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#nine muses icons dark
oswildin · 2 months
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MY LOKI SPOTIFY PLAYLISTS
(and marvel related playlists)
POV PLAYLISTS (YOU X LOKI)
pov: enemies to lovers with loki laufeyson (it’s complicated) // “would you bleed for me?” - halsey // features artists like: florence + the machine, billie eilish, maneskin, rihanna, arctic monkeys (indie rock/dark pop)
pov: best friends to lovers with loki laufeyson // “pauses then says ‘you’re my bestfriend’, you knew what it was, he is in love.” - taylor swift // features artists like: mitski, lorde, the 1975, lana del rey, taylor swift (indie pop/ballads/soft pop)
pov: you’re in love with loki laufeyson despite everything (angst) // “but you love me wrong.” - allie x // features artists like: marina, melanie martinez, aurora, olivia rodrigo, miley cyrus, allie x (indie pop/soft pop/power ballads)
pov: loki wants to do “terrible, awful things… to you” // “think I need someone older.” - isabel larosa // features artists like: she wants revenge, beyonce, the neighbourhood, the weeknd, k.flay, isabel larosa (electronic pop/dark pop)
pov: relaxing with loki laufeyson // “calm again, i feel warm again.” - aurora // features artists like: mitski, the 1975, taylor swift, billie eilish, bleachers, aurora (soft pop/acoustic pop/indie)
pov: you domesticated loki laufeyson and now you’re dancing in the kitchen // “if you dance, I’ll dance.” - lana del rey // features artists like: abba, børns, adele, the goo goo dolls, harry styles, lana del rey (mixed genres/feel good/ballads)
pov: you give loki an ipod with songs you think he’d like // “one day I’ll watch as you’re leaving cause you got tired of my scheming.” - taylor swift // features artists like: rina sawayama, twenty one pilots, marina, billie eilish, lady gaga, taylor swift (mixed genres/pop/soft pop)
LOKI CHARACTER PLAYLISTS
songs that are loki coded // “the truth is you have to be soft to be strong.” - marina // features artists like: panic at the disco, melanie martinez, linkin park, idkhbtfm, aurora, marina (mixed genres/pop/rock/electronica)
songs that are thor!loki coded (don’t ask me why) // “tired of being what you want me to be.” - linkin park // features artists like: twenty one pilots, royal & the serpent, willow, yungblud, aurora, linkin park (indie rock/indie pop)
songs that are avengers!loki coded (don’t ask me why) // “live a villain, die an icon.” - ashnikko // features artists like: halsey, poppy, demi lovato, rina sawayama, maneskin, ashnikko (rock/dark pop)
songs that are dark world!loki coded (don’t ask me why) // “you set my soul alight.” - muse // features artists like: depeche mode, nine inch nails, mother mother, my chemical romance, muse (rock/dark pop/indie)
songs that are ragnarok!loki coded (don’t ask me why) // “I know I created myself.” - aurora // features artists like: idkhbtfm, imagine dragons, maneskin, marina, gerard way, aurora (indie rock/indie pop)
songs that make me think of s1 of loki // “I don’t wanna be a monster anymore.” - rina sawayama // features artists like: gorillaz, grimes, twenty one pilots, blondie, lorde, rina sawayama (indie pop/dark pop/rock)
songs that make me think of s2 of loki // “all of this is temporary.” - halsey // features artists like: aurora, paramore, poppy, taylor swift, coldplay, halsey (indie pop/rock/ballads)
MARVEL POV PLAYLISTS (YOU X MARVEL)
pov: you’re the villain in the mcu
pov: you’re in the spider-verse
pov: you travel the galaxy
pov: dancing in a bar on contraxia
pov: you’re the new avenger
OTHER PLAYLISTS
songs that sylvie listens to in her 1982 pickup truck
songs that are sylvie laufeydottir coded (don’t ask me why)
songs that remind me of sylki
songs that remind me of lokius
pov: loki is drunk at a sakaarian party & the grandmaster is the dj (💅🏻🏳️‍🌈🍸)
loki laufeyson (guardians of the galaxy version)
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spell-bloom · 8 months
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chaaostheory's oh hey? whatup? theme with my edits
Okay so to preface, I know fuck all about coding, but with a little help of W3Schools and Stack Overflow I was able to achieve what I wanted. If you have any issues, please don't hesitate to dm/ask me. All credits for this wonderful code goes to @chaaostheory
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Features:
fontawesome 5.1 icons
hint.css tooltips 
scrollable biography section along with two other small boxes
scrollable stat box
six links
a traits box with space for six traits
a tv tropes box with space for nine tropes
side statics for development, availability, etc. 
My Edits:
locked the character selection tab to not follow when you scroll down the screen
allowed the character selection tab to scroll when you have many muses
changed the titles for the sorting hat and wand info boxes for personal preference.
dark version for people who have light sensitivity
hovering over the first character box has the pop up below instead of above
Stuff to Remember:
when adding new characters, be sure to change the number or else the code will break
when editing the bio and extra info boxes, be sure to use paragraph breaks
the side statics follow when you scroll down the scren, fixing it completely messed up the code
CODES: Dark version / Light version
THIS HAS JAVASCRIPT
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tapalslegacy · 22 days
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☄. *. ⋆ RULES
First off, welcome! Hi there! I'm Yuki. 💘 I have 10+ years of roleplay experience and am always happy to meet other muns and interact with their muses! Please be advised that I am a yapper and talk OOC pretty frequently and if you don't like seeing that, this blog may not be for you.
ONE. This blog is selective! Anyone is free to interact so long as you are above the age of 21 and older (I am 21+). I will not write with anyone below 21, unless I started interacting with you -- those 18 to 20 years of age -- prior to this change. Do not lie about your age; there are serious consequences if there is a lack of transparency. DNI if you are not 21 or older.
By 'selective,' however, it means that I gravitate towards those that share my style of writing (multi-para/novella to para). It also depends on my interest in the muse and how well I vibe with the mun. Otherwise, I am always happy to make new friends!
TWO. This blog will be low activity and very, very slow replies. I could reply within a week or more. I come here for a hobby, not a job and I have things to attend to outside of Tumblr. Feel free to nudge me via IM if I forgot about our thread, but please do not pressure me to respond or put me under a time limit, as it will demotivate me and make me feel less inclined to write with you. If I have lost muse for the thread, I'll let you know and we can plot something else or go on existing memes. IMs are also open for plotting!
THREE. I am open to shipping if there is chemistry between our muses. If you feel that this is the direction our thread is going, please IM me and we can discuss it further! I won't autoship with canon characters; I will always ask you if I am interested in shipping first. This blog is multiship!!
FOUR. Please, no god-modding. Starkiller is on that borderline but I honestly am not down for him to nerf Cal. Even Anakin Skywalker had his limits, my brother in Christ.
FIVE. Due to laziness, I will be scarcely using icons, unless I find a free-to-use icon pack lying around on Tumblr or I take matters into my own hands. In other words, I won't be using icons for 99.9% of the time. Also, please do not feel pressured to match my formatting! I format with indentation and sub texts since it looks pleasing to my eyes. If you have issues reading my threads, do let me know and I will do what I can to accommodate you.
SIX. General DNI rules apply. Please be nice. I don't tolerate bullies. For the sake of my mental health, I won't interfere in drama. I come here for a hobby and I'd rather not get stressed out over things like that. If someone I am writing with is problematic, do let me know. I ask that you have evidence to support your claim and I encourage you to report the issue to the proper authorities.
SEVEN. My portrayal draws inspiration from canon, my headcanons, and slightly from the book, Jedi Battle Scars (VERY slightly since I don't like the book too much but I like some pieces of Cal's mannerisms and attitude in it). If you are unhappy with it, then interacting with this blog may not be for you.
EIGHT. I will only write NSFW with those 21+ of which that I am comfortable writing with. NSFW content will be put under the cut tagged as "— ‘ nsfw : 𝐖𝐈𝐍𝐄 𝐏𝐎𝐍 𝐘𝐎𝐔." and/or "suggestive //"!!
NINE. Mun =/= Muse. I am not Cal Kestis, and my views may differ from his. I stress this rule even more so when he's in different verses, such as his Eleventh Brother verse and his Grand Inquisitor verse. He's not a good person in either of those verses and generally I do not agree with everything he says and/or does, or condone it. If my muse is acting up, it does not reflect upon my personal feelings towards your muse or you.
TEN. Since this is Star Wars, please be advised that there will be dark themes. There may also be mentions of blood, gore, torture, violence. In terms of roleplay, most likely in his dark side verses (Eleventh Brother and Grand Inquisitor), there may be elements of manipulation, emotional abuse, physical abuse, and gaslighting among other things. Ultimately in those verses he's a villain and will be written as a villain. I will try to tag trigger warnings when I remember them, but kindly remind me if I forget to. If you have any triggers you want tagged, please let me know and gently remind me if I forget. You are responsible for curating your experience in the rpc so if any of these trigger warnings apply to you, please have the tags filtered!! I value your comfort as I do mine. I tag trigger warnings as "tw __//".
