resurrection dreams

Rapunzel was Raised to Not Show Physical Affection

We’ve all seen that Gothel makes Rapunzel come to her for hugs, but today I realized it goes deeper than that. Gothel doesn’t want Rapunzel showing physical affection unless she has been given specific permission. Opening her arms is that unspoken permission.

For example, towards the beginning, when she’s reminding Gothel that it’s her birthday tomorrow, she grabs her arm in exuberance. Gothel is put out and then pries Rapunzel’s hands off her arm, all the while pretending she doesn’t remember (or care) that her birthday - something Rapunzel is extremely excited about - is fast approaching.

She also uses Rapunzel’s need for physical affection, deliberately taunting and “teaching” her with it by pretending to offer it, then taking it away immediately.

The first bazzilionty times I saw this movie, I always assumed Rapunzel was relieved to see Gothel towards the end of Mother Knows Best just because she was scared.

But now I realize it’s not only because she’s scared, but because Gothel is now giving Rapunzel permission to seek the creature comfort of physical contact that she so desperately needs after the gamut of fear she’s run.

Eugene, on the other hand, starts showing physical affection as soon as he starts feeling any affection for Rapunzel at all. He uses it as a comfort. Yet Rapunzel keeps her hands to herself.

It continues when he gives her the little flag, touching the small of her back in an affectionate way. But her hands (and attention) are full at this moment.

In fact, the first time she realizes she’s touching him, and he’s touching her, and there’s affection and enjoyment buzzing between them, she’s the first to pull away.

She’s alarmed at first, then apologetic and sheepish. Sorry I was touching you, Eugene. And he politely takes a step back, tuned in to her discomfort and giving her a little more space.

But that is why the moment on the boat is so important, and why Rapunzel has the reaction she does.

In taking Rapunzel’s hand, out of the blue (as far as she can tell), it’s sending her a clear message that he feels the same about her that she does about him, and that physical affection is both alright and wanted. That he will seek out her attention in a way Gothel never has. And from this moment on, she touches him often, holding hands for the rest of the song, brushing his hair from his face as he lay dying, and never letting go of his head, even after he’d died in her arms. Not to mention kissing him when he lives again, holding hands on the balcony while they wait for her parents and end-of-movie smooching.

Movies feat. serial killers, spree killers, and other things like that

70 Movies (biographical and not) with serial killers characters.

*movies in italic are biographical movies*

*♥ = personal recommendation*

The Cabinet of Dr. Caligari (1920) ♥

M (1931)

Murders in the Rue Morgue (1932)

The Most Dangerous Game (1932)

Mystery of the Wax Museum (1933) 

Shadow of a Doubt (1943)

Arsenic and Old Lace (1944) ♥

Bluebeard (1944) 

The Spiral Staircase (1945)

Monsieur Verdoux (1947)

The Night of Hunter (1955)

The Bad Seed (1956) ♥

The Devil Strikes at Night (1957)

Psycho (1960) 

Keep reading

Final (Tangled Before Ever After)

Originally posted by littlehobbit13

It had very good parts and really eh no parts. A lot of it is funny. Rapunzel’s introspective scenes have heart. Some of it feels like Tangled. A lot doesn’t.

I blogged about the latter half posts ago, but I’ll reiterate:

1) Eugene tells Rapunzel that no one expects her to get into her princess role overnight even though it has been six months. Why does Rapunzel not know basic etiquette after six months? Isn’t being a fast learner one of her strengths in Tangled?

2) The show loses sense of Eugene in crucial areas:

*At the campfire in Tangled, he unveiled a fleeting moment of regret over choosing his thief career. While he makes an excuse for why he chose it, you can hear the shame in his voice, the tone that says, “I realize it’s wrong.” So, after shedding his alias, you would think someone who is returning to their genuine self would have moments of sitting in that regret and taking some responsibility for their mistakes. Instead, he calls himself “a misunderstood good guy” and proceeds to make excuses for his crimes in a manner “Flynn” would do; unlike the Eugene under those stars, he doesn’t see anything wrong with his old ways.

