hansel and gretel house

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A selection of Candice Tripp’s Houses of Horror (series 2)

Hill House in The Haunting (1963) by Robert Wise

The house in Henjel gwa Geuretel (2007) by Pil-sung Yim

Marsten House in Salem’s Lot (1979) by Tobe Hooper

Allerdale Hall in Crimson Peak (2015) by Guillermo Del Toro

The school bus driver’s house in Trick ‘r Treat (2007) by Michael Dougherty

Oskar’s house in Låt den rätte komma (2008) by Tomas Alfredson

Jay Height’s house in It Follows (2014) by David Robert Mitchell

Buffalo Bill’s house in The Silence of the Lambs (1991) by Jonathan Demme

The Brooklyn brownstone in The Sentinel (1977) by Michael Winner

The Vankek house in The Babadook (2014) by Jennifer Kent

Annie Wilkes’ house in Misery (1990) by Rob Reiner

Carrie White’s house in Carrie (1976) by Brian De Palma

Career goals: Become blatantly pandering “hip” “modern” version of the witch from Hansel & Gretel, with a house made out of avocado toast, luring millennials through the woods to my Pokestop. Push them into the oven after asking them to lean over to get a selfie with me. Before eating them, I Instagram my meal.

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‘Sgt. Pepper’ at 50: How a Corn Flakes Ad Inspired 'Good Morning Good Morning’

Today’s installment tells how John Lennon’s TV obsession led to the creation of “Good Morning Good Morning.”

John Lennon indulged in a myriad of mind-altering substances during the recording of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, but his drug of choice may have been television. “A couple of weeks of telly-watching is as good as pot,” he professed at the time to biographer Hunter Davies. “I think a lot when I’m watching telly. It’s like looking into the fire and daydreaming. You’re watching it, but your mind’s not on it.” After the band vowed to abandon live performances in the fall of 1966, Lennon relied on TV and drugs to fill the enormous void left by the absence of the Beatles’ extensive concert schedule, which had provided structure to his life since he was barely out of his teens. “I didn’t know what to do,” John remembered shortly before his death in 1980. “What do you do when you don’t tour? There’s no life. What the hell do you do all day?”

His days were spent mostly horizontal at Kenwood, the 27-room luxury estate he shared with his wife Cynthia and three-year-old son Julian in the staid upper-class London suburb of Weybridge. He’d never been happy in the area, consenting to move there in 1964 at his accountant’s suggestion (Kenwood was the third house they viewed). “Weybridge won’t do at all,” he told journalist Maureen Cleave two years later. “I’m just stopping at it, like a bus stop. Bankers and stockbrokers live there; they can add figures and Weybridge is what they live in and they think it’s the end, they really do. I think of it every day – me in my Hansel and Gretel house. I’ll take my time; I’ll get my real house when I know what I want. … You see, there’s something else I’m going to do, something I must do – only I don’t know what it is.”

The constant motion of Beatle business had provided a long-term distraction, and now the downtime forced Lennon to confront the day-to-day realities and responsibilities of being a husband and father. Seemingly overnight, his self-styled existence, steeped in excitement, privilege and fierce individuality (not to mention fan worship on a colossal scale), had been replaced by a stodgy life he barely recognized. For everything he had achieved, for every wild childhood dream that had miraculously come true, Lennon still wound up trapped in the same cozy suburban haze he had often railed against.

Depressed, he dealt with the letdown by escaping into his mind at every opportunity. “If I’m on my own for three days, doing nothing, I almost leave myself completely. I’m just not here,” he told Davies. “I’m up there watching myself, or I’m at the back of my head. I can see my hands and realize they’re moving, but it’s a robot who’s doing it.” This sensation was no doubt aided by the mortar and pestle he kept nearby to mash together a dizzying array of pharmaceuticals onto one unpredictable mega-pill.

