12/11/2022 (’Her Loss’ by Drake & 21 Savage)

“Anti-Hero” by Taylor Swift reigns at #1 for a third week on the UK Singles Chart, and let’s just thank God it isn’t Drake. Welcome back to REVIEWING THE CHARTS!

Rundown

I don’t know what it is about Drake, but he always seem to command just... bizarre weeks for the UK Singles Chart. You’ll see with our egregious amount of returns but it’s clear in the sheer amount of notable dropouts – songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40 – that the charts were really shaken up. The aforementioned dropouts are a massive list today – no Drake pun intended – so I’ll rattle them off, apart from the one-week wonders which still include “In My Head” by the late Juice WRLD. Otherwise, the list includes “I Ain’t Quite Where I Think I Am”, “Body Paint” and “There’d Better be a Mirrorball” by the Arctic Monkeys – yes, all three – “Living Without You” by Sigala, David Guetta and Sam Ryder, “BREAK MY SOUL” by Beyoncé with uncredited vocals from Big Freedia and “Summertime Sadness” by Lana Del Rey. Of course, we also have the Halloween tracks leaving, including “Somebody’s Watching Me” by Rockwell with uncredited vocals from Michael Jackson, who also sees “Thriller” leave the chart, alongside “Ghostbusters” by Ray Parker Jr. and “Monster Mash” by Bobby “Boris” Pickett and the Crypt-Kickers. I’m honestly not sure if the premature dropouts for regular charting songs, or even some of the long-term proven hits like “BREAK MY SOUL”, will get a second chance due to all of the Christmas songs coming back soon enough.

I mention Christmas because already, we see “Last Christmas” by Wham! at #71 and “All I Want for Christmas is You” by Mariah Carey at #56. The rule for Christmas songs is that I only list the top three until they get into the top five, as well as listing the returns when they happen, but I will never track every single song as a gain because that is ridiculous. Apart from those, we see regular singles hop back in like “Crazy What Love Can Do” by David Guetta, Becky Hill and Ella Henderson at #75, “go” by Cat Burns at #74 and “Until I Found You” by Stephen Sanchez at a new peak of #72. Thanks to TikTok, Billie Eilish’s “TV” returns to #58, originally peaking at #23 earlier this year, and thanks to Joji’s new album SMITHEREENS, the lead single “Glimpse of Us”, originally peaking at #12, is back at #34. What is probably most fascinating is the inexplicable return for “Mockingbird” by Eminem, which is a classic song from Eminem’s most unfairly derided album. It originally peaked at #4 in 2005 and is looking to make a return to the top 40 as it’s back at #48 this week. I’ll have to assume it’s due to TikTok, but what a bizarre choice.

We move then into our notable gains, which isn’t exactly a large list but it does include “Just Wanna Rock” by Lil Uzi Vert at #52, “Victoria’s Secret” by Jax at #43, “Warm” by K-Trap all the way up to #18 thanks to a Skepta remix, and then we see two new entries into our top 10, alongside the three new arrivals (we’ll get to those). These are “messy in heaven” by venbee and goddard. at #9, the first credited top 10 hit for both, and – with a heavy heart – I announce that “Made You Look” by Meghan Trainor is at #8, becoming her first top 10 since 2015! God help us.

As for Off the Charts, it is increasingly difficult to find much time and effort dedicated to listening to new releases, and I don’t want to increase the burden especially when I run out of interesting things to say. I will do one last rendition of the section, probably on a Christmas week, just to cover everything and anything from pretty much late October onwards, just to get it all out of the way. Great music does get released at the end of the year, there’s a 10/10 R.A.P. Ferreira album to prove it that I will at some point find time to discuss. That’s not for this episode, however, as instead, we can talk about the top five on the UK Singles Chart. This week, it consists of “Major Distribution” by Drake and 21 Savage debuting at #5, “Miss You” by Oliver Tree and Robin Schulz at #4, another debut from Drake and 21 with “Rich Flex” at #3 and of course, “Unholy” by Sam Smith and Kim Petras at #2 and “Anti-Hero” at the very top. Now that all that is out of the way, I suppose it’s time to focus on our new arrivals.