If not, then what is the point of him adopting new ones?

*Rapunzel is depressed because royal life has been her prison for what has technically been six months. She doesn’t tell Eugene this, who miraculously doesn’t understand why her new life, an existence which compromises her individuality and social freedom, is not everything she dreamed it would be. From his POV, she has a family, him, and luxury, so “what the heck?” While she never verbally says she longs to see the world despite that adventure-hungry expression he saw her wearing in the opening, he clearly knows she does. He tells her in this exact same convo that he’s been all over the world and nothing compares to what she has now, pretty much undermining the importance of her seeing that world with her own two eyes. No matter how tender he sounds, he is essentially saying her desire is unjustified because he’s already had 20+ years to travel and that gaining new experiences beyond her gilded cage isn’t relevant to her life.

This plot device doesn’t sell because:

A) Eugene has been living with her for six flipping months. He just helped her escape a grittier version of a sheltered lifestyle in Tangled. TBEA is telling us Rap had less than 48 hours to be her own individual with no rules for all 18 years and six months of her life, and you’re telling me Eugene is “oblivious” to her needs? And for six months? He claims that his 9-5 job is keeping an eye on Rapunzel, which should mean he has witnessed what she has been going through at some point in all of those six months. He can not be clueless to why she feels trapped (it’s in broad daylight). He would not tell her she doesn’t need to see the world after already being trapped.

B) Eugene understood that Rapunzel needed to get away from her first sheltered home environment, see the world for herself, and exercise her own agency in Tangled’s campfire scene. That’s why he softens up on showing her around Corona in the first place. They also have a clip of him showing her the world map to further drive this point home. He even makes a speech about Flynnigan Rider “going anywhere he wanted to go and doing anything he wanted to do” to tell us why he sought the global tourist life, too. Personal freedom and agency not only define Eugene’s role, they define his appeal.

Tangled’s directors basically said they are “well matched” because he’s seen everything and she’s seen nothing, which suggests that Eugene built up an innate drive to show her the world. One of the first things he ever tells her is that “a little freedom/rebellion/adventure” to get some distance between herself and her overprotective parent are all a healthy part of growing up.

TBEA omits this very foundation for no other reason than to feed Rapunzel’s drive to get away from the castle. The omission gives us an Eugene who is not in tune with Rapunzel, which is the same thing as him not being in tune with himself. While it makes sense for him to glorify his end of the new lifestyle, it doesn’t make sense for him to be this disconnected from her or his Tangled characterization.

In my head, I picture him wanting to talk to her father no matter how scary he is, because Rapunzel is suffering from a watered down readaptation of Gothel’s rules. Eugene not only knows what that looks like, he saw what that created: a naive girl who was 18 years behind in life.

Additionally, his ability to read her and other people like an open book was terrifyingly uncanny in Tangled, which also makes oblivious Eugene unconvincing. His reading skills are shown once but not in the department that really matters (Rapunzel’s heart). They pretty much deleted the whole point of their connection in favor of plot drivers. It’s an interesting relationship blockade, but it’s not Eupunzel relationship canon, and in the midst of it, TBEA fails to incorporate the benefits of Eugene’s con artist psychology.

Originally posted by nilladriel

*There’s a touch of flanderization in the comical relief department. Eugene’s immaturity is laid on thicker than I recall. The weird lack of togetherness (I thought he should’ve mentioned how “the story of how he died” was really the beginning of his and Rapunzel’s new lives together instead of bellowing, “heaven,” and the songs don’t give me a sense of taking on the journey together) makes him come off self-centered. To overcompensate for it, the show attempts to drop fluff to please some fans in the ship’s fanbase. The worst part is Cassandra goes out of her way to tell Eugene he’s being self-centered, as if to remind us that Eugene’s current perspective of Rapunzel’s feelings is more of a plot driver than a take on an in-character post-canon portrayal.