Cynthia grew distressed at how distant, apathetic and inert her rock-star husband had become. “When he was at home, he’d spend a lot of time lying in bed with a notepad,” she later said. “When he got up, he’d sit at the piano or he’d go from one room to the other listening to music, gawping at television and reading newspapers. He was basically dropping out from everything that was happening. He was thinking about things.” His estrangement from reality was so total, he often asked incoming phone callers, with genuine interest, what day of the week it was.

The songs Lennon wrote in this period are all meditations on the mundane; a child’s painting (“Lucy in the Sky With Diamonds”), a poster in his living room (“Being for the Benefit of Mr. Kite!”), a newspaper (“A Day in the Life”), all drawn from within the four walls of Kenwood. Another is “Good Morning Good Morning,” which owes its existence to his love of television.

“I often sit at the piano, working at songs, with the telly on low in the background,” he explained to Davies. “If I’m a bit low and not getting much done, then the words on the telly come through. That’s when I heard 'Good morning, good morning.’ It was a Corn Flakes advertisement.” Kicking off with a pastoral rooster crow, the irrepressibly peppy jingle chirped out from the set: “Good morning, good morning!/The best to you each morning/Sunshine breakfast, Kellogg’s Corn Flakes/Crisp and full of fun!” The tune was at the same time annoyingly chipper and chillingly lobotomized. In other words, it was the perfect soundtrack to his world at Kenwood.

Inspired by his total lack of inspiration – which had previously triggered the Rubber Soul track “Nowhere Man” – he began to write. Words of bland domesticity tumbled out: “how’s your boy been, going to work, heading for home, time for tea.” “John was feeling trapped in suburbia and was going through some problems with Cynthia,” Paul McCartney confirms in his biography, Many Years from Now. “It was about his boring life at the time. There’s a reference in the lyrics to 'nothing to do’ and 'meet the wife’; there was an afternoon TV soap called Meet the Wife that John watched, he was that bored, but I think he was also starting to get alarm bells and so, 'Good morning, good morning.’”

On December 12th, 1966, Meet the Wife aired an episode entitled “This Christmas, Shop Early,” chronicling holiday shoppers frantically making their last-minute gift purchases. The plot may very well have inspired the line that immediately preceded the reference to the show: “People running round, it’s five o'clock, everywhere in town is getting dark.”

It’s a rare active moment in a song packed with boredom that borders on nihilism. The word “nothing” appears eight times in the two-minute, 41-second track, and each verse ends with the assertion that the narrator has nothing to say, “but it’s OK.” For someone who strenuously avoided writing “fiction” songs in the vein of McCartney’s “Eleanor Rigby,” “Lovely Rita” or “When I’m Sixty-Four” (“He makes 'em up like a novelist!” Lennon once marveled), “Good Morning Good Morning” can be read as a revealing confession of complete and utter apathy. “Nothing to do to save his life,” the opening words, ring out like the final gasp of a man surrendering to daily claustrophobia.

But one brief line may offer a glimmer of hope. Author Steve Turner observes that the lyric “You go to a show, you hope she goes,” may be a reference to a woman Lennon had recently met that November at an art exhibition: Yoko Ono. Though it’s pure speculation (and likely that she hadn’t captured his imagination just yet), Lennon’s involvement with Ono meant that his days adrift in a sea of domesticity at Kenwood were numbered.

(X)

you know that one ending where sans and papyrus move in with toriel in the ruins and papyrus says he’s gonna be a great mom to all the humans that’ll fall

that one’s my aesthetic

imagine toriel giving papyrus mom-lessons. she teaches him how to feed a human, how to put a human to sleep, how to heal a human, how to play with a human,,,

imagine him and sans wearing robes with the delta rune just like toriel does

imagine falling into the underground and being greeted by papyrus. he’s been waiting next to the flowerbed every day for 3 years bc he wants to see another human

imagine papyrus freaking out because toriel and sans don’t seem to have the ability to shut up with their stupid puns. i mean, papyrus likes puns too, but his are actually clever!!!

imagine toriel and papyrus yelling at sans because he leaves his socks everywhere

imagine getting lost in the ruins, and then you see a trail of socks leading back to toriel’s house. like the breadcrumbs in hansel and gretel. 