NEW ARRIVALS

#64 – “Moving All Around (Jumpin’)” – Schak and Kim English

Produced by Schak

I’ll be transparent: I put most of my energy into Drake this week, so I’m going to try and blast through these first five before we get to the main event. To start with, we have an interesting remix. Kim English was a soul singer who ended up making house and dance-pop in the 1990s, having a couple minor hits from 1994 to 1996. In 2001, she released “Jumpin’ & Bumpin’”, and whilst the Michael T. Diamond club mix may be a bit shrill and dated, its unrelentless fun across 10 whole minutes is to be commended, and Kim English’s performance is impressive as your typical house diva. Schak, a DJ from North England, must have found this earlier this year as we now have a remix that is surprisingly solid and crisp in its vocal mix for a remix of a song from 2001. It honestly feels like a throwback to that era in its synths that come clambering onto the typical Eurodance-esque house percussion, and it’s honestly unfortunate that it doesn’t try more considering the pulsing bass is a solid foundation... but it’s not an interesting take on the sound and at its worst is just mildly annoying. Carried by a great performance by the late Kim English, I can see this being a hit on pure nostalgia but I’m not particularly a fan.

#60 – “10:35” – Tiesto and Tate McRae

Produced by LOSTBOY, Ryan Tedder and Tiesto

Can you really credit yourself as the main artist when two thirds of your role is filled by other producers? Besides that food for thought, we don’t exactly have an interesting song from Tiesto here. Tate McRae is still a completely uninteresting vocalist, especially over this kind of dour, nightclub house that she tends to just attach to rather than actually be fully submerged as she probably needs to be. It’s a really awkward fit, especially in that bassy slap house drop that feels so stock, especially with the synths and drum fills brought in seemingly at random. This doesn’t feel finished exactly, and it’s not even that sticky of a hook so unless it fills some kind of niche that is breezy dance-pop that doesn’t even sound like it’d fit in a club, I don’t see this doing much. Knowing my rate with predictions, this’ll be the one song to survive Christmas by December.

#46 – “Never Gonna Not Dance Again” – P!nk

Produced by Max Martin and Shellback

I tend to forget that P!nk exists. She made some of the best pop music of the 2000s, and also some of the worst, but I tend to respect her ambition within the genre and much like Avril Lavigne the same decade, her ability to handle something new and unfamiliar, and unlike Avril, she had the maturity and grit to convincingly sell a lot of it. In the 2010s, her music grew to sappy and middle-of-the-road pop yet I’ve never really hopped off the train entirely. This new track has Max Martin on production so had a great deal of promise, but I’m not entirely sure I can endorse it. For a song about how she’ll never lose her ability to dance and have fun through all the hardships, it doesn’t really have any weight or any stakes to make it mean all that much. The cute sandy disco groove is fine until it becomes over-compressed in the chorus, and the writing just feels standard, which is disappointing considering the three pop giants at the helm. P!nk as a performer rarely disappoints, and she brings her signature confidence to this, but it really is the saving grace to an otherwise just fine, serviceable song that occasionally gets a tad cringeworthy considering the middle-aged “bruh” thrown into that post-chorus. The nods to Whitney Houston and Gloria Gaynor are a bit tacky too but it’s not offensive and it’s just cute enough to pass.

#39 – “Die for You” – Joji

Produced by Jacob Ray, Wes Singerman and Tay Dex

I’ve yet to listen to Joji’s new album SMITHEREENS but considering the leap in quality that existed between his debut and his sophomore effort, I am excited to, and the subtle lead “Glimpse of Us” has just grown on me since, so how is this new track faring? Well, it’s another breakup lament, with your typical indie keys and a soulful vocal from Joji that creates a contrast between him and the synths that is almost Tyler, the Creator-esque. With that said, I kind of wish that the song was drumless, since the percussion that is here feels pretty weak and unable to hold the weight of the careening synths that warp all over them, which is a problem Tyler never has. The tension that should be in a song about Joji still recovering from a breakup and still having that passion despite forcing himself to move on... doesn’t really exist here, and whilst I get the more reflective tone and definitely appreciate the synth palette, it essentially just feels a bit too damp for me to really get into. This is far from bad, but with a more complex set of drums, this could be devastating... in the good sense.

#33 – “I’m Back” – Fredo

Produced by CDS and Handz Beatz

Well, he’s back. In typical Fredo fashion, his comeback is accompanied by a long freestyle, this one seeping over six minutes with only two verses spread over one beat. Fredo will always be more compelling in his writing than your typical UK rapper because of his inherent focus on the come-up being so clear and controlled, mostly because of how smoothly and confidently Fredo spins every topic into his pride. Sure, he may spend a lot of his time flexing, but it’s always at least in part aspiration, and immediately contrasted with something really grimey. His delivery on here is venomous, especially over the first beat with its warping bass synths and elevated trap beat that sounds like a perfect mix between the crisper percussion and cloudier production that is just how trap beats should always be mixed. The rhyme schemes are intricate and focused, but delivered in such an impressively effortless way that my main complaint is that it may just be too long for average consumption, even if it feels a lot shorter than it actually is, largely due to the subtle shifts in the twinkling first beat, and the charming, mostly humble wordplay and punchlines dropped into his bars. I wish there were more bits of wordplay, but I think it would distract from the sheer dominance Fredo demonstrates on this track, especially on that second beat, which isn’t as good but demands a menace that Fredo can absolutely bring amidst the mythical vocal loops. Honestly, UK trap doesn’t get much better than this. It’s not going to last because... well, it’s damn near seven minutes, but considering the state of the trap-rap I’m about to talk about, please check this one out.