ELEVEN. Fair Warning: Strong language usage/profanity will be utilized in this blog, both in character and out.
TWELVE. There are no limits on how many threads you could have with me! I'm always happy to have more than one. And feel free to @ me in random starters, no need to ask!! I track #tapalslegacy so feel free to tag it, too!!
THIRTEEN. Doubles are okay. I don't mind them. I think it could set up a potential cool ATSV / NWH thread. Like the Spider-Man pointing meme.
FOURTEEN. Unless stated, all graphics, icons, and art that I post are mine. I make sure to provide credit where it's due otherwise. I utilize screenshots from my playthroughs of Fallen Order & Survivor in some of my graphics / icons. It takes me a REALLY long time to get them. Do not use or repost what I create without permission.
FIFTEEN. Affiliates and mains will always be prioritized in replies. Mains include, but are not limited to, portrayals of canon characters which I favor and therefore will get first priority in replies. I do not practice exclusives, as I like seeing how others play the same characters.
That being said, this blog is affiliated with .skysaunter
SIXTEEN. I can choose whether to reply to an ask in my inbox or not. I also have the right to drop threads, but will communicate if I have lost muse for a thread so we can plan another one. I do not need to disclose my reasoning for not answering an ask or for dropping a thread if I do not feel comfortable doing so. Sometimes, my drafts and ask count gets overwhelming so I may delete some when I feel that it is necessary to. In the event that it happens, I try to reach out back to you and let you know so we can start another thread.
SEVENTEEN. In order to adhere with roleplay etiquette, I ask you to be kind and courteous; please refrain from reblogging threads you are not a part of to be respectful towards myself and the mun I am writing with. Threads are not fanfiction. Feel free to read them, though, as it may provide context to a certain verse or just out of entertainment.
EIGHTEEN. I maintain the right to softblock others and I would like to let you know if I'd like to break mutuals. If we no longer vibe, feel free to softblock me. I believe this is a space in which we both are entitled to enjoy ourselves!
NINETEEN. As for replying to asks (which can always be made into a thread - no need to ask), I ask you to make your reply in a new post! Additionally in regards to formatting, I use xkit rewritten and trim my posts. I ask you to do the same, as I would like to keep my dash clean! I know there will be instances where that might not always be possible and that's okay! Just please try your best so we can both be courteous to others!
TWENTY. Though I have verses where Cal is a minor (Clone Wars, High School), I will not write n.sfw for Young!Cal or with muses who are minors. However, dark themes with Young!Cal is something I'd be interested in exploring.
Please note that rules are always subject to change, meaning I may add onto them in the future! Have a great one, and May the Force be with you!
No need to like this post if you've read, and no passwords required. I have faith that you've read my rules prior to interacting with me. I always try to read my rp partners' rules before interacting!
I will only give out my discord if I have gotten to know you for a little bit, if we are mutuals, and you are 21+.
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drummingncise · 1 month
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ROLEPLAY HISTORY!
The rules are simple! Post characters you’d like to roleplay as, have roleplayed as, and might bring back. Then tag ten people to do the same (if you can’t think of ten, just write down however many you can and tag that number of people). Please repost, don’t reblog!
CURRENT MUSES:
The Master (Doctor Who)
The Tenth Doctor (Doctor Who)
Harry Osborn (Sony's The Amazing Spider-Man 2)
Gwen Stacy/Spider-Gwen (Marvel's Spider-Man 2 pub. Insomniac Games)
Merlin Emrys (BBC Merlin)
WANT TO WRITE:
Peter Parker (Sony's The Amazing Spider-Man 1 & 2)
Wade Wilson (Deadpool 1, 2, & soon to be 3)
Sebastian Monroe (Revolution)
Miles Matheson (Revolution)
RK900 "Nines" (Detroit: Become Human & Octopunk Media's DBH fanfilms)
RK800 "Connor" (Detroit: Become Human)
Sherlock Holmes (Sherlock & Co)
HAVE WRITTEN:
A whole bunch of OCs, including Parker James
Sirius Black (Harry Potter)
Flynn Rider/Eugene Fitzherbert/Prince Horace of the Dark Kingdom (Tangled and Rapunzel's Tangled Adventure/Tangled: the Series)
Jim Moriarty (BBC Sherlock)
Leo Monroe, OC son of Sebastian Monroe (Revolution)
Enjolras, Courfeyrac, and Jehan (Les Miserables)
Sir Gwaine (BBC Merlin)
Kyo Sohma (Fruits Basket)
Noiz (Dramatical Murder)
The Eleventh Doctor (Doctor Who)
Crowley (Good Omens TV)
WOULD WRITE AGAIN:
Leo Monroe
Sir Gwaine
Kyo Sohma
A whole bunch of OCs, including Parker James
Crowley
tagged by; i stole this from pj's blog lmao no i'm not procrastinating finishing my dane icons
tagging; @auroradicit @sclfmastery @rpwithoutlimit @inhcritance @localwebslingers @watsonjackpot @deathxproof @theresastargirl + anyone who wants to!
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cfgcdsandmcnsters · 1 year
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◈   TAG NINE PEOPLE YOU’D LIKE TO KNOW BETTER!
favourite colour(s): Pink & purple
favourite flavour(s): vanilla, strawberry
favourite genre(s): Horror and fantasy
favourite music: hahahaha my taste in music is so eclectic I don't even know what my favorite is, I can jump from Buddy Holly, to Poppy, to The Dead South to Ariana Grande all in a span of 20 minutes and know every word to each song.
favourite movie(s): Drop Dead Fred, The Crow, The Labyrinth, Nightbreed, Natural Born Killers, Hellraiser, The Princess Bride, Pan's Labyrinth, Mirrormask, The Dark Crystal, Return to Oz
favourite series: Dragula, Schitt's Creek, Buffy the Vampire Slayer, What We Do in the Shadows
last song: "All the Things She Said" by t.A.T.u. (I listen to this at least once a day, and Poppy's cover, and the Russian version.....I have been going through some things.)
last series: Dirk Gently's Holistic Detective Agency
last movie: I don't even know. I'm at a point where I just play things for background noise, and half the time I can't even read the title on the screen. I know I have recently watched Willy's Wonderland.
currently reading:  uh......i got a book i'm about halfway through that I haven't read in a few months. I think its like "Roseblood" or something...its like a modern take/sequel to Phantom of the Opera.
currently watching: Nothing. Draven's playing youtube videos though and occasionally one will grab my attention.
currently working on: Making icons, collecting gifs, attempting to make open starters for some of my lesser used muses.
Tagged by! @lettherebemonsters (<3)
Tagging: @ycllowhaired, @ubcs @alphateamsfinest uh....i don't know, i'm not good at tagging people in these kinds of things.
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bloodbared · 13 hours
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* WARNING.
01. this blog is for  ENTERTAINMENT PURPOSES  only. but under any given circumstance do not, and i repeat, do not steal any ideas from my characters. these are original creations by me, written by me, and most certainly belong to me. 
02. i understand exclusivity is not everyone’s cup of tea, so this rule isn’t heavily enforced.
02 A. when i’m exclusive with someone, it means that i’ll only write with their version of a character & i expect the same in return. if we’ve talked out of character and / or written together sufficiently, don’t be afraid to approach me about being exclusive.
03. plagiarism, forced ships, god-modding, metagaming, hate, ooc drama, et cetera, will not be tolerated. you’ve been warned. 
04. i do not tolerate  PLAGIARISM  of any kind. that includes stealing headcanons, tags, aesthetic, & mimicking or directly copying my writing. i will find out, i will call you out, it will not be pretty. just please refrain from starting shit. 
05. i rp iconless, but will occasionally use medium / icons gifs. i use small text ; and it’d be sick as fuck if you followed this format.
06. mutuals & non-mutuals are free to send prompts but i reserve the right to be selective. mutuals can turn them into threads if a new post is made —  don’t reblog the ask.
07. still paying attention? good, ‘cause this one’s important.  I WON’T CONTINUE A THREAD IF YOU SEVERELY UNDERMINE MY MUSE IN YOUR PROSE.  it’s almost worse than meta-gaming to me because i feel that it’s taking away from my character’s strengths and has a lot of condescending undertones.
08. i do post starter calls, and though they’re not exclusive to mutuals,  I RESERVE THE RIGHT TO PICK AND CHOOSE.  nine times out of ten, i’ll only post for those i’m following, but there’s no harm in getting my attention. 
