• she/her

healthcare bureaucrat in philly, v adhd, orthodox jew, ect ect, im love my wife



numberonebug
@numberonebug

Kind of obsessed with how the cenobites are not really,, evil, they're just there, like a natural force. Very much so a "just what it says on the tin"

And like. For the very queer / degenerate coded characters to save a young woman from the embodiment of rape and abuse while being depicted as evil sex weirdos is,,, huh

I know it's a "the curtains are red because they had to be some color" thing and this probably is reading into it, but also,, what's more fun than being a slimy trans girl reading transness into horror stories


numberonebug
@numberonebug

Like. Yeah. Fags and such, by just existing, show people that they can create whatever dynamics and lives they want, we remind people that it (gender, sex that doesn't care about consent, family) doesn't have to be Like That. Our bodies are grotesque and our way of life confusing, and that's liberating even to people just coming to visit

Similarly the cenobites are just there. You have to work to find them and usually have to know what they are to open their door, and they just are what they say they are, and through being that a straight woman is able to have the only consentual romance in the movie, she's able to escape the men who ruin everyone else.

And the camera does everything in it's power to make them revolting and terrifying, innately so

Idk! It's relatable! I fuck with it haha


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in reply to @numberonebug's post:

nah i think the curtains are deliberately red, Clive Barker is not only gay but a lot of his fiction in fact deals w/ patriarchy and sexual violence and the weird positioning gay men can occupy in a patriarchal, sexually coercive society

like on some level it's a very galaxy brain read of his horror novels, esp. smth like Coldheart Canyon, but on the other hand, it's hard not to draw the conclusion, esp. when Coldheart Canyon ends the way it does (happily, in a pretty unexpected way).

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