imagine papyrus teaching toriel how to karate chop the vegetables when they cook, because that’s what undyne taught him how to do it. toriel rolls up her sleeves and punches the carrots so hard that the counter breaks. papyrus is impressed and goat mom is strong 

imagine sans teleporting back to snowdin from time to time even if he knows he’s not supposed to, bc he just has to go to grillby’s. i mean, what are the dogs going to do without him? they need to be pet and play fetch and someone has to feed them food from the table. it’s basically his duty to make sure they keep being “good boys”

Quotes from INTJ Characters

ISFJ | ENTP | ISTJ | ENFP | ISTP | ESTJ | INTP | ESFP
INFJ | ESFJ | ISFP | ESTP | ENFJ | INFP | ENTJ

I’m okay with anything as long as it doesn’t harm me.
Kyoya Ootori, Ouran High School Host Club

What do you mean? Do you wish me a good morning, or mean that it is a good morning whether I want it or not; or that you feel good this morning; or that it is a morning to be good on?
Gandalf, The Lord of the Rings and The Hobbit 

One decision does not define a man.
Marcus Kane, The 100

Love, passion, why do we get caught up by such troublesome feelings? The mind couldn’t ever get things straight, and you lose control to know what is sensible. Deep down it’s all so vexing.
Usui Takumi, Maid-Sama

If you seem slow to me, Sherlock, can you imagine what real people are like? I’m living in a world of goldfish.
Mycroft Holmes, BBC Sherlock

If I was him I’d worry less about the Gods, and more about the fury of a patient man. And as well you know, I can be very patient.
Ragnar Lothbrok, Vikings

A perfect plan doesn’t mean having everything go within expectations. A perfect plan is achieved when it has the plasticity needed to flexibly deal with troubles.
Makishima Shougo, Psycho-Pass

Well, it may have escaped your notice, but life isn’t fair.
Severus Snape, Harry Potter

Psychopaths are not crazy; they are fully aware of what they do, and the consequences of those actions.
Dr. Hannibal Lecter, Hannibal

Everyone’s a whore. We just sell different parts of ourselves.
Thomas Shelby, Peaky Blinders

I am not a good man! And I’m not a bad man. I am not a hero. And I’m definitely not a president. And, no, I’m not an officer. Do you know what I am? I am an idiot with a box and a screwdriver.
Twelfth Doctor, Doctor Who

You’ll never get what you want if you’ll always let people step all over you. 
Plankton, Spongebob Squarepants

When I see what desire does to people, what it’s done to this country, I am very glad to have no part in it. Besides, the absence of desire leaves one free to pursue other things.
Lord Varys, Game of Thrones

My whole life I’d been teased for my six fingers. But that got my thinking about anomalies: things that were odd, unusual, statistically improbable.
Ford Pines, Gravity Falls

Reality is almost always wrong
Doctor Gregory House, House M.D.

I’m good at reading people. My secret, I look for the worst in them.
Elliot Alderson, Mr. Robot

I recognize the council has made a decision, but given that it’s a stupid-ass decision, I’ve elected to ignore it.
Nick Fury, Marvel Cinematic Universe

Sometimes the only sane answer to an insane world is insanity.
Fox Mulder, The X-Files

I’ve tried to live a life of logic and emotion… but, slowly, from the knot in my stomach… I begin to feel I’m playing the fool.
Batman “Bruce Wayne”, DC

But you can sure as hell decide to be miserable. Is that what you want?
Alice, The Magicians by Lev Grossman

Sorry, I’ve gotten used to wearing “trousers of the mind.”
Howard, Fresh Meat

I just realized; maybe it’s maturity or the wisdom that comes with age, but the witch in Hansel and Gretel, she’s very misunderstood. I mean, the woman builds her dream house, and these brats come along, and start eating it.
Miranda Hobbes, Sex and the City

