Vial of Poison by Iren Horrors
This artist on Instagram // Society6
chaamal - “Stalker”
by Roberto Toderico
Hey friends, we're really low on food so if anyone is interested in a Tarot, Oracle, or Pendulum reading, please let me know!!
✨ Tarot: $8
✨ Oracle: $7
✨ Pendulum: $5
We just really need to get stuff for the kids to take to school for lunch since the school lunches make them sick. Also, check out the Etsy!! Thank you for reading!! 💖
Cashapp • Paypal
NEW ON MOONLIGHT GOBLINS 💀
Find here on Etsy.
Ray Buckland - Ancient & Modern Witchcraft - HC - 1970
Vincent Price - A Coven Of Witches Tales
Halloween Season: Vincent Price
Phillip Cooper, Basic Sigil Magic
BLOGTOBER 10/2/2022: THE VVITCH/THE WITCH/WHATEVER (2015)
I might admit up front that I chose this movie just to be contrary. It's a great piece of work, don't get me wrong, but people talk about Robert Eggers' feature film debut THE WITCH like it will scare you so badly you'll never come back from it, and I'm just not sure where that comes from. It is beautiful, intelligent, and finely stylized, but as far as delivering primal fear, it's in a category with Jack Clayton's THE INNOCENTS of films whose towering reputation for terror I'm somewhat baffled by. Maybe there is a question to ask here, not about how well things are done, but about what in a movie is meant to scare you.
Eggers' meticulously constructed period fable concerns a family of early American Puritans who have been spurned from their community for what one senses is too much dogma. This already frightening proposition is compounded by their new environs, an impossibly remote clearing in a shadowy, primeval forest into which the children are forbidden to venture. No sooner have they established themselves, than their baby inexplicably vanishes while in the hands of eldest child Thomasin (Anya Taylor-Joy). This blow to the family's unity plucks at further loose threads, as innocent secrets and lies within the group are mistaken for devilry, and naturally the lion's share of suspicion falls on the teenage daughter. The situation is a familiar one, and it's easy to imagine the family tearing themselves to pieces over this mutual mistrust that is buttressed by religious conviction and superstition; however, it is simultaneously true that there really is a witch in the woods, perhaps many, orchestrating the dissolution of the family. It's just apparent that they didn't have to work so hard to wreck these people's lives; they're ready to do that on their own.
THE WITCH is largely a showcase for the exemplary performances of the ensemble—I'd say particularly that of 13 year old Harvey Scrimshaw, who was roundly snubbed for awards by everyone other than a couple of regional film critics' associations, and I think that's bullshit. But ahem anyway, it's important that Eggers doesn't rest on the hoary old laurels of human folly, prejudice, and paranoia: a recipe often done well, but to death. THE WITCH wouldn't be what it is without the literal witches, not just to spice things up aesthetically, but to introduce genuine moral confusion. Thomasin is trapped in a joyless world where her father (Ralph Ineson) hides personal weakness under religious bluster, her mother (Kate Dickie) channels her jealousy of her ripening teenage daughter into all manner of suspicion, and her nearest suitor is her lonely, confused little brother. The religion that is supposed to focus and fortify them does just the opposite, adding to the pain of the loosing the baby the agonizing belief that the unbaptized child's soul now suffers eternally in Hell. Things like humor and actual child's play are easily mistaken for blasphemy and demonic interference, and even the father's devotion to what he believes is the one true gospel is something that separates the family from society, and from direly needed material resources, leaving them stranded and starving. Christianity has done nothing but deprive and alienate these people, which tends to make the way of the witch seem like a liberating, protofeminist option. However, these witches are unambiguously evil, baby-eating slaves to Satan, and their rites so closely resemble what you would find in the Malleus Maleficarum that they are unmistakably the damned, and not enviably empowered avatars of grrl power. So, Thomasin's choice isn't much of a choice; it seems that the high ground is only reached by allowing her family to martyr her, which the compassionate viewer would understand is not an option for a child who isn't hellbent on sainthood. So, THE WITCH is special in that it isn't a parable of human moral failure like THE CRUCIBLE, and it isn't a women's lib allegory either; it's a film in which the Puritan point of view is a legitimate reality, in which one lives a hellish earthly existence, or is delivered to Hell thereafter. In spite of what I said at the top, that's a pretty frightening scenario.
It's apparent that Ellie Granger and Lucas Dawson, playing the young twins, think they're in a really fun movie. This is patently hilarious.