09. mature themes will be present on this blog, including but not limited to: torture, mutilation, guns, knives, extreme blood, gore, drugs, cursing, derogatory / ableist language, et cetera. if you feel the least bit uncomfortable with the following then i don’t suggest following this blog at all — especially since i don’t tag my triggers with the usual TW: TRIGGER NAME HERE. if something absolutely needs to be tagged then i use NSFW, or trigger name with two slashes, like so ( trigger // ) without the parentheses. while i do my part in tagging, if you don’t do your part in blacklisting then i will not be held responsible. 
09 A. i rarely write smut ; but when i do it won’t be under a cut and will not be tagged. images of the same nature will also not be tagged. i’m cool with writing violent / dark themes, et cetera, with those who are 18 and older — but i’m not comfortable engaging in any kind of sexual interaction with anyone under 19. don’t be that asshole who lies about their age. 
010. chemistry. please, don’t ever shove a ship down my throat. i like to get to know my writing partners ooc before i consider shipping. keep in mind, too, that my characters will probably be tough to ship with in any sense.
011. i don’t always follow back, & may unfollow at any point if you put too much of something / someone on my dash that makes me uncomfortable, use your blog like a twitter feed, stir up ooc drama, or if you’ve been inactive for more than two weeks without some kind of hiatus notice. i try to look at every new follower’s blog, but sometimes it takes me a while to get around to it. if i’m following you, i want to write with you. 
012. if you want to interact with me, send me a message — i still maintain the right to pick & choose, but it never hurts to try ; sometimes i don’t follow back until i’ve written with someone. but please, please keep in mind that liking / reblogging my posts, sending me a shit ton of memes, tagging me in starters that i didn’t ask for or that we haven’t discussed, are the worst ways of getting my attention.
012 A. memes. please, for the love of hell, if i reblog a meme post don’t reblog it from me & not send me something. it’s rude & discouraging. just like you, i’m also trying to write & interact with people. don’t be a dick.
013. i am latinx, so this blog will be bilingual.
013 A. if you don’t understand spanish that’s fine, i always put a translation with my text.
014. when it comes to threads that include prose / narrative, i respond at the speed of molasses. i work a full-time job. that said ; i get burnt out quickly. patience is key.
014 A. fletcher, leo, 30, she / they, lesbian. discord is always available to mutuals upon request. you can also hmu on the tumblr im system — it’s quicker, easier & more reliable than asks.
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ferinehuntress · 3 months
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11!
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  ◈  ⇢  @demacianhcart  ⋯  Muse speaks about the Mun .      ❝ 11! ❞
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 ⊰ ⸻ ⊱  "𝐇𝐞𝐲, 𝐞𝐯𝐞𝐫𝐲𝐨𝐧𝐞, 𝐈 𝐭𝐡𝐢𝐧𝐤 𝐭𝐡𝐢𝐬 𝐢𝐬 𝐚 𝐟𝐫𝐞𝐞-𝐟𝐨𝐫-𝐚𝐥𝐥," 𝐂𝐚𝐢𝐭𝐥𝐲𝐧 𝐬𝐩𝐨𝐤𝐞 𝐮𝐩 𝐭𝐨𝐰𝐚𝐫𝐝 𝐭𝐡𝐞 𝐩𝐚𝐜𝐤 𝐚𝐬 𝐬𝐡𝐞 𝐠𝐥𝐚𝐧𝐜𝐞𝐝 𝐨𝐯𝐞𝐫 to the other women.
"Finally, I was wondering when someone come ask me a question!" Vi plopped down on the couch, leaning her head up against the back of the armrest. Mel had settled down properly at the tea table with Caitlyn across from her as she picked up a gold goblet with wine. "Indeed, I would not mind speaking on Panda's behalf. She is, after all, our benefactor," The smooth voice held a smile. Ahri on the other hand, had taken to the windowsill, her feet kicked up and her arm hanging off the side as she fiddled with one of the cat toys, and let out a little cackle. "Pft, I live here rent-free, like Panda would chase me off," The last one spoke, as she sat in the corner, sharpening her spear as she perked up.
"Don't mind me, I still have a world to save, different from Runeterra," Aloy said as she rested her spear down and pressed her arms against her knees.
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"Each of us has a unique backstory, and while we do use the canon lore, Panda has a way of trying to place her creativity upon it. Recently my Backstory has gone a bit divergent," Caitlyn offered as she waved her hand slightly. "I don't mind my backstory, even if it is a bit lonely. No child should be without a friend, but it is what led me down the path I go on. Besides, if I didn't, I wouldn't have met Vi," Caitlyn smiled, as she glanced over toward the redhead laying on the couch.
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"Eh, we all know my story," Vi chuffed as she bit off some chocolate from a bar she held. "I wouldn't say I like my backstory. Who wants to be an orphan, struggling to live day by day in a world that hates you? Not just that, but the events in Stillwater and everything that transpires with my sister, Powder? Yeah, my backstory sucks balls," Vi gave a small shrug as she rolled over to look at Dandelion. "Not Panda's fault though, I don't blame her. She took what Riot crafted, and placed more creativity and design. Plus, she gave me literal claws," Vi flexed her hands, the dark nails flexed in the air. "She's struggled to get my story actually, but I think it's because she doesn't want to do me an injustice. She took a lot of inspiration from Miss T's Vi but has been working to shape me differently. We had a bumpy road, but she knows I'm here to stay," Vi grinned as she took another big bite from her chocolate bar.
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Mel hummed as she lifted the golden glass toward her lips. "No one wants my backstory, either Vi," Mel spoke as she glanced over to Dandelion. "I do not speak of my history to anyone, save my lovely Elora. I do not hide anything from my love, and I do appreciate Panda giving me this relationship," A gentle huff of happiness left her lips as she smiled. "Panda took what little history I had and truly shaped it. I would not say I am delighted by my history, but it explains why I am who I am today. After all, the Medarda of War does not wish to be at war anymore. But can you ever stop being who you are? A fight I constantly endure," Mel spoke and set her glass down. "I don't like my backstory, but I do not blame Panda. Like all of us here, she took what was established, and gave me an explanation behind it,"
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Ahri let out a little yelp that turned every head as she sat up, folding her legs and placing her hands in her lap. "My turn, good," Ahri grinned a wide smile showing off her fangs. "I say my history is extremely divergent compared to most of the pack here. She took what was designed, and designed I would not be a sex icon but a feral animal, and that was just the start of it. Did you know I am one of the oldest beings in all of Runeterra?" Ahri grinned toward Dandelion as her tails wagged all nine of them. "Oh I love that part of my history, even if I don't remember it, and oh! I am connected to Kindred, we are one of the same. Oh, there's so much she hasn't written up, but I'm quite excited to see what else she gives to me," The last voice hummed as she fiddled with one of her arrows, sharpening the shard underneath a rock.
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"Most people don't know of my world, Horizon Zero Dawn. But, despite that, I am glad that Panda has not abandoned me. She stays true to the history that was established in my world, and the history she made for me in Runeterra is very similar to my main world. I don't think anyone would be happy being an outcast or socially awkward, but what more can I say? It's the story I was given, and Panda has only elaborated upon it. Besides, I would not be who I am today and I wouldn't be able to do what I do without that backstory," Aloy spoke, glancing over to Dandelion.
"I think it's safe to say," Caitlyn spoke up as she took a sip of her tea. "We all truly embrace what Panda has crafted for us, or is crafting. Most of our backstories are struggles and pains, but they do make us who we are today; both the good and the darker aspects. I do hope you enjoy our stories as well, I assume that is why you are with us today,"
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pinkiewitchcraft · 8 months
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✨ My Witchy Music, What Makes Me Feel Witchy: ✨
• Barkaa:
For My Tittas
Blak Matriarchy
Our lives matter
Godz
Bow Down
• Jhené Aiko:
Brave
Spotless Mind
To Love and Die
Endless Sunshine
W.A.Y.S.
