Home at last. Allow me to formally introduce Mattie.
Taken at the servo. Also have a pic Dad took while I was driving. He thought the sunset was pretty. Something in the orange.
Lemme tell you about this beastie.
I need a sparky to have a squizz at her cuz practically nothing electronic in her works. Radio works. Dash lights work. Brake lights work. Headlights work.
That's all that works.
She's got no rear lights, no rear indicators, no hazards, no horn, her petrol gauge doesn't work, her electric fuel tank switch doesn't work, it was a bitch and a half switching her tanks on the highway because I had no warning that she was about to sputter and then she did and I had to grapple around under the seat unable to signal to anyone around me that she's a hazard because her hazards DO NOT WORK and then it took her three gruelling seconds to kick back in after I managed to switch tanks.
But she went 25 in a 65 to 70 in about 3 seconds, so that's cool. Almost gave me a fucken nosebleed, heh.
Her headliner's falling in on the driver's side, her cigarette lighter doesn't work but she reeks of cheap Marlboro, her antenna's snapped off, but hey, at least she's got an 8track. But her tiller's also turned wrong—the bitch sits sideways. She's got some give to it too, takes some wobble to make the steering catch. No power steering, no power brakes, she screams when you drive cuz the vent windows don't seal properly so you need to leave them cracked open, but when you do that you can hardly hear the person next to you over the wind roar. Her heater don't work, her dash lights are so fucken dim you can't even see them until it's pitch black outside and even then you can barely make out any of the readings, her driver's side door sticks and you gotta breech it with your shoulder to make it open, her emergency brake only engages if you kick the fucken thing like a mule, her dome light don't work, and her headlights are so dim that the highbeams are the only thing what come close to normal brightness headlights.
But her engine purrs heavenly, and she's got good bones, and I love her. I love her for all the work I get to put into her. I love her for everything wrong with her that I get to fix.
Fifty-six years ago tomorrow, my father went to Vietnam. And fifty-six years ago, this car was built. And today, the day before the fifty-sixth anniversary of my dad going to Vietnam in 1968, I've got myself a 1968 Ford F250 Camper Special Custom Cab, my dream car. So here's to brighter days and better tomorrows, and more sunrises than sunsets.
I'm gonna go make myself a drink and wake up at the arsecrack of dawn tomorrow morning so I can wash her before putting her over to the grease monkeys so they can have a crack at her, because sometime this weekend we're heading back south to pick up Tilly from the repairshop, and I'm not driving home in the dark with no fucken lights again.
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So last week, after finishing @re-dracula, I decided to make a re-watch of that Nineties Coppola Dracula movie with my SO, who just really loves this flick. And, well. There's quite some stuff to unpack now. And I will do so, tomorrow or so.
But for now, I just want to talk about one thing:
This. This is why this movie will never be a total disaster to me. That's the one thing that it, as a movie, can add to the story. We can discuss the use of movie adaptations all day, but thanks to this arousing little gemstone of a quick scene, we don't have to in the case of Dracula (1992). Because this is a scene that is not in the book. Because it wouldn't work in the book.
This scene only makes sense in a visual medium like film. It has to be quick, almost in passing. It has to be told visually, or else it's either too complex or too simple to have an effect on the audience. And, of course, it has to be played by a goshdarn genius of an actor.
Plus, this scene only makes sense because Jonathan doesn't notice it, which makes it an impossible thing to tell in the novel, where all we have is Jonathan's point of view. And, best of all, this also means that this way it does not contradict the source material. Which s just so fucking clever!
This sexy act of midnight snacking is the perfect addendum to an already great scene. It's cinema gaining bragging rights. Here, Coppola made everything right. He had the Count enter, he had him say "Fowl Bauble of Man's Vanity" *fangirl shriek*, and then he ended this climax in the best way possible. Up to this point, the scene is perfect enough to let me even glance over the missing Yeet Mirror scene.
But enough talking. Let's watch it once more. Slowly. And really savour it.
Gosh. Oldman. You gorgeous bastard.
(Thanks to @diablito666 for this dashing slowmo. I needed that.)