Passion…it lies in all of us. Sleeping, waiting, and though unwanted, unbidden, it will stir, open its jaws, and howl. It speaks to us, guides us… passion rules us all. And we obey. What other choice do we have? Passion is the source of our finest moments; the joy of love, the clarity of hatred, and the ecstasy of grief. It hurts sometimes more than we can bear. If we could live without passion, maybe we’d truly know some kind of peace. But we would be hollow. Empty rooms, shuttered and dank… without passion, we’d truly be dead.
Angel, Buffy the Vampire Slayer

Is it murder if they were my own clones? I’m seriously asking.
Dr. Krieger, Archer

Vision? What do you know about my vision? My vision would turn your world upside down, tear asunder your illusions, and send the sanctuary of your own ignorance crashing down around you. Now ask yourself, are you ready to see that vision?
Huey Freeman, The Boondocks

Before the heart of truth there is no need for words.
Nico Robin, One Piece

Which is the real man, the beast or the angel?
Dr. Henry Jekyll, Penny Dreadful

We’re all put to the test… but it never comes in the form or at the point we would prefer, does it?
Charles, The Edge

I am the one thing in life I can control. I am inimitable. I am an original.
Aaron Burr, Hamilton: An American Musical

The Cure

You could say that I had a rough life.

My mom died. My dad was alcoholic and whacked me around. The boyfriend I had in highschool promised me the moon until he got me pregnant. Then those promises were quickly forgotten. I had to drop out. Became a waitress. Waited tables all day to come home at night to a cold one bedroom apartment. It was just me and Jessie. Life was dull and gray. Any dates mysteriously became busy once they realized I had a kid. Bills piled up. Nothing felt good anymore.  

Then Paul came into my life.

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One Summer, three best friends, a fortune teller and a mysterious new arrival in town.

I Can See Clearly Now

“I can see clearly now the rain is gone, I can see all obstacles in my way.”

June 19 - Virginia

Looking back, Caroline blamed her unexpected discovery on boredom that summer. The temperature had hit a stifling 103 degrees mainly due to low cloud cover containing the heat and the girls piled into the car headed for the cool sanctuary of the movie theatre to catch the latest Nicholas Sparks adaption. 

Well, that’s what Bonnie and Caroline wanted to see. Katherine on the other hand preferred a lot less mush, as she liked to put it, and a lot more violence. Knowing her dogged determination, Caroline knew this was going to be a difficult argument to win.

They’d been best friends since they were six. Class bully Jimmy Johnson had been teasing Bonnie mercilessly and one day went too far, earning himself a smack from both Caroline and Katherine. The girls still maintained that their ‘time out’ punishment was more than worth it to see him return to school with two very attractive, black eyes. After that he’d never messed with Bonnie again.

Now here they were about to embark on their Senior Year of High School. All Caroline had ever wanted was to leave Mystic Falls but even now she was beginning to feel nostalgic for the only place she’d ever called home. Not to mention her best friends. They’d chosen not to discuss their plans for the following year, too scared to contemplate separating.

“Um, last time I checked the cinema is in that direction, Katherine,” Bonnie gestured behind them.

“Who needs GPS when I have Bonnie Bennett barking directions at me from the backseat.”

“Well, she does have a point, Kat,” Caroline chimed into the conversation. “Surely the prospect of Nicholas Sparks isn’t bad enough to make you drive in the complete opposite direction.”

“Ah yeah he is, that Notebook movie you guys made me watch has scarred me for life.”

“It’s okay, we promised not to tell anyone you cried,” Bonnie mused.

“There was something in my eye, I told you that,” she shot back. “Anyway, I just thought we could do something a little different today. You know given it will be our last high school summer and all.” The dread lingered between them for a while, each girl feeling the overwhelming sadness that came with that very fact.

“I’m almost afraid to ask,” Bonnie murmured, finally breaking the silence.

“You’ll love it, trust me.”

“The last time she said that I ended up dancing on the bar at the Mystic Grill in a tequila fuelled haze,” Caroline recalled.

“And look how much fun you had. Well, you know after the hangover subsided.”