Limbo limbo limbo
• Tiwa Savage:
Dangerous Love
All Over
Temptation
Sugar Cane
• Tayla Parx:
Slow Dancing
• Sade:
Cherish the Day
No Ordinary Love
Soldier of Love
Kiss of Life
• Emeli Sande:
Breathing Underwater
My Kind of Love
• WILLOW:
9 (ft SZA)
Flower
• Brandy:
Full moon
• Beyoncé:
BLACK PARADE
MY POWER
Freedom
———
• Raja Kumari:
THE DON
(Ft Raja Kumari): Goddess
• Skylar Stecker:
That’s what’s up
• Tove Lo:
Talking Body
• Keala Settle (The Greatest Showman):
This is Me
• Aloe Blacc: (Race soundtrack)
Let the games begin
• Hailee Steinfeld:
Back to Life (80s Remix)
Back to Life
Love Myself
• Kesha:
Raising Hell
Woman
• Lady Gaga:
Born this way
Rain on me
Stupid love
• Troye Sivan:
Wild
Youth
My my my
Ease
• Florence and the Machine:
Dog days are over
Breath of life
• Metric:
Sick Muse
Twilight Galaxy
• Cecile Corbel:
La poussière de l’air
Entendez Vous
Emmène Moi
Ballerina
The King of Fairies
Sweet Amaryllis
A Different World
The Neglected Garden
Arrietty’s Song
Sho’s Song
My First Borrowing
Our House Below
Forbidden Love
Rain
The Doll House
Departure at Dawn
• Birdy:
People Help the People
Wings
• Kerli:
Army of Love
Zero Gravity
Feral Hearts
Walking on Air
• Charli XCX:
Nuclear Seasons
You’re the One
Lock You Up
Set Me Free
What I like
Boom Clap
• Little Mix:
A Different Beat
Stand Down
See Me Now
Salute
Power
Woman Like Me
Little Me
Wings
• Kiara:
Darkside
• Ariana Grande:
Into You
God is a woman
Breathin
• Melanie Martinez:
Crybaby
Milk and Cookies
————————————
• The Birthday Massacre:
Play With Fire
Calling
Cover My Eyes
The Long way home
One
Divide
Superstition
Surrender
Rain
The Other Side
Trinity
Red
Black
Movie
• In This Moment:
Burn
Adrenalize
Whore
Big Bad Wolf
Fly Like An Eagle (cover)
Natural Born Sinner
• Icon for Hire:
Theatre
Make a Move
• Lacuna Coil:
Trip the Darkness
Give me something more
Swords of Anger
Black Anima
Reckless
• Evanescence:
What You Want
Made of Stone
End of the Dream
Taking over me
Sick
My last breath
Imaginary
Whisper
Bring me to life
Going under
Lose Control
Imperfection
• Spiritbox:
Blessed Be
Circle With Me
The Summit
Halcyon
Sun Killer
Rule of Nines
The Void
• Periphery:
Blood Eagle
• Leaves Eye:
Njord
Through Our Veins
• UNSUN:
Home
Not Enough
Time
The Last Tear
Destiny
Bring Me To Heaven
Whispers
• GOJIRA:
The shooting star
• VERIDIA:
We are the brave
Mechanical planet
Pretty Lies
At The End of the World
Crazy In a Good Way
—————
• Faith and the Muse:
Sparks
Annwyn, Beneath the Waves
• Stevie Nicks:
Rhiannon
Dreams
• Twin Temple:
Satan’s a woman
I’m wicked
I am a witch
Let’s have a satanic orgy
Babylon
Let’s hang together
• Heilung:
Krigsgaldr
• Empire of the Sun:
Walking on a dream
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fullofw0e · 1 year
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carrd | memes | open starters |  ooc
drafts: 0 queue: 0 starter requests: 0
ABOUT ME & RULES  UNDER READ MORE
Hey, hi, hola, bonjour, sup! I'm DeeJay. I am a 31 year old roleplayer who has been roleplaying since 2006, about the past eleven years I have been roleplaying on tumblr. When I am talking out of character, you'll see the lovely taylor swift all over your dash - thats if i feel like using icons for my ooc posts though. I have a full time job, and this blog will be on a medium to low activity having a full time job. I am going to try and keep these rules short and sweet because I do not like reading long rules at all
1.This is my main rule because it just triggers me and brings me back to early tumblr days. CUT. YOUR. POSTS. If you're replying from mobile, you can’t cut your posts there, but if it's a consistent thing I will end up unfollowing. 2.I am a semi-selective blog, feel free to reply to open starters, send memes ect, but if i do not know your canon muse or you do not have any EASY to find info about them or an OC, there is a chance I won’t reply. 3.This blog will have dark themes with some of the characters I play. Be advised of that. There will be ZERO smut with Wednesday she’s CANONLY underaged, I do not mind things being implied (because we were all that age once and I’m sure we weren’t all being goody two shoes till 18) but never written. Also, I will never force smut onto anyone - we can always imply it happened, and fade to black. I personally feel to write smut with someone you need to be comfortable with them and they need to be comfortable with you. 4.Plotting! I am an open book with that. Give me AUs Crackships, the works!. If you see a plot you wanna do and think I’d enjoy writing it with you PLEASE slide into my DMs. nine times out of ten I will say yes to it! 5.Replies. Most of the time I am pretty quick with replies, especially if I enjoy writing with you, meaning you post and then within probably a half hour when I'm on there will be another reply. I try not to have my drafts pile up because then I can get anxious about that, but I do at least attempt to get everything out in a timely manner. I do have a full time job so I am around more nights and weekends. If I ever miss a reply, after about two+ days feel free to give me a little nudge about it! 6.HAVE FUN. Seriously though, roleplaying is a hobby and it keeps me sane, and I hope that is the same for you, so just enjoy it and do not get worked up over everything being perfect.
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cometcalloway · 2 years
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[img: a banner showing art of my rp muses]
I’ve been on hiatus for like a month & I want to get back into rp! I have several side blogs listed on my pinned post as well, with other OCs & also canon muses from Legend of Zelda and Dune. We might connect especially well if you:
- like to write long replies - prefer scifi/fantasy settings - find satisfaction in working in realistic details, like figuring out how long it would take to travel 20 miles on horseback or referencing medieval board games other than chess* (without needing everything to be strictly accurate of course) - enjoy worldbuilding and developing existing settings more deeply - enjoy threads with problem-solving elements, character-vs-environment plots, and ‘parallel play’ dynamics - enjoy plots that aren’t meant to ever turn romantic - enjoy dark/horror elements to plots & feel confident about negotiating boundaries - don’t mind low-effort/minimal formatting, aesthetics, and icon use - are looking for a villain muse to interact with (not the muses on this main blog though!) - are neurodivergent/support neurodiversity - are 25+
Drop a like in the bucket & I’ll check out your blog! If we’re already mutuals, drop in a like & I’ll reach out to plot. (If you don’t have an rp blog or an rp sideblog, please don’t interact with this post)
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[img: stock photo of a bucket]
*about 5 hours, nine men’s morris
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wooceans · 3 years
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₍., ₍  𝑤ℎ𝑒𝑟𝑒 𝑖'𝑚 𝑔𝑜𝑖𝑛𝑔 𝑖𝑠 𝑎𝑛𝑦𝑏𝑜𝑑𝑦'𝑠 𝑔𝑢𝑒𝑠𝑠  ₎ … 〇.»〉 ๑𝘩𝘹𝘧𝘭𝘦𝘶𝘳 ⁀°๑ˑ˖°ˑ˖
⠀⠀⠀ ⠀⠀
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Press/Gallery: How Elizabeth Olsen Brought Marvel From Mainstream to Prestige
“The thing I love about being an actor is to fully work with someone and try so hard to be at every level with them, chasing whatever it is you need or want from them.”
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  GALLERY LINKS
Studio Photoshoots > 2021 > Session 008 Magazine Scans > 2021 > Backstage (August 19)
Backstage: Elizabeth Olsen grins widely over video chat when recalling many such moments on set with her co-stars. Yet, she can’t bring herself to divorce such a lofty vision of film acting from the technical multitasking it requires. The camera sees all.
“But then you move your hair, and you’re in your brain, like: OK, remember that! Because I don’t want to edit myself out of a shot. I know some actors are like, ‘Continuity, shmontinuity!’ But the good thing about continuity is, if you remember it, you’re actually providing yourself with more options for the edit.”
That need to balance being both inside the scene and outside of it, fully living it and yet constantly visualizing it on a screen, feels particularly apt in light of Olsen’s most recent project, “WandaVision.”
The mysteries at the heart of the show grow with every episode, each fast-forwarding to a different decade: Could this 1950s, black-and-white, “filmed in front of a studio audience” newlyweds bit be a grief-stricken dream? Might this ’70s spoof be a powerful spell gone awry? Could this meta take on mockumentary comedies be proof that the multiverse is finally coming to the Marvel Cinematic Universe?
The series’ structure, which branches out to include government agents intent on finding out why Westview has seemingly disappeared, calls for the entire cast to play with a mix of genres, balancing a shape-shifting tone that culminates in an epic, MCU-style conclusion. What’s key—and why the show struck a chord with audiences during its nine-episode run—is the miniseries’ commitment to grounding its initial kooky setups and its later special effects-driven spectacle in heartbreaking emotional truths. It’s no small feat, though it’s one that can often be taken for granted.
“I was thinking how hard it would have been to have shot the first ‘Lord of the Rings,’ ” Olsen muses. “Like, you’re putting all these actors [into the frame] later and at all these different levels. All the eyelines are completely unnatural. And yet the performances are fantastic! And technically, they are so hard. People forget sometimes that these things are really technically hard to shoot. And if you are moved by their performance, that took a lot of multitasking.”