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perfumes i think the 141 boys enjoy
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summary: Scent is one of the most powerful senses, so what kind of fragrance do the 141 boys + Alejandro like on their significant other?
pairing: 141 x Reader
warnings: none
a/n - i also work for a perfume company so I've had a couple of ideas about what scents the boys like :)
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price - loves expensive, smokey scents on anyone. imagine the scents of a fresh cigar-that's what price wants in a fragrance. notes like pepper, leather, tobacco, cedar wood, and iris will make him crumble.
masculine
oud wood - tom ford notes: oud wood, sandalwood, chinese pepper
osmanthe kodoshan - maison crivelli notes: leather, tobacco, sichuan pepper, apricot, peach
functional fragrance - the nue co. notes: cardamom, iris, palo santo, cilantro
unisex
hinoki fantôme - boy smells notes: tobacco leaves, oak moss, and smoked leather
jazz club - maison marigela notes: pink pepper, rum, tobacco
lumière d’iris - veronique gabai notes: rose, iris, cedarwood, amber
feminine
baccarat rouge 540 - maison francis kurkdjia notes: jasmine, ambergris, saffron, cedar wood
cuir béluga - guerlain notes: leather, powder, vanilla
platinum 22 - floris london notes: rose, violet leaf, blackcurrant, oat, black tea
soap - woodsy, floral scents are soap's surprising pick. it brings back memories of the scottish countryside, adventuring in the woods and smelling the fresh flowers his mam had. notice notes of herbs (sage, rosemary, mint), lavender, and violet.
masculine
sauvage - dior notes: pepper, amberwood, bergamot, powder
h24 - hermès notes: clary sage, narcissus, rosewood
new york wall street - bond no.9 notes: sea kale, cucumber, lavender, ambergris, vetiver
unisex
voodoo chile - dries van noten notes: rosemary, patchouli, hemp
libre - yves saint laurent notes: lavender, musk
dirty grass - heretic notes: black pepper, lemon, hemp, violet
feminine
melancholy thistle - jo malone london notes: thistle, english ivy, cool wood
portrait of a lady - frédéric malle notes: frankincense, black currant, raspberry, patchouli
la tulipe - byredo notes: tulips, cyclamen, fressia, rhubarb
gaz - FLORAL CITRUS will make this man fall in love with you. it reminds him of a warm summer day sitting in the grass and smelling flowers. look for summery fragrances with notes of citrus, lemon, sage, and fresh herbs.
masculine
bleu de chanel - chanel notes: citrus, labdanum, sandalwood, cedar
polo black - ralph lauren notes: iced mango, lemon, tangerine, sandalwood, sage, patchouli
l'homme - yves saint laurent notes: bergamot, ginger, cedar wood, vetiver
unisex
cactus garden - louis vuitton notes: maté, bergamot, lemongrass
velvet cypress - dolce & gabbana notes: pine, lemon zest, bergamot, clary sage
eau de campagne - sisley notes: grass, citrus, herbs, jasmine, lily of the valley
feminine
brazilian crush cheirosa 62 - sol de janeiro notes: pistachio, almond, sandalwood, heliotrope, jasmine
her blossom - burberry notes: mandarin, plum blossom, sandalwood
flora gorgeous jasmine - gucci notes: mandarin, jasmine, magnolia, sandalwood
ghost - likes a light, musky scent! he loves when a scent adds to a person's natural smell (he hates sugary, gourmand scents). ingredients like musk, ambrox, pepper, sandalwood catch his eye as he pictures fresh sheets and a rainfall in a forest.
masculine
geranium pour monsieur - frédéric malle notes: mint, aniseed, sandalwood, geranium, frankincense
atlantis - blu atlas notes: orris, oak moss, violet, musk, ambrette seed
gentleman - givenchy notes: pear, lavender, patchouli
unisex
glossier you - glossier notes: pink pepper, iris, ambrette seeds, ambrox
not a perfume - juliette has a gun notes: ambergris
santal 33 - le labo notes: violet cardamom, cedar wood, iris, ambrox
feminine
missing person - phlur notes: musk, bergamot, jasmine, neroli, sandalwood
golden nectar - nest notes: florals, orchid, amber, musk
apollonia - xerjoff notes: white floral, orris butter, white musk
extra! alejandro - if ghost likes it simple and light, then alejandro is the exact opposite. he loves when he can smell someone's fragrance across the room. focus on bold fragrances with spicy notes of nutmeg, myrrh, and rum that is mixed with the gourmand of vanilla, almond, and tonka bean.