*Why is he so comfortable with proposing to Rapunzel if the king and some of the guests are sending “we don’t fully accept you yet, sonny” airs? 🤔 If canon Eugene sensed even the slightest ambivalence from her father, I don’t think he’d be confident about surprising Frederic. Wouldn’t he be respectful by giving Fred a head’s up?

*I also think it’s weird that he’s 26 and so romantically adolescent here. He is pushing an 18 year old girl who hasn’t even lived her life or grown up yet to marry him and settle down with him in a castle forever. I know Tangled implied that he was the jumper in the marriage field, but I don’t think he wouldn’t let her have a chance to live and grow first. If he was a Disney Princess this rushed attitude would get a lot of criticism and less, “aw, that’s cute.” I honestly thought canon Eugene would act like more of an adult about it by recognizing how much maturing Rapunzel needs to do because she’s 8 years younger than him and lived in a tower for 18 years, rational stuff that’s in your face. Rational stuff practical Eugene would say.

Originally posted by n-wordbelike

In conclusion, Eugene can have all of the feelings he has in TBEA while not being oblivious to Rapunzel’s. Like this: “This is what I want, but I totally get what she needs without her saying a word….yet that doesn’t change the fact that I feel this limbo inside because I want something different right now.”

2) Rapunzel’s King Triton daddy doesn’t match the man I saw tiny yet telling glimpses of in the movie or the short film; it’s easier to headcanon her mother as the matriarch. Again, withholding physical affection, pressuring her, suppressing her personality because she’s a princess without even doing it in a loving way (he makes her feel incompetent), letting his guests belittle her for being ignorant, and exuding this outright restrained exterior doesn’t make him seem like that sensitive, teary-eyed, bear-hugging king who had his daughter hidden from him for 18 years. It doesn’t make him seem like ANY father who just had their abducted daughter returned to them, actually. It reads like Rapunzel never went missing at all.

Originally posted by yourreactiongifs

He’s somewhat cold towards her and it’s uncomfortable. It’s a little silly that the reason why the king wouldn’t let her interact with villagers was because she was royalty, not because she had been kidnapped. That reason didn’t really become a reason until the end.

The ending of Tangled takes place after Rapunzel was returned as far as I am aware. The king lets her touch and mingle with everyone without chaperones or that strict “you are royalty” rule, so this REALLY doesn’t fit.

I was never keen on Rapunzel getting her hair back, but these eh’s are way too iffy for me to look past, especially because these flaws are what a gooood chunk of the plot revolves around to actually make a storyline. I’d be pretty surprised if a Tangled fan (especially a Eugunzel fan) called this flawless or something Tangled’s team would’ve written. The general plot about Rapunzel wanting more seems like something the Tangled crew would write, but not most of the execution or a lot of the characterizations (or the hair coming back, for that matter). This definitely feels like isolated TV canon to the point where I can kind of see why this series didn’t land an actual movie for the theaters.

The TBEA plot could work just fine with Frederic being a hugger. A dad who is very affectionately attentive towards a daughter he hasn’t seen for 18 years while still being dramatically overprotective (if not for the ending of Tangled showing how free Rapunzel was to interact with everyone, which I’m still led to believe was present tense footage with present-to-future narration from Eugene. Fred could still lock her in after the hair comes back, though). Eugene can still want to get married, romanticize his new security blanket, and feel impatient inside because Rapunzel isn’t on that level with him without being-out-of-touch with her need for agency or surprising Daddy Dearest with a proposal. He can, you know, have some forethought and maturity. Thus far, the project’s direction has a “because the plot demands it” syndrome, making me question what the point currently is if it’s going to rewrite some of the characters and themes just to make the plot function.

