Or: 3 weddings and a funeral. Weird things happen when you’re a celebrity. Mostly at conventions.
What is this, a crossover episode?
Two critically acclaimed shows about bitter, cynical people struggling towards redemption ended this week and, after watching them both, what stood out was how the ways the characters say goodbye to each other mirror how we as an audience say goodbye to them. Here be spoilers.
Vampires are a metaphor. What they’re a metaphor for – the parasitic aristocracy, predatory sexuality, Mormon celestial marriage – may shift with the anxieties of the era, but they always represent something.
When Sherlock Van Hellsing asks a cadaverous, sore-covered Jonathan Harker if he has had sexual intercourse with Dracula, you can only wonder if Moffat and Gatiss have made a horrific and tasteless AIDS analogy.
Continue reading “a completely objective and overarching ruling on the quality and value of bbcs Dracula based on watching one episode and then rage quitting”
Sometimes it’s hard to know where and when an idea that transforms your work – transforms your life, even – had its genesis.
Sometimes you can go back over your Google hangouts history and see exactly why you did that, laid out in black and white.
And then sometimes you decide it’s not embarrassing enough that you know; the rest of the world should know too.
Wuthering Heights is a gothic romance that stirs controversy as intense as Cathy and Heathcliff’s passion. Or so I spent almost thirty years believing. Then I sat down and actually read the damn thing.
‘It’s not really a romance!’ isn’t a fresh take, but it’s still shocking to see how utterly the pop culture narrative around the text has been distorted. The book might be a capital R Romantic novel but it isn’t a romance. Unlike the self-possessed Jane and moping Rochester from sister Charlotte’s magnum opus, Cathy and Heathcliff are fucking assholes and the only reason you want Cathy and Heathcliff together is so they’ll stop inflicting themselves on everyone around them. And then Cathy dies like halfway through the book and Heathcliff spends the next twenty years emotionally and physically abusing everyone around him including his wife, assorted children, and a puppy just for the hell of it. And he does it, not out of Rochester’s weakness and hypocrisy, but out of a clear-eyed determination to be an absolute fuckhead.
The Hark, A Vagrant strips aren’t comedic exaggeration, they’re just literally what happens in the book.
There’s a lot of good analysis out there about how people have confused romantic and Romantic, and about how something that would have been deemed ‘gothic horror’ when written by a man gets turned into a ‘love story’ when written by a woman, and how distilled and Hollywoodized movies have compounded the misconception. But some people have presumably actually read the book – hell, it’s required English lit in many schools – and I can’t FATHOM how anyone with a few braincells to rub together could read it and be like ‘awww, rootin’ for those kids! #relationshipgoals’
Jane Austen was certainly no fluffy bunny, but lumping this in the same category as her smart, charming, and equitable romances is like calling Cormac McCarthy family-friendly. The dead babies beg to differ.
A topical post about a game that’s been out for almost a year! But I’ve got the desperate urge to play it again and despite how fucking excellent this game is, the replay value is basically nil and I’m sad about it. I’ve also got the desperate urge to make more people play it (there’s only one fic on AO3 and that’s a goddamn tragedy).
This is an amazing game for people who don’t play many games (I know because I am one of them) – and it’s one where watching an LP can’t really replicate the experience of piecing the story together for yourself. If you love The Terror and internet speculation on the cascading mistakes that led to the Franklin Expedition’s awful fate then buddy, have I got a game for you .