#7 – “Circo Loco” – Drake and 21 Savage

Produced by Boi-1da, Tay Keith and 40

“One More Time” by Daft Punk was voted by Mixmag as the very best dance track of all time. I don’t think there is a single song in EDM that represents its appeal better than the French duo’s honestly basic but incessantly replayable filtered house jam, drowning Romanthony in Auto-Tune as his pleas to never stop the dancing are submerged in a joyous loop sampled from Eddie Johns. There’s something so pure about “One More Time”, which an ingenious use of sampling. The mix may not have aged perfectly but that riff is timeless. “One More Time” appeals to the gut instinct and the fundamental idea of happiness: never wanting it to stop. It is pure feverish escapism in the best way that EDM can be. It makes me sick to my stomach to see and hear what Drake did to this song. I’m not someone to see sampling as ever butchering an original for the sake of a hit – “One More Time” got all the way to #2 using a sample, yet there’s nothing insulting about Daft Punk sampled Eddie Johns. It doesn’t defy the impact or appeal of the original sample in the way that Drake does, and even if that were the case for another artist or even Drake to take the sample and juxtapose it, it could be compelling... but come on, it’s Drake. He called up his three top producers and paid them either way too much or way too little to add some springy percussion onto a slowed-down loop from “One More Time”, with 808s that sound like they’re hitting the wrong note and create this villainous dissonance perfect for Drake to spray his misogyny onto. I don’t have a problem with misogyny in hip hop as it is when it objectifies women because ultimately, whilst this is a societal issue, men are typically willing to collaborate with women for sexy raps nowadays, and the power dynamic in that regard is starting to change (with conscious rappers out there if you just can’t stand it). Drake’s form of misogyny is the male-manipulator type that will hide behind wordplay and his devoted fans just so he can attack female victims of gun violence like Megan Thee Stallion and undermine former co-signs like Ice Spice, whilst repeating himself and creating a facade of the mobster that is so incredibly thin that you can practically hear 21’s disappointment in his tuned-out verse. There is a clear power imbalance here – if Megan releases a diss track on Drake, she’s the villain. If 21 or any of Drake’s collaborators take an issue with the line, they’re traitors. Drake is practically untouchable and using his platform to take weak shots is embarrassing – he should know better at this point of having decades in the industry. I know that it’s all for attention – it’s the same reason that he’s been posting hentai on Instagram and releasing those fake PR videos – but why would he take nearly exclusively women down with him? Sure, he takes a sub at Kanye but not for the actual anti-Semitism or right-wing coat-tailing that he will freely criticise the Supreme Court for on other tracks – even if it’s just to get in women’s pants. As a song, detached from the lyrics – if you can even do that considering how basic this production is and how much they spit in the face of the purity that is the joy encapsulated in “One More Time” – it fails, since it barely has a hook, both rappers sound checked out and Drake spends half the time repeatedly embarrassing himself, especially when he interpolates the chorus on the outro... which is a minute long for no reason, degrading the sample further but not in a way that’s cloudy or interesting. As an attack on women and a demonstration of Drake’s power, it sadly succeeds. I rarely get upset at songs but this is inexcusable. Megan deserves better – this is disgusting.

#5 – “Major Distribution” – Drake and 21 Savage

Produced by SkipOnDaBeat

Well, I may as well use this song as a way in which to talk about the actual album, that being Her Loss, which debuted at #1 this week. This album has barely anything to do with 21 Savage, who serves little purpose other than to usually outshine Drake but with so little effort that he comes off as a commodity – when he actually contributes greatly to a song like on his solo introspective cut, “3AM on Glenwood” or the fun “More M’s”, it ends up pretty great. Instead, this album is a full Drake parade, who after the backlash to Honestly, Nevermind, figured he could recover with 21, and sadly, it worked. He spends most of his time in that same mode, pining over women who supposedly wronged him and mostly wasting listeners’ time, especially with the singing on tracks like “Hours in Silence” and the closer. The best collaborative moments of the album comes when Drake steps into 21’s zone, because even when he’s unconvincing, he can serve as a breather from the violence and still get some excellent hooks in. Elsewhere, Drake seems to be running out of creative juices, as this album, with its writing and production credits furthering this, feels more like Lil Yachty was more creatively invested than 21 Savage and whilst we may pretend to like Yachty now because of “Poland”, we do have to consider the man’s body of work is not impressive, and consists mostly of trend-hopping and bloated albums... of which Drake is also a master. This song itself is basically unremarkable: the slow R&B intro with Drake is charming enough but it quickly devolves into a bassy plod because beat switches are no longer a creative idea and are now a lazy way of constructing “songs”. Drake and 21 flex and threaten intermittently, with them both practically whispering – Drake doing his best 21 impression – and whilst I appreciate some of the vague attempts at interplay and 21’s bars are still vaguely clever, nothing can make this beat or the nothing hook interesting.