For @butterflydrming in case she wanted to know what I thought afterwards. 😉 I can understand why you’d leave TV canon alone. 😅

Don’t Let Your Spirit Wane | TAEYONG

Genre: domestic!au | angst | fluff

Member: Taeyong / Reader 

Word Count: 2,900

Warnings: language, self-deprecating thoughts, major character death

Important Note: inspired by Don’t Let Your Spirit Wane by Gang of Youths, for @cremethorns. the plot is not the most original, but i enjoyed writing it nonetheless

Keep reading

Wake me up with a kiss

The funeral cradles my heart in trace
I talk gibberish language locked in sleep
Fleeing vampires and spiders
Beg for resurrection
Dreaming endless nightmares
Wake me up with a kiss
I’m the 21 century Cinderella
Dreaming endless nightmares
On a bed of violets
Soiled sheets tangled on the floor
I found your soul hanging on the ceiling
I felt in love when I’s sophisticated but dead
And not even a stone or a rose is growing
On my embellished tombstone
Beneath the clouds taste the death of love in me

TVXQ - Yunho 《Drop》 English Translation :)


Drop it low
The future is behind the veil yet
Though I can’t see it yet

The era of furious life
The generation that inherited only parched land
We’ve turned a blind eye,
kept our mouths shut,
thrown courage to viciousness
And the consequence is
as we can see, as we can expect
Let’s bust it down, on this bare land
we’re starting from scratch once again


I don’t seek no more miracle
In the dust, like a prophecy, there’s an oracle
It gets destroyed to even a small sigh
It’s already crashed down, faith is wavering

Justice - the word
that appears only on textbooks
Most of us are dancing to the broken beat
You’re the truth I have thrown away
When on earth will you find me again?

I can’t explain hard this feeling
Feels like I’m wandering with no gravity
If a barren future is our heritage
We’ll break it down and start it all over


Are you dreaming of resurrection
under a nice disguise
looking for an opportunity? No
No more, drop it low
Please no, drop it low
No more, drop it low
Please no, drop it low

The stopped clock will eventually go its way
Watch me pioneer a different world
No more, drop it low
Please no, drop it low
No more, drop it low
Please no, drop it low


Don’t turn away no more, Critical
cuz it’ll become indulgences that turn into poison
The earth that disregard has created
The truth that there’s no shade I can rest in

I won’t, can’t fight this feeling
The regret that I should’ve done it at that time
Open the closed doors
Like a flowing river
find your place


Are you dreaming of resurrection
under a nice disguise
looking for an opportunity? No
No more, drop it low
Please no, drop it low
No more, drop it low
Please no, drop it low

The stopped clock will eventually go its way
Watch me pioneer a different world
No more, drop it low
Please no, drop it low
No more, drop it low
Please no, drop it low


It’s even more painful reality
But if we go beyond this mountain
someday we’ll reach
the ocean it’s alright for everyone to rejoice for


It started with candles
Emotion is not controllable, you don’t!
Don’t stop on the path to the future
Don’t enter another arduous path
If you miss this opportunity, it’s too hard to handle
To change the future
Now it’s my first action
My attitude


Are you dreaming of resurrection
under a nice disguise
looking for an opportunity? No
No more, drop it low
Please no, drop it low
No more, drop it low
Please no, drop it low

The stopped clock will eventually go its way
Watch me pioneer a different world
No more, drop it low
Please no, drop it low
No more, drop it low
Please no, drop it low

We create and are resurrected with our dreams. Our most beautiful dream is the blue sky; our most beautiful dream is the sea; our most beautiful dream is the bright starry night…

Il nostro sogno più bello è il cielo azzurro, il nostro sogno più bello è il mare,
il nostro sogno più bello è la notte chiara di stelle…
— Hermann Hesse

luxurypoetryarchive  asked:

I would be super jazzed if you could recommend your favorite cyberpunk/robotics books, please & thank you. Also, a reminder that you're a delight in case you misplace that thought.

wow sorry! I missed this b/c it showed up in the middle of my “sad and dying” portion of finals. (thank u for the message though; it lifted my spirits when I saw it :D)

I honestly don’t read a lot of cyberpunk/robotics books. There are a couple that are really great, but for the most part, the genre is too visual to work well as text-text (for me, at least). So… I’m just gonna recommend my favs from the genre in general.