As someone who has learned plenty about harnesses, wirework, fight choreography, and green screens (she’s starred in four Marvel movies, including the box office megahit “Avengers: Endgame,” after all), Olsen knows how hard it can be to wrap one’s brain around the work needed to pull off those big, splashy scenes.
“​​If you think about it, it’s, like, the biggest stakes in the entire world—every time. And that feels silly to act over and over again, especially when people are in silly costumes and the love of your life is purple and sparkly, and every time you kiss them, you have to worry about getting it on your hands. Those things are ridiculous. You feel ridiculous. So there is a part of your brain that has to shovel that away and just look into someone’s eyeballs—and sometimes, they don’t even have eyeballs!”
The ability to spend so much time with Wanda, albeit in the guise of sitcom parodies, was a welcome opportunity for Olsen. Not only did it allow the actor to really wrestle with the traumatic backstory that has long defined the character in the MCU, but having the chance to calibrate a performance that functions on so many different levels was a thrilling challenge.
“It was such an amazing work experience,” she says. “Kathryn [Hahn] uses the word ‘profound’—which is so sweet, because it is Marvel, and people, you know, don’t think of those experiences as profound when they watch them. But it really was such a special crew that [director] Matt Shakman and [creator] Jac Schaeffer created. It was a really healthy working environment.”
Related‘WandaVision’ Star Kathryn Hahn’s Secret to Building a Scene-Stealing Performance ‘WandaVision’ Star Kathryn Hahn’s Secret to Building a Scene-Stealing Performance Considering that the miniseries spans several sitcom iterations, various layers of televisual reality, and a number of character reveals that needed to feel truthful and impactful in equal measure, Shakman’s decision to work closely with his actors ahead of shooting was key.
“We truly had a gorgeous amount of time together before we started filming,” Olsen remembers. “Our goal was—which is controversial in TV land—that if you wanted to change [anything], like dialogue in a scene, you had to give those notes a week before we even got there. Because sometimes you get to set, and someone had a brilliant idea while they were sleeping, and you’re like, ‘We don’t have an hour to talk about this. We have seven pages to shoot.’ And so, we were all on the same page with one another, knowing what we were shooting ahead of time.
“Matt just treated us like a troupe of actors who were about to do some regional theater shit,” she adds with a smile.
That spirit of camaraderie was, not coincidentally, at the heart of Olsen’s breakout project, Sean Durkin’s 2011 indie sensation “Martha Marcy May Marlene.” As an introduction to the process of filmmaking to a young stage-trained actor, Durkin’s quietly devastating drama was a dream—and an invaluable learning opportunity.
“It was truly just a bunch of people who loved the script, who just were doing the work. I didn’t understand lenses, so I just did the same thing all the time. I never knew if the camera would be on me or not. There was just so much purity in that experience, and you only have that once.”
The film announced Olsen as a talent to watch: a keen-eyed performer capable of deploying a stilted physicality and clipped delivery, which she used to conjure up a wounded girl learning how to shake off her time spent in a cult in upstate New York. But Olsen admits that it took her a while to figure out how to navigate her career choices afterward. In the years following “Martha,” she felt compelled to try on everything: a horror flick here, a high-profile remake there, a period piece here, an action movie there. It wasn’t until she starred in neo-Western thriller “Wind River” (alongside fellow Marvel regular Jeremy Renner) and the dark comedy “Ingrid Goes West” (opposite a deliciously deranged Aubrey Plaza) that Olsen found her groove.
“It was at that point, when I was five years into working, where I was like, Ah, I know how I want it. I know what I need from these people—from who’s involved, from producers, from directors, from the character, from the script—in order to trust that it’s going to be a fruitful experience.”
As Olsen looks back on her first decade as a working actor, she points out how far removed she is from that young girl who broke out in “Martha Marcy May Marlene.”
“I feel like a totally different person. I don’t know if everyone who’s in their early 30s feels like their early 20s self is a totally different human. But when I think about that version of myself, it feels like a long time ago; there’s a lot learned in a decade.”
Those early years were marked by a self-effacing humility that often led Olsen to defer to others when it came to key decisions about the characters she was playing. But she now feels emboldened to not only stand up for herself and her choices but for others on her sets as well.
“[Facebook Watch series] ‘Sorry for Your Loss’ I got to produce, and I really found my voice in a collaborative leadership way. And with ‘WandaVision,’ Paul [Bettany] and I really took on that feeling, as well—especially since we were introducing new characters to Marvel and wanted [those actors] to feel protected and helped,” she says. “They could ask questions and make sure they felt like they had all the things they needed because sometimes you don’t even know what you need to ask.”
It’s a lesson she learned working with filmmaker Marc Abraham on the Hank Williams biopic “I Saw the Light,” and she’s carried it with her ever since. “I really want it to feel like we’re all in this together, as a team,” Olsen says. “That was part of ‘Sorry for Your Loss’ and it was part of ‘WandaVision,’ and I hope to continue that kind of energy because those have been some of the healthiest work experiences I’ve had.”
If Olsen sounds particularly zealous about the importance of a comfortable, working set, it is because she’s well aware that therein lies an integral part of the work and the process. As an actor, she wants to feel protected and nurtured by those around her, whether she’s reacting to a telling, quiet line of dialogue about grief or donning her iconic Scarlet Witch outfit during a magic-filled mid-air action sequence.
“Sometimes you’re going to be foolish, you know? And [you need to] feel brave to be foolish. Sometimes people feel embarrassed on set and snap. But if you’re in a place where people feel like they’re allowed to be an idiot,” she says, “you’re going to feel better about being an idiot.”
This story originally appeared in the Aug. 19 issue of Backstage Magazine. Subscribe here.
Press/Gallery: How Elizabeth Olsen Brought Marvel From Mainstream to Prestige was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen
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chiseler · 3 years
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Gnostic Boardwalk
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Canonical stature is a fragile and contingent thing, which is why powerful institutions seek to shore up the various canons of art with rankings and plaudits. We’ll play along by asserting that one of our favorite “B” movies was originally screened by Henri Langlois at the Cinematheque française with Georges Franju in attendance. Night Tide (1961) was an unlikely contender for this particular honor—shot guerrilla style on an estimated $35,000 budget, and intended, by its distributors at least, for a wider, less demanding audience seeking mostly air-conditioned escapism.
With its hinky cast—nonfictional witch, Marjorie Cameron; erstwhile muse to surrealist filmmaker Jean Cocteau, the undersung Babette who usually appears en travesti; and lecherous, booze-addled, fresh-faced Hollywood castoff Dennis Hopper—Night Tide invades the drive-in. A tarot reading at the film’s heart gives Marjorie Eaton her time to shine, traipsing into nickel-and-dime divination from her former life as a painter of Navajo religious ceremonies. Linda Lawson might have issued from an etching by Odilon Redon, with her raven locks and spiritual eyes, our resident sideshow mermaid. Not surprisingly and despite such gentle segues, the film itself traveled a rocky road from festivals to paying venues.
Night Tide had spent three years languishing in the can when distributor Roger Corman smuggled the unlikely masterwork into public consciousness, another of his now legendary mitzvahs to art. And the sleazy-sounding double bills that resulted also unleashed an aberrant wonder: the movie’s compact leading man, a force previously held captive by the studio system—looking, here, like some homunculus refugee from the Fifties USA. Dennis Hopper, in his first starring role, would later recall that it represented his first “aesthetic impact” on film since his earlier appearances in more mainstream productions such as Rebel Without a Cause and Giant had denied him meaningful outlets for collaboration.
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It’s the presence of its featured players—certainly not their star power—that lends the film its haunting and enduring legacy, and elevates the term “cult classic” to its rightful place in the pantheon of cinema. But we argue that Night Tide remains outside these exclusive parameters—upholding an elsewhere-ness that defies commercial, if not strictly canonical, logic. Curtis Harrington’s first feature film escapes taxonomy, typology or genre—gets away—fueling itself on acts of solidarity instead. If Hopper contributes his dreamy aura, then Corman rescues the seemingly doomed project by re-negotiating the terms of a defaulted loan to the film lab company that was preventing the film’s initial release. His generous risk birthed a movie monument that would add Harrington’s name to a growing collection of talent midwifed by the visionary schlockmeister responsible for nursing the auteurs of post-war American cinema. And here we enter a production history as gossamery as Night Tide itself.  
Unlike his counterparts entrenched within the studio system, Harrington was an artist – i.e. a Hollywood anachronism, with aristocratic graces and a viewfinder trained on the unseen. We see Harrington as Georges Méliès reborn with a queer eye, casting precisely the same showman’s metaphysics that spawned cinema onto nature. By the time moving pictures were invented, artists were moving away from a bloodless representational ethos and excavating more primordial sources for inspiration. The early stirrings of what surrealist impresario André Breton would later proclaim: “Beauty will be CONVULSIVE or it will not be at all.”