masculine
the last day of summer - gucci notes: cedarwood, cypress, nutmeg, patchouli, vetiver
bibliothèque - byredo notes: peach, peony, violet, leather, patchouli, vanilla
london myrrh & tonka - jo malone notes: almond, vanilla, myrrh, lavender, honey
unisex
tobacco vanille - tom ford notes: tonka bean, vanilla. cacao
dark rum - malin + goetz notes: anise, plum, leather, rum, patchouli, amber
tao dao - diptyque notes: sandalwood, cedar, cypress, myrte
feminine
lost cherry - tom ford notes: black cherry, tonka bean, almond
brazil aroma - costa notes: white jungle flora, orange oil, pink pepper, bourbon, vetiver, patchouli
babylon - penhaligon's notes: saffron, nutmeg, coriander, cedar wood, vanilla, cypriol
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Tod Browning's Sideshow Shockers will be released on Blu-ray and DVD on October 17 via The Criterion Collection. The set collects three films directed by Tod Browning: Freaks, The Unknown, and The Mystic.
Freaks (also known as The Monster Story, Forbidden Love, and Nature's Mistake) is a 1932 horror film written by Willis Goldbeck and Leon Gordon. Wallace Ford, Leila Hyams, Olga Baclanova, and Roscoe Ates star.
The Unknown is a 1927 silent horror film written by Waldemar Young. Lon Chaney, Norman Kerry, Joan Crawford, and Nick De Ruiz star.
The Mystic is a 1925 silent drama film written by Browning and Young. Aileen Pringle, Conway Tearle, and Mitchell Lewis star.
Freaks has been digitally restored in 2K with uncompressed monaural sound. The Unknown has been digitally reconstructed and restored in 2K with a new score by composer Philip Carli. The Mystic has been digitally restored in 2K with a new score by composer Dean Hurley.
Raphael Geroni designed the cover art. Special features are detailed below.
Special features:
Freaks audio commentary by film scholar David J. Skal
The Unknown audio commentary by film scholar David J. Skal
The Mystic introduction by film scholar David J. Skal
Interview with author Megan Abbott about director Tod Browning and pre-Code horror (new)
Freaks archival documentary
"Spurs" - Reading of Tod Robbins' short story on which Freaks is based
Freaks prolgue, added to the film in 1947
Freaks alternate endings featurette
Freaks portrait video glalery
Essay by film critic Farran Smith Nehme
The most transgressive film produced by a major American studio in the 1930s, Tod Browning’s crowning achievement has haunted the margins of cinema for nearly one hundred years. An unforgettable cast of real-life sideshow performers portray the entertainers in a traveling circus who, shunned by mainstream society, live according to their own code—one of radical acceptance for the fellow oppressed and, as the show’s beautiful but cruel trapeze artist learns, of terrifying retribution for those who cross them. Received with revulsion by viewers upon its initial release, Freaks effectively ended Browning’s career but can now be seen for what it is: an audacious cry for understanding and a singular experience of nightmarish, almost avant-garde power.
The most celebrated and exquisitely perverse of the many collaborations between Tod Browning and his legendary leading man Lon Chaney, The Unknown features a wrenchingly physical performance from “the Man of a Thousand Faces” as the armless Spanish knife thrower Alonzo (he flings daggers with his feet) whose dastardly infatuation with his beautiful assistant (Joan Crawford)—a woman, it just so happens, who cannot bear to be touched by the hands of any man—drives him to unspeakable extremes. Sadomasochistic obsession, deception, murder, disfigurement, and a spectacular Grand Guignol climax—Browning wrings every last frisson from the lurid premise.
A fantastically atmospheric but rarely seen missing link in the development of Tod Browning’s artistry, set amid his favored milieu of shadowy sideshows and clever criminals, The Mystic provides a striking showcase for silent-era diva Aileen Pringle, who sports a series of memorably outré looks (courtesy of art-deco designer Erté) as Zara, a phony psychic in a Hungarian carnival who, under the guidance of a Svengali-like con man (Conway Tearle), crashes—and proceeds to swindle—American high society. Browning’s fascination with the weird is on full display in the eerie séance sequences, while his subversive moral ambiguity extends surprising sympathy to even the most seemingly irredeemable of antiheroes.
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