traditional texty things

  • do androids dream of electric sheep? - philip k dick
  • neuromancer - william gibson (this book is the ur-cyberpunk novel & much else is a pale and inadequate imitation)
  • i, robot - isaac asimov (some of his novels are fun-ish, but really, go check out his roboticsy short stories & you will not be displeased)
  • gravity’s rainbow - thomas pynchon (kindof?)

comics **(comics have my favorite cyberpunk dynamics, tbh)

  • everything warren ellis has ever written
  • seriously though
  • transmetropolitan (LITERALLY MY FAVORITE)
  • global frequency
  • iron man’s extremis arc (it’s possibly better in the comics. fucking ellis)
  • doctor sleep (weird… weird… but fun)
  • some jhonen vasquez stuff? if you dig around? it’s more traditional sci-fi but there are strange cyberpunk-ish elements
  • fray (cool shit, man, cool shit)
  • eXistenZ (supposedly; I haven’t read/seen the movie version)


  • blade runner (THE BEST)(THE. BEST.)
  • 12 monkeys (bizarre but enjoyable)(more just—generally weird intense tech-stuff than cyberpunk? but similar vibes)
  • EVERYTHING TERMINATOR (sarah connor chronicles especially—I haven’t watched all of them, but what I’ve seen is glorious)
  • the fifth element (I need to revisit this but remember it being perfect)
  • DARK CITY (a film released at the same time as the matrix, subsequently ignored, honestly 10x better) (german impressionism influenced noir film)
  • gattaca (DO IT)
  • adaptations of PK Dick’s work are always… strange and interesting (so that’s like, the original total recall; minority report; a scanner darkly; some weird poorly-reviewed indie stuff etc)
  • Repo! the Genetic Opera (my relationship to this is love/hate bc the writer is a PIG who has zero understanding of what he could’ve done w/ the world he created)(and misogyny)(blatant undisguised misogyny)(but it could’ve been SO. MUCH.)
  • INVADER ZIMMMMMMM INVADER ZIMMMMMMM (you will not regret it)
  • dollhouse (man it has some flaws but in terms of cyberpunk content, political critique, & discussion of technological responsibility and possibility [THE cyberpunk heart] it’s dead on)
  • equilibrium (cool… not amazing… but food 4 thought)
  • also obligatory mention of the matrix (first film, u no the drill)


  • ghost in the shell (s1 anime)
  • GUNSLINGER GIRL <3 (borderline in terms of cyberpunk-ness but a little roboticsy?) (also, pls only watch s1)
  • akira (film… weird as all hell, but interesting)
  • steins;gate (I haven’t seen it yet but I am 100% confident it is perfect & perfect for this list [based on what I’ve heard of it from its recommenders])
  • cowboy bebop (I haven’t seen all of it and its classification as cyberpunk is iffy but I would feel wrong leaving it out of this list)

semi-recommendations for anime

  • ergo proxy has been recommended to me; I found it intriguing but not worth finishing (the translation I watched was ?????????)
  • serial experiments lain is, uh, kinda cyberpunk (in the japanese way where everyone is a machine and no one is real) but I’m not a huge fan—it’s just worth mentioning b/c some folks really enjoy it


  • david bowie’s outside album
  • shadowrun is a tabletop RPG that is 100% noir cyberpunk criminal shit, it’s phenomenal
  • warren ellis's vice column (x)

I haven’t read this but I’ve heard magnificent things & it’s gonna get read this summer: snow crash - neal stephenson

In ancient Rome, bay trees were believed to be immune from the strikes of lightning. The Roman emperor Tiberius always crowned himself with bay leaves during a thunderstorm.

Bay trees, seemingly withered and dead, can revive in vitality even after a protracted time, which led bay to be used at funerals as an emblem of resurrection. If your bay leaves withered upon your tree, it was an omen portending a death in the family.

The crackle of a bay leaf when thrown into a fire is a sign of good fortune. Bay leaves that burn silently mean bad luck. Bay leaves placed under your pillow will bring pleasant dreams.