Harrington owned a pair of Judy Garland’s emerald slippers, and according to horror queen/cult icon Barbara Steele, also amassed an eclectic array of human specimens: “Marlene Dietrich, Gore Vidal, Russian alchemists, holistic healers from Normandy, witches from Wales, mimes from Paris, directors from everywhere, writers from everywhere and beautiful men from everywhere.” On a hastily constructed Malibu boardwalk, Hopper would be in his milieu among the eccentric denizens of California’s artistic underground—most notably, Harrington himself, a feral Victorian mountebank of a director who slept among mummified bats, practiced Satanic rites, and hosted elaborate and squalid dinner parties. One could almost picture the mostly television director in his twilight years as Roman Castavet of Rosemary’s Baby; a spellbinding raconteur with a carny’s flair for embellishment and enticement. Enthralled by the dark gnosticism of Edgar Allan Poe that had started when the aspiring 16-year-old auteur mounted a nine-minute long production of The Fall of the House of Usher (1942), Harrington would embark on a checkered film career that combined his occult passions with the quotidian demands of securing steady employment. Night Tide, a humble matinee feature whose esoteric underpinnings would spawn subsequent generations of admirers, united the competing forces of art and commerce that Harrington would struggle with throughout his career. Like Méliès, Harrington pointed his kinetic device towards the more preternatural aspects of early motion pictures to seek out the ‘divine spark’ that Gnostics attribute to transcendence, and the necessary element to achieve that immortal leap into the unknown. What hidden meanings and unspeakable acts Poe had seized upon in his writing were brought infernally to life with a mechanical sleight-of-hand. It was finally time for crepuscular light, beamed through silver salts to illuminate otherworldly and other-thinking subjects.
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Curtis Harrington
By the time Harrington had embarked on his feature film debut, a more muscular celluloid mythology based on America’s proven exceptionalism was in full force, taking on a brutalist monotone cast in keeping with the steely-eyed, square-jawed men at the helm of a nascent super-power, consigning its more feminine preoccupations to the dusty vaults where celluloid is devoured by its own nitrate. Harrington would resurrect the convulsive aspects of his chosen vocation and embed them deep within the monochrome canvas he’d been allotted for his first venture into feature filmmaking, and combine them with the more rational aspects of so-called realism. In the romantic re-telling of a familiar myth, Harrington was remaining true to gnostic roots and the distinctly poetic language used to express its cosmological features.  
In Night Tide, Harrington would map the metaphysical terrain that held up Usher’s cursed edifice as a blueprint for his own work that similarly explored the intertwined duality of the natural and the supernatural. The visible cracks that reveal a fatal structural weakness and a loss of sanity in both Roderick Usher and his doomed estate are evident in Night Tide’s conflicted heroine compelled to choose between her own foretold death underwater, or a worse fate for those who fall in love with her earthly human form.  
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A young sailor (Dennis Hopper) strolling the boardwalks of Malibu while on shore leave offers the viewer an opening glimpse into the film’s metaphysical wormhole, and a not so subtle hint of the director’s queer eye, stalking his virginal prey in the viewfinder. A beachfront entertainment venue is, after all, where one would casually encounter soothsayers and murderers, sea witches and perverts, as the guileless Johnny does, seemingly oblivious to the surrealist elements of his surroundings as he makes his way on land.
Harrington’s carnival-themed underworld is both imaginatively and convincingly presented as a quaint slice of post-war America, effortlessly dovetailing with his intended drive-in audience’s expectations of grind house with a dash of glamor—not to mention his own avant-garde leanings, which remain firmly intact despite Night Tide’s outwardly conventional construction and narrative.  
Harrington is able to present this juxtaposition of kitsch Americana and the queer arcana of his occult fascinations. Indeed, Night Tide’s lamb-to-the-slaughter protagonist could have wandered off the set of Fireworks, Kenneth Anger’s 1947 homoerotic short film about a 17-year-old’s sadomasochistic fantasies involving gang rape by leathernecks.
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Anger would later sum up his earliest existing film as “A dissatisfied dreamer awakes, goes out in the night seeking a ‘light’ and is drawn through the needle’s eye. A dream of a dream, he returns to bed less empty than before.” Harrington (a frequent collaborator of Anger in his youth) seems to have re-worked Fireworks, or at least its underlying queer aesthetic into a commercially viable feature film that explores his own life long occult fascinations.
Both Anger and his former protégé would view the invocation of evil as a necessary step towards the attainment of a higher level of consciousness. Harrington coaxed a more familiar story from the myths and archetypes that informed his unworldly views for a wider audience; a move that would be later interpreted by sundry cohorts as selling out. Still, Night Tide shares a thematic kinship with Anger’s more obtusely artistic output as acknowledged by the surviving occultist, who confirmed this unholy covenant at Harrington’s funeral by kissing his dead friend on the lips as he laid in his open coffin.  
The hokey innocence of Dennis Hopper as Johnny Drake in his tight, white sailor suit casts a homoerotic hue on the impulses that compel him to navigate a treacherous dreamscape to satisfy a carnal longing, just as Anger’s dissatisfied dreamer obeys the implicit commands of an unspeakable other to seek out forbidden pleasures.  
As he makes his way on land, the solitary, adventure-seeking Johnny will be lured into a waiting photo booth, his features slightly menacing behind its flimsy curtain, and brightly smiling a second later as the flash illuminates them. Johnny has entered a realm where intersecting worlds collide, delineating light from shadow, consciousness from unconsciousness. The young sailor’s maiden voyage into the uncharted waters of his subconscious is made evident in the contrasting interplay captured by the camera, where predator and prey overlap in darkness. Here, too, we get a prescient preview of the deranged psychopath Hopper would subsequently personify in later roles, most significantly as the oxygen deprived Frank of Blue Velvet—a man who seems to be drowning out of water. But here, Hopper convincingly (and touchingly) portrays a wide-eyed naïf, still unsteady on his sea legs as he negotiates dry land.  
As a variation of Anger’s lucid dreamer in Fireworks (and later Jeffrey of Blue Velvet) Johnny will have abandoned himself quite literally (as his departing shadow on a carnival pavilion suggests, before its host blithely follows) to his own suppressed sexual urges; a force that eventually compels him towards denouement.  
Moments later, inside the Blue Grotto where a flute-led jazz combo is in progress, Johnny spots a beautiful young woman (Linda Lawson) seated directly across from him.  Her restrained and almost involuntary physical response to the music mimic his own, offering the first indication of a gender ‘other’ residing in Johnny; an entombed apparition cleaved from the sub-conscious and projected into his line of vision. Roderick and Madeline Usher loom large in Harrington’s screenplay and Usher’s trans themes lurk invisibly in the subtext. Harrington is arguably heir apparent to Poe’s vacated throne, pursuing similar clue-laden paths and exploring the dual nature of human and the primordial creature just beneath the surface poised to devour its host.  
The near literal strains of seductive Pan pipes buoyed by the ‘voodoo’ percussion sets the stage for Harrington’s reworking of the ancient legend of sea-based seductresses and the sailors they lure to their graves.  
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Marjorie Cameron (or ‘Cameron’ as she is referred to in the opening credits) makes a startling entrance into The Blue Grotto as an elder of a lost tribe of mermaids seeking the return of an errant ‘mermaid’ to her rightful place in the sea. Cameron, a controversial fixture in L.A.’s bohemian circles and one-time Scarlet Women in the mold of Aleister Crowley’s profane muses, would later appear in Anger’s The Inauguration of the Pleasure Dome, and as the subject of Harrington’s short documentary The Wormwood Star (1956).  
The inclusion of a bonafide witch, along with a host of less apparent occult/avant-garde figures, is further evidence of Night Tide’s true aspirations and its filmmaker’s subversive intent to sneak an art-house film into the drive-in, and introduce its audiences to the heretical doctrine that had spawned a new generation of occult visionaries influenced by Edgar Allan Poe. Decades later, David Lynch would carry that proverbial torch, further illuminating the writhing, creature-infested realm underlying innocence.
Johnny approaches the young woman who rebuffs his attempts at conversation, seemingly entranced by the music, but allows him to sit, anyway. Soon they are startled by the presence of a striking middle-aged woman (‘Cameron’) who speaks to Johnny’s companion Mora in a strange tongue. Mora insists that she has never met the woman before, nor understands her, but makes a fearful dash from the club as Johnny follows her, eventually gaining her trust and an invitation the following day for breakfast.  