#3 – “Rich Flex” – Drake and 21 Savage

Produced by Tay Keith, Vinylz, FNZ and BoogzDaBeast

Don’t worry, I’m not going to moan about this one too much. In fact, as an opening track, it gave me false hope that 21 sparked a fire up Drake’s ass when in reality, the album is your typical low-effort Aubrey. The soul sample the album opens up with is pretty cute alongside Young Nudy’s narration, but I am glad that it immediately gets replaced with eerie Memphis rap vocal loops and warped pads since that is pretty much the dichotomy of 21 and Drake making an album together. It’s a pretty clever production touch, and whilst the initial hook from Drake may seem embarrassing, it’s effectively hyping up 21’s humorous performance, who has seemed to up the sex and violence to 11 for this album, probably because he knows that Drake can’t deliver on that front. With that said, I love Drake’s bridge, which is his typical condescending singing but commands attention before the drop, after which Drake delivers his best verse on the project. The rhyme scheme using abbreviations may seem lazy but Drake has the stoic confidence on this track to deliver it with just enough violence on the driving beat that you can forgive some of his later cringeworthy playfulness. The T.I. interpolation is fun too, so whilst I can’t say that the album as a whole impressed me, I’m glad that the decent opener is the track getting the most attention for now because this really isn’t bad, even if it barely counts as a song in all honesty.

Conclusion

Well, it should be plainly obvious that Drake and 21 Savage get Worst of the Week for “Circo Loco”, and nothing else is really all that offensive so I may as well give the Dishonourable Mention to “Major Distribution”. As for the best, this wasn’t a particularly good week but Drake and 21 also take the Honourable Mention for “Rich Flex” whilst Fredo has a clean sweep for Best of the Week. None of these other singles made me feel much at all, if I’m honest. As for what’s on the horizon, hopefully the charts will quieten down in preparation for the holidays and I can place my time and efforts elsewhere for a month or two. For now, thank you for reading, rest in peace to Takeoff and Aaron Carter, and I’ll see you next week!

[cryptmonsteruniverseimagines]

(Platonic) Sunny Family Cult: Taylor best friend headcanons

I haven’t watched much of SFC, but I did the best I could.

Isn’t too used to relationships outside of The Family, but as a cult baby she knows how important relationships can be.

When you first start hanging out, she’ll try desperately to hide the cult from you. This is her first real relationship — unlike the fake ones she created to lure victims to the house, she doesn’t want to scare you or hurt you somehow. She knows that her upbringing isn’t normal, 

When she finally starts to feel really comfortable around you, she’ll confide in you about her anxieties growing up in a murder cult — so long as you promise you won’t tell anyone.

This girl is more than able to throw hands for you. Her hands may be a bit tied in public, but get her in a place with no witnesses and she will absolutely make them pay.

She likes to hang out with you in the woods or the park. It’s not the seclusion factor in this case, but the wilderness and the outdoors. Having her favorite person in her favorite place makes her feel peaceful... happy.

Sleepovers are a thing -- she likes to be in the same room as you because, this way, if anything happens in the night, she’ll be there to protect you.

Introducing you to her family is gonna be one of the biggest sources of anxiety she’s ever faced. What if she makes a mistake and they think she brought you as a sacrifice? What if they don’t like you -- or what if your parents don’t like her? If she meets your parents, what if they say you two can’t see each other?

She may have a few anxiety attacks over the stress of this, but meeting her parents actually turns out to be way less of a hassle than she agonized over! They’re thrilled that their daughter’s interested in bringing a new addition to the family. And hopefully, their other Family.

All in all, Taylor is a sweet friend, if she’s not anxious about introducing you to her bio family and her cult family. She would very much benefit from someone who’s calm and easygoing, and willing to listen to and help her work through her struggles. Oh, and someone who has a strong stomach — being able to stomach gore is a must for her family.