“And the subsequent grounding from the Sheriff. Katherine, she was this close to pressing charges against her own daughter for public drunkenness.”

“Yeah those were good times,” Caroline drawled, raising her eyebrows. “Please tell me this little surprise doesn’t involve illegal activity of any kind?”

“You two really are boring,” she muttered, checking out her appearance in the rearview mirror. “But no this isn’t illegal, well not that I know of anyway. If I’m being honest, I’m not completely across the laws in Maryland.” The girls were rendered speechless just as the ‘Thank you for visiting Mystic Falls’ sign rushed past their windows.

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Above: Sally Hardesty, archetypal fairy-tale heroine from The Texas Chain Saw Massacre, lost in the fairy-tale forest.

Like many horror films, the basic narrative structure of The Texas Chain Saw Massacre has elements in common with a number of popular fairy tales. It is not difficult to spot structural parallels with “Jack and the Beanstalk” (the ascent into a secret world, ruled by a ogre; the descent back into the “real” world at daybreak, given chase by an axe-wielding giant); “Goldilocks and the Three Bears” (the golden-haired girl encountering a bestial family sitting around their table at dinner); “Beauty and the Beast” (the beautiful daughter “stolen” by the ugly beast and dragged off into his own world); “Bluebeard” (the “dreadful room” with its terrible secret); “Little Red Riding hood” (the girl lured into the house by a monster in disguise); and, perhaps most of all, “Hansel and Gretel” (children lost in the woods, stumbling upon an attractive house owned by a cannibalistic brute, who kidnaps them and attempts to use them for food).

Other key elements of the film’s structure incorporate a number of random fairy-tale symbols and motifs: the forest, the broomstick, the woodcutter’s ax, lost children, the child in a sack, the bucket, the dinner table, the farm, cows, chickens and pigs, the giant, grandparents, the disguise, the “escape” back into the “real world” at sunrise…

The fairy tale is controlled by a mythic order and a ritual narrative script. The story of “Hansel and Gretel,” for example, embodies the child’s anxieties about abandonment, separation anxiety, being deserted or devoured, suffering from starvation or being punished for oral greediness. But the children are victorious in the end, when Gretel achieves freedom and independence for both, and the witch is utterly defeated. By embodying the child’s anxieties, fairy tales help him or her to understand and overcome these difficulties, as well as to come to terms with Oedipal tensions within the family by separating and projecting various aspects of the child’s own personality and those of, for example, his or her parents into different characters in the story… Most horror films share the positive, pragmatic function of the fairy tale in that–when they do allow unconscious material to come to awareness and work itself through in our imaginations–its potential for causing harm is greatly reduced. As with the fairy tale, the traditional horror film generally works to serve positive acculturating purposes.

Tobe Hooper’s classic piece of cinéma vomitif inverts this mythic order and upsets the ritual narrative script–and on a cosmic level. The inverted fairy tale narrative is not simply a tale of personal tragedy; rather, like all fairy tales, it works to universal dimensions. This apocalyptic sentiment is suggested first by the film’s “documentary” aspect. On one level at least, the film is meant to be approached as a “true story” and has many stylistics of the documentary, such as the opening “explanation” and the specification of an exact date printed on the screen (August 18, 1973)… The Texas Chain Saw Massacre is compelled to repeat a fixation on a nonregenerative apocalypse, an end to history, a cosmic destruction ultimately denied by the film’s ending. Sally’s escape, however, is not a forestalling of the apocalypse, but simply a postponement of the end of the ritual violence. Her escape signifies a return to the cycle of horror, never to be redeemed by any sense of an ending.

- Mikita Brottman, Offensive Films: Toward an Anthropology of Cinéma Vomitif

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Hansel and Gretel Illustrations :)

I’ve made these for my girlfriend’s Monograph - who has done an awesome job, by the way!

I’m really enjoying to work with this child book style.
Would be a blast to work with some children’s books in the near future.

And I’m also really excited about the Procreate app for the iPad, where I’ve done the sketches for the final illustrations.