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Mora lives in a garret atop the carousal pavilion at the boardwalk carnival where she works in one of the side show attractions as a “mermaid.” Arriving early for their arranged breakfast, her eager suitor strikes up a conversation with the man who runs the Merry-Go-Round with his granddaughter, Ellen (Luanna Anders). Their trepidation at the prospecting Johnny becoming intimately acquainted with their beautiful tenant is apparent to all except Johnny himself, who is even more oblivious to Ellen’s wholesome and less striking charms. Even her name evokes the flat earth, soul-crushing sensibilities of home and hearth. Ellen Sands is earthbound Virgo eclipsed by an ascendent Pisces. (Anders would have to subordinate her own sex appeal to play this mostly thankless “good girl” role.  She would be unrecognizable a few years later as a more brazenly erotic presence in Easy Rider, helping to define the Vietnam war counterculture era.)  
As Johnny ascends the narrow staircase leading to Mora’s sunlit, nautical-themed apartment, he almost collides with a punter making a visibly embarrassed retreat from the upper floor of the carousel pavilion.  Is Johnny unknowingly entering into a realm of vice and could Mora herself be a source of corruption? Her virtue is further called into question when she not so subtly asks Johnny if he has ever eaten sea urchin, comparing it to “pomegranate” lest her guest fails to register the innuendo that is as glaring as the raw kipper on his breakfast plate.  Johnny admits that he has never eaten the slippery delicacy but “would like to try.” Moments later, Mora’s hand in close-up is stroking the quivering neck of a seagull she has lured over with a freshly caught fish, sealing their carnal bond.  
Their subsequent courtship will be marred by an ongoing police investigation into the mysterious deaths of Mora’s former boyfriends, and her insistence that she is being pursued by a sea witch, seeking the errant mermaid’s return to her own dying tribe. Her mysterious stalker will make another unwelcome entrance after her first  appearance in the Blue Grotto—this time at an outdoor shindig where the free-spirited young woman reluctantly obliges the gathered locals who urge her to dance. The sight of ‘Cameron’ observing her in the distance causes the frenzied, seemingly spellbound dancer to collapse, setting off a chain of events that will force Johnny to further question her motives and his own sanity.  
Mora’s near death encounter through dance is an homage of sorts to another early Harrington collaborator and occult practitioner. Experimental filmmaker Maya Deren had authored several essays on the ecstatic religious elements of dance and possession, and later went on to document her experiences in Haiti taking part in ‘Voudon’ rituals that would be the basis of a book and a posthumously released documentary both titled Divine Horsemen: The Living Gods of Haiti. Note the Caribbean drummers whose ‘unnatural’ presence, in stark contrast to the more typical Malibu beach party celebrants, hint at the influence of black magic impelling the convulsive, near heart-stopping movements that eventually overtake her ‘exotic’ interpretive dance.    
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The opening sequence of Divine Horsemen includes a woodblock mermaid figure superimposed over a ‘Voudon’ dancer. The significance of this particular motif was likely known to Harrington, a devotee of this early pioneer of experimental American cinema.  Deren herself appeared as a mermaid-like figure washed ashore in At Land (1947) who pursues a series of fragmented ‘selves’ across a wild, desolate coastline. Lawson with her untamed black hair and bare feet could be a body double of Deren’s elemental entity traversing unfamiliar physical terrain to find a way back to herself.
Mora’s insistence that she is being shadowed by a malevolent force directly connected to her mysterious birth on a Greek Island and curious upbringing as a sideshow attraction compel Johnny to investigate her paranoid claims, hoping to allay her fears with a logical explanation for them. The sea witch  (or now figment of his imagination) will guide the sleuthing sailor into a desolate, mostly Mexican neighborhood where her departing figure will strand him—right at the doorstep of the jovial former sea captain who employs Mora in his tent show as a captive, “living, breathing mermaid.”  
The British officer turned carnie barker is in a snoring stupor when Johnny first encounters him, snapping unconsciously into action to give a rote spiel on the wonders that await inside his tent. Muir balances Mudock’s feigned buffoonery with a slightly sinister edge. When Johnny arrives at his doorstep to find out more about the ongoing police investigation into her previous boyfriend’s deaths, the captain’s effusive hospitality takes on a decidedly darker tone when he guides his visitor to his liquor/curio cabinet where a severed hand in formaldehyde, “a little Arabian souvenir,” is cunningly placed where Johnny’s will see it. The spooky appendage serves as a reminder to Mora’s latest suitor of the punishments in store for a thief.
Captain Murdock’s Venice beach hacienda is yet another one of Night Tide’s deviant jolts: a fully fleshed out character in itself that speaks of its well-travelled tenant’s exotic and forbidden appetites. The dark, symbol-inscribed temple Johnny has entered at 777 Baabek Lane could be a brick-and-mortar portal into this mythic, mermaid-populated dimension that Johnny’s booze-soaked host thunderously defends as real.
Before falling into another involuntary slumber, Murdock will try to convince Johnny that while he and Mora merely stage a sideshow illusion, “Things happen in this world”—or, more to the point, Mora’s belief that she is a sea creature is grounded in fact.  
Murdock’s business card that Johnny handily has in his pocket while tailing his dramatically kohl-eyed mark is oddly inscribed with an address more likely to be an ancient Phoenician temple of human sacrifice (Baalbek) than a Venice Beach bungalow. A lingering camera close-up offers another tantalizing, occult-themed puzzle piece—or perhaps a deliberate Kabbalah inspired MacGuffin. The significance of numbers as the underlying components for uniting the nebulous and intangible contents of the mind with the more inert, gravity bound matter, existing outside it, as the ancient Hebrews believed, wouldn’t have been lost on Night Tide’s mystically-minded helmer.  Mora’s explicitly expressed disdain for Johnny’s view of the world as a rationally ordered, measurable entity that could be mathematically explained, reinforces Harrington’s world view, his love of Poe, and those French Symbolist artists who interpreted him.
In Odilon Redon’s Germination (1879), a wan, baleful, free-floating arabesque of heads of indeterminate gender suggests either a linear, ascending involution, or a terrifying descent from an unlit celestial void into a bottomless pit of an all-too-human, devolving identity. Redon’s disembodied heads gradually take on more human characteristics, culminating into a black-haloed portrait in profile. The cosmos of Redon’s etching is governed by an unexplained, inexplicable moral sentience, which absorbs the power of conventional light. Thus black is responsible for building its essential form, while glimmers of white, hovering above and below, prove ever elusive; registering as somehow elsewhere, beyond the otherwise tenebrous unity of the picture plane.
Night Tide has its own unsettling dimensions, of course, this black-and-white boardwalk where astral, egalitarian bums want to tip-toe; and, somehow, practically all of them do. Not a movie but an ever-becoming place, crammed into low-budget cosmogenesis unto eternity. We won’t discuss the ending here, since it hasn’t happened yet.
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by The Lumière Sisters
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nso-csi · 3 years
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201111 hypebea twitter update
Taemin on the Making of ‘Never Gonna Dance Again : Act 2’ The K-pop artist breaks down the inspiration behind his solo project.
For Lee Taemin, Never Gonna Dance Again is the dawn of a new era. The title is an antithesis for a performer marked by his ability to entrance audiences with movement, and the 27-year-old hopes to demand attention with a concept both provocative and unimaginable. Led by the prologue single “2 KIDS,” followed by the release of Act 1 in September, Act 2 serves as the final installment of the series. Shortly after its launch, the nine-track effort quickly went number 1 on Apple Music charts around the world. Clearly, his third Korean studio album has already proven to be his most successful project to date. Taemin is more than the youngest member of SHINee, the legendary K-pop group that debuted under SM Entertainment in 2008, nor is he limited to the iconic “MOVE” dancer that set the K-pop industry aflame in 2017. His solo aura is almost unrecognizable from his role as a member of supergroup SuperM, his fourth debut across three generations. The common thread is that all of these eras are true to Taemin’s greatest gift: range. He is malleable in a way that breeds experimentation, but doesn’t adhere to standards. This is the reason Taemin has become a household name, and a muse to both idols and fans alike.
About an hour before Never Gonna Dance Again : Act 2 dropped on Monday evening in Korea, Taemin entered our Zoom call harboring a clear excitement in his tone. After working hard for so long, it’s only natural to anticipate the world’s response to your work, especially if every release is as risky and groundbreaking as his. Lead single “IDEA” screams arthouse and intensity, with featured vocals from legendary performer and labelmate BoA, who laced the track with her lines “Killing me” and “Killing me softly.” Avant-garde fashion accompanies the tantalizing hook, and aesthetic reminiscent of both heaven and hell add to the visual prowess in the music video, elevating the narrative Taemin aims to tell and harboring a ferocity matched only by the sharp and fluid choreography. “The title track ‘IDEA’ was inspired by the allegory of the cave (Plato’s Cave). Instead of ‘being trapped in a cave’ and living in the shadow of the truth, I want to free myself from the darkness and embark on a journey of enlightenment where I discover a new ego, identity and meaning,” Taemin explains, referencing Greek philosopher Plato’s theory of ideas. “IDEA” is a follow up of “Criminal” from Act 1, which had an equalizing parallel that was haunting yet seductive. “IDEA” is just as visually demanding and hypnotic, but levels up from the previous title track.