I do find THE WITCH more frightening in theory than in practice, though. It has wonderful scenes of monstrous mayhem, mostly courtesy the fabulously nude Bathsheba Garnett, and I don't deny their special thrill, but I think that in order to find them really soul-shaking, you might have to have an onboard fear of old ladies—and especially old ladies who are the opposite of maternal. Horror is as often dependent on social mores as it is on primal psychological content; for instance, it may be that the aforementioned THE INNOCENTS doesn't frighten me, in part, because I am not particularly affected by morally ambiguous moppets; that is, I don't have a strong personal investment in the alleged innocence of children. Similarly, using Mme Garnett's naked body as a horrific spectacle (even aided as it is by cinematographer Jarin Blaschke's richly developed atmosphere) suggests that there is something inherently horrifying about aged (and therefore barren, perhaps) women. The Witch's alternate form, Sarah Stephens, is young and vivacious, but her sensuality overflows to the transgressive excess of child rape, in an especially twisted expression of the societal fear of female sexuality. What I mean to say is that THE WITCH works best if you, personally, find it threatening when women take their own desires in hand, or if you, personally, worry about women whose lives are not ruled by a self-sacrificing devotion to the care of children. These are enduring themes in horror; I can point to the recent example of Ti West's X, which expresses such fears in a villainess who is geriatric, violently horny, childless, and dangerous to the young. The same cultural anxiety is at the heart of the notoriety of women like Casey Anthony, Lori Vallow, and Jodi Arias; they aren't simply criminals, but bad mothers, and bad wives and girlfriends whose taboo-smashing behavior seems to disturb the public more than their violence on its own. Not to risk uplifting such women as feminist icons, but I believe the public reaction to their specific crimes stems from the same collective fears that are hyperbolized in THE WITCH as radically anti-social forms of monstrosity. And to folks who have trained themselves to judge every movie through the lens of social justice—say, by labeling everything either feminist or misogynist—I might offer this film as a useful exercise in using art to interrogate different sociopolitical attitudes. You don't have to simply condone or condemn a work based on whether it offers a vision of the civilization in which you'd like to live.
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50 Journal Prompts for Demon Workers and Demonolaters
Do you have a patron demon or a demon you work with particularly closely? Who is it and why?
Who are the demons you work with and what is their role in your life?
Do you consider demons to be deities and why yes or not?
Are there any demons you have never worked with but feel a pull towards? If yes, who are they and why them?
Write thank you notes for the demons you work with.
Do you consider yourself to be worshipping the demons in your life and why yes or no?
What demon would you like to learn more about and why?
What are your favorite demon characters in fiction and why?
Write a demonic prayer.
What things about working with demons bring you joy?
How has working with demons helped you?
What things about working with demons do you find challenging and why?
Write a poem about a demon.
Many would rather avoid demons. Why do you work with them of all spirits?
What offerings do the demons you work with enjoy?
Have demons helped you work through some fears or anxieties? If yes, how?
Do you consider shadow work a part of your demonic practice? Why yes or no?
What misconceptions do people have about demons?
Describe an underappreciated demon or more.
How do you feel about angels?
How can you fight the far right presence and ideas in the occult community?
What do you think more people should understand about demons and working with them?
Do you use blood in your practice? Why or why not? If yes, how? (please don’t use blood if you’re not an adult who knows what they’re doing)
If a person is about to make a pact, how do you think should they approach it to be responsible?
If you are interested in Lilith (or any closed figure), what are the qualities of her that speak to you? What open figures with those qualities could you explore in your practice instead? Research if you don’t know.
Write down your activities, hobbies and studies/work alike, and try to find and list demons that are or can be associated with them.
Do you consider yourself a pagan? Why or why not?
Describe your perception of Satan.
How do you interpret the aristocratic titles in demonic hierarchies? What do they mean, do you think it’s something to be taken literally? Where do you think they come from?
Your thoughts on Hell.
Describe a favorite story about demons.
What are your favorite depictions of demons in visual arts?
Do you think demons are fallen angels? Why or why not?
Research some demonic folklore and write about interesting things you have learned.
Do you think you can work both with demons and angels? Why or why not?
What do you find challenging about demonic practice?
Describe an interesting folk demon, if possible local.
Were you ever afraid of demons and interactions with them? If yes, how did it change?
What changed in your perception of demons since you have started working with them?
Research and describe a demon you have not paid much attention to.
Describe a meaningful experience with a demon or demons.
What ethics do you have in your practice?
What things have you learned from demons?
Do you have any songs you associate with demons you work with? If yes, list them.
What things about demons have surprised you?
How do you communicate with the demons you work with? What methods of communication work well for you and which do not?
Do you have some anxieties connected to your practice? If yes, what they are and what do you think is their source?
Would you like to change something about your practice? If yes, what is it and how can you do that?
What texts do you find inspiring or informative when it comes to working with demons?
Do you have some plans for your demonic practice? Some things you would like to learn or do? What are they?
Life advice for sun in 7th house natives WITH EMPTY 1ST HOUSE
Sun in 7th house people sabotage their lives so much. I am speaking for the natives with an empty 1st house and sun in 7th house. Sun is your ego, identify and self esteem. When sun is in your 7th house and there is no planet in the 1st house to give you a "sense of self", sun from descendant will project its traits on other people.
These natives can see their own traits in other people and especially the insecurities. They tend to see their own insecurities in others, whether the others realize it or not. It makes them flinch and cringe. Since they are aware of their insecurities and also see them in other people, they tend to sabotage themselves based on their insecurities.
Sun in 7th house with empty 1st house weakens the self confidence of the native. They tend to base their self esteem on other people's opinions of them and are super pleasers. They also tend to have arrogance and ego in their personality traits. They seem to want high respect and status in society. In relationships, they might suffer with ego issues and who's the better/smarter/more successful/more talented person issues.
Life advice is to
Accept your insecurities and inferiority complex
It is okay to have insecurities. Insecurities are just feelings. Accept them and move on
Control your arrogance that wants to have it all. You're not special. You're just deeply self conscious
People do have similar traits as you. Accept them and accept yourself
Curb your inferiority. Your father figure probably never saw you the way you are. He likely misunderstood you or had his own mental image of you or could not see your personality as real. So as an adult you feel deeply insecure of your real personality and want attention, recognition, validation from everyone. Arrogance is a mask for inferiority. What are your inferiority signs? Recognize them and heal them.