Throughout the conversation, it becomes clear that Taemin’s youthfulness has not begotten him despite his wisdom. The care with which he approaches talking about his music could be surprising given the mature vibes of his sound, but this duality should be expected from someone who forwent the typical teenage experience to pursue music professionally. There’s a sweet charm in the way he expresses himself, and an eagerness to continue innovating as a result. “I participated in the writing of three tracks: ‘Heaven,’ ‘Think of You,’ and ‘Pansy.’ I’m always writing and taking notes in my notebook when I have time between schedules, so a lot of the inspiration came from that.” Taemin says, breaking down each track he worked on with a noticeable passion. Describing “Think of You” as a warm song that expresses honest and sincere messages for his fans, and “Heaven” as giving positive energy and strength, he goes on to talk about “Pansy,” a song that holds a little extra weight. “The significance behind the flower is ‘remember me.’ I wanted to tell a message to my fans who have waited for me for a long time, because in between there are periods where I’m not working on my solo music. So for those fans who have been waiting patiently, I wanted to show that gratitude and how I’m very appreciative of that. I wrote the chorus part, and when I was writing it that day, the weather and my surroundings were the main inspiration.” Beyond nature, the flower serves a more sentimental value. “The pansy flower has a specific day, Pansy Day, and that’s also the day of SHINee’s debut, so it worked perfectly.” Taemin also believes these three songs stand out the most compared to Act 1 due to their warmth and fuzziness, a bright contrast from the powerful and dark undertones heard previously.
Speaking of his creative process when working on new music, Taemin has a unique approach to finding inspiration: searching his mental state in the current time. “When I watch a movie, I’m not inspired by the movie itself, but the feelings that I have as I’m watching it. That’s what plays the most important role.” Looking back on recording for Never Gonna Dance Again, he adds, “I had that period where I was going through a slump of trying to create something new, so I wanted to make that experience artistic and useful and incorporate it into my album.” He combines his real life thoughts with his signature drama, a method that can’t be duplicated as it’s unique to him. For his involvement in Act 2, Taemin describes it as “writing a personal letter to my fans.” He elaborates, “Rather than creating perfect lyrics or a perfect song, it was more about sincerity and delivering that comforting message and being very honest with my feelings.” The feelings showcased are the most up-to-date represenation of Taemin’s artistry, but even that’s open to change. “I’m always thinking about what I’m good at, what are some things that other artists didn’t try,” he reflects. “I’m not an artist that’s limited by genre. I’m not just an R&B or K-pop artist, but I’m one who likes to experiment with different genres and styles to diversify my portfolio.” For Taemin, sharing his own thoughts and emotions is one of the biggest reasons he wanted to become a performer, and it’s what steers him away from following what’s trendy or high in demand.
Of course, this doesn’t mean Taemin doesn’t respect the other artists he’s worked with. In fact, he treasures both his past and his present, and recognizes them as equally important to his current sound and image. “SHINee is a big part of who I am as an artist. For example, in one of the teaser photos for the new album, I’m wearing this military uniform outfit which alludes to SHINee’s single ‘Everybody.’” Fans immediately recognized the 2013-inspired getup, and it’s just another treat for both Shawols and Taemin. He hasn’t forgotten his roots, nor does he plan to even as he evolves. “For the past 13 years, I’ve been spending a lot of time with them and creating music together as a group.” It’s only natural that this influences his career, and his Shawols are still his most fervent supporters even after such a long time. “With my solo career, I don’t want fans to think that I’m throwing all that away. It’s more about creating something new and different than what I’ve been showing in my past with the group. In the past years, I learned a lot, and I always had things that I wanted to try and experiment with. It’s not about the end of SHINee or moving on, but a new beginning.” His consideration of the fans’ feelings doesn’t negatively affect his progress, but proves how he hopes to continue growing with those who helped him get this far. Sincerity is probably the most important message Taemin wants to send as he embarks on this new journey. “For a new beginning, something has to end. I want fans to know that this is not goodbye, it’s not the end. I will continue to bring great music and show something new to the audience.” What that may be, we’ll just have to wait and see. But if Never Gonna Dance Again is any indicator, the future of soloist Taemin will continue to keep us guessing.
Ashlee Mitchell
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terrorofthenight · 3 years
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REPOST DON’T REBLOG
PEOPLE I’D LIKE TO KNOW BETTER
ONE ( ALIAS / NAME ). Thomas 
TWO ( BIRTHDAY ). May 22
THREE ( ZODIAC SIGN ).  Gemini
FOUR ( HEIGHT ). 5′3″
FIVE ( HOBBIES ). Roleplaying, art, writing
SIX ( FAVORITE COLOR ).  Dark blue, like a TARDIS or a RedBull can
SEVEN ( FAVORITE BOOKS ) The Skulduggery Pleasant Series, and the Dresden Files 
EIGHT ( LAST SONG LISTENED TO ) The Sea Shanty version of Nickleback’s Rockstar
NINE ( LAST SHOW WATCHED ) Ducktales, making Icons
TEN ( INSPIRATION FOR MUSE ) I could hear 91′s voice really well in my head, so I wanted to start writing him. I started as a mix of 2017 and 1991 as a human version, but people started flocking to me for the cartoon. 
ELEVEN ( MEANING BEHIND YOUR URL ) No real meaning. I just wanted something that would clearly be recognized as a darkwing blog, even if he wasn’t a duck. Once I made him a duck, the name just stuck
Tagged By: @bitofthisandthat
 Tagging: @moonmiissed, @the-perfect-scientist, @heroiic-pilot​
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thatsneakymedic · 3 years
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𝚃𝚆𝙴𝙻𝚅𝙴 𝙿𝙴𝙾𝙿𝙻𝙴 𝙸'𝙳 𝙻𝙸𝙺𝙴 𝚃𝙾 𝙺𝙽𝙾𝚆 𝙱𝙴𝚃𝚃𝙴𝚁
tagging: @platinumsharingan @super-kame-love @asaraltu @asagao-onna @mistysenbons  @hebi-no-onna @uchiha-madara @redlineoffate @siixpaths @kindandgentleolderbrother and you! 
tagged by: @sharkfinx  (thank you! :D ) 
ONE ( ALIAS / NAME ): Call me Vani 
TWO ( BIRTHDAY ): July 7th 
THREE ( ZODIAC SIGN ):  Cancer the Crab (my friend @super-kame-love told me that it must be the reason why I quite kinda understand Kabuto who is a Pisces. Fellow Water signs and all. He’s still an enigma though.)  
FOUR ( HEIGHT ):  5 feet.  (I’m short.) 
FIVE ( HOBBIES ):  Playing Video Games, Roleplaying, watching movies and shows, gardening, and learning and trying new things in my own time.  (still need to learn how to play poker, at least learn the Texas Hold Em Poker game which in Red Dead Redemption 2 I’m horrible at it. XD) 
SEVEN ( FAVOURITE BOOKS ): I read a lot of horror stories from books that have them all bunched up together from all authors old and new,  Aesop’s Fables, Dracula, Stories to Tell In the Dark Series, Dream books, Edger Allen Poe stories, The Outsider by Stephen King (neat book!) , and Mexican Folklore stories and ghost legends. 
EIGHT ( LAST SONG LISTENED TO ):  “Liar” by Seether  (gives me post war Kabuto vibes about him being forever not believed or trusted despite him changing his ways.) 
NINE ( LAST SHOW WATCHED ): Watched Naruto to get some icons for Kabuto. :3  (just know I tend to go icon hunting for peeps who need icons. )
TEN ( INSPIRATION FOR MUSE ): Well, a loooooong time ago, I was a simple OC blog that always wanted to rp with a Kabuto because one Kabuto mun helped introduce me to the rp world before having to leave Tumblr to start their own life. So as an OC, I tried to approach the back then active Kabuto blogs, but I was rejected by all of them for various reasons or some of them just left after a few months since Kabuto is a challenging muse to rp as, and then I became a Manda blog but it still had the same effect since it’s actually quite hard to rp a giant summon when there’s not much to do. So I was convinced by @kimimarothechosenvessel to start my own blog and after an awkward start and doing years of character examination, here I am and still going strong!  
ELEVEN ( MEANING BEHIND YOUR URL ):  The title speaks for itself. XD  Never quite was a fan of those super fancy names as I wanted something that was easy to put in a tag and easy to spell.  
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