hi kristina, any vintage horror movie recs? smoking a cig tonight for u <3
hi lovely yayyyy no particular order these are just some of my faves
opera (1987)
lo squartatore di new york (1982)
profondo rosso (1975)
la llorona (1933)
daughters of darkness (1971)
lisa e il diavolo (1973)
kaibyô nazo no shamisen (1938)
the old dark house (1932)
alucarda (1977)
the transgressor (1974)
sleepaway camp (1983)
martin (1976)
lisa, lisa (1974)
cat's eye (1985)
prom night (1980)
prom night 2 (1987)
eyes without a face (1960)
veneno para las hadas (1986)
cat people (1942)
hasta el viento tiene miedo (1968)
un bianco vestito per marialé (1972)
he lives by night (1982)
la dama rossa uccide sette volte (1972)
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Finding "the meaning" to a show that could have had up to five or seven seasons but was cancelled after the second is somewhat like trying to understand a novel composed of seventy chapters by having read only twenty — there is a whole wealth of information which we do not possess that could alter our reading of any given element or of the entire thing in itself.
Still, there are always patterns that weave a story into a cohesive unit and they can help us to better grope in darkness towards comprehension. One such pattern in Warrior Nun appears to be how the consequences to mistakes, "sins" or evil deeds committed by characters manifest.
Basic storytelling usually requires characters to act on something so that complications or resolutions may arise from their choices and move the plot forwards. In Warrior Nun, many of these actions are quite tragic in nature: Suzanne's arrogance and pride lead to the death of her Mother Superion; Vincent's allegiance to the higher power he believed Adriel to be inspired him to kill Shannon; Ava's flight from the Cat's Cradle ends up damning Lilith as she is mortally wounded and taken away by a tarask... All of these events have negative outcomes and heavy repercussions on all characters directly or indirectly involved. Something changes permanently because of them, be it in the world around them or within the characters themselves.
And yet, it would seem that all of these dark deeds not only move the story forwards but might also have overall positive results. We would have had no protagonist without Ava — and she would arguably never have received the halo to begin with had she not been murdered. What's more, on a personal scale, the horrifying crime she suffers is, in the end, the very thing that allows her a second chance in life, a new life.
An act of outside evil permits Ava to grow and develop, shows her a path she would not otherwise have found. Without her own season in some sort of hell, Lilith would not have been able to advance towards other ways of being and understanding beyond her very strict limitations. Vincent and Suzanne would not have embarked on their own journeys of enlightenment without having caused the pain they are responsible for.
Beatrice might have been paying for someone else's mistakes, but she, too, is given the chance to grow into herself through it. The afflictions that torment these characters advance the overall plot, but they also advance them, as individuals, as long as they are willing to learn and keep going despite the calamities large and small that they are faced with. Beatrice keeps going after parental rejection, Mary keeps going after losing Shannon, Jillian keeps going after losing her son (in part through her own actions, adding insult to injury)... Trouble and the adaptation that follows it, if one is open enough to learn from the experience, motivates the characters, propels them forward, teaches them.
The problem of evil has occupied the minds of many a thinker throughout the ages, given how the very existence of it, evil, might call into question that of God (a good, omniscient, omnipotent one, anyway). A common way of justifying suffering (and also God), then, is by claiming, as Saint Augustine, that "God judged it better to bring good out of evil than not to permit any evil to exist".
Now, it would be rather ridiculous to say of Warrior Nun that it follows in Leibniz's footsteps, also because this philosopher, expanding on the augustinian concept, attempted to defend the goodness of a real God with his "best of all possible worlds" while all we have is... Well, whatever/whoever Reya is.
But there seems to be an inclination towards some sort of optimism as a worldview nonetheless.
Betrayals reveal truth and grant knowledge (Vincent's culminates with the coming of Adriel, which allows us to know of the threat of a "Holy War" and thus prepare for it; Kristian's gives Jillian much needed insight, William's lights up the fuse for the fight to be taken more seriously...), crimes committed willingly or not open the way for Ava (Suzanne's killing of her Mother Superion causes the loss of the halo, which is transferred to Shannon, whose death opens the gates for Ava to walk through after being herself murdered by sister Frances)... The magnitude of these positive outcomes is perhaps not "balanced" when compared to the evil that brings them about, but there is still something to take out of the catastrophe.
However tragic the tones of a given event, the show itself appears to shun the predetermination that makes tragedy as a genre; if everything is connected, here it at least appears to not necessarily drag everyone into their horrible dooms.
What's more is that this lurking "optimism" matches really well with our own protagonist's personality.
And it makes perfect sense that Ava would do the best she could with whatever she is given.
Life for her, in the conditions she experienced after the accident, would have been unbearable without some sort of positive outlook on life. However deadpan, the joking and the "obscene gestures" and whatever other forms of goofing around beside Diego are a way of turning a portion of the situation in her own favour. Proverbial eggs have, after all, already been broken right and left — might as well make an omelette of whatever remains.
Humour is just another way of looking at the bright side of something, or, at the every least, of mitigating the utter horror it might bring. If the show allows for moments of lightness, if it lets us laugh, if it takes us through a perilous voyage which still bears ripe, succulent fruit instead of the rot of pessimism and its necessary contempt for humanity, it is because Ava herself sees things in this way. It isn't gratuitous or naïve in this case, but a true survival strategy, especially as it is confronted with the morbidity of Catholicism.
Here is a religion that soothes its faithful with the promise of reward in the afterlife — how else does one charge into battle against the unknown, risking one's own death along with that of one's sisters, without the balm of believing that we shall all meet again eventually, "in this life or the next"? How else does one come to terms with the ugliness and the pain of this existence if not by looking forward to a paradise perfect enough to make all trials and tribulations here worth it?
True nihilism would have annihilated Ava. Her present perspective is what avoided the abyss.
And there is nothing Panglossian to her attitude or what the show might imply by giving us her view on things. This isn't about "the best of all possible worlds", but of making the best of whatever situation we're in, of taking what we have and doing something with it, something good, something of ourselves. It isn't God making good out of evil, but our choices.
Killing innocent people and feeling no remorse will never be the best someone can aspire to do. Sister Frances, cardinal William, Adriel all learn this the hard way.
Those who do their best find that, somehow, they can move on from whatever it was that paralysed them. Ava, most of all, knows what it is to be stuck, frozen in place; she can never be the character who refuses to grow, even through pain, lest she condemns her spirit to the same fate her body is all too familiarised with. Those around her wise enough to let themselves be touched by her, by the dynamic power she carries, walk forth with her and live.
It says very little about "God" that Warrior Nun should adopt its heroine's views and seem "optimistic" as it progresses — but it speaks volumes about the values it presents for pondering, of the inspiration its protagonists provide, and of the multiple reasons why this is a story unlike most others.
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Do you have any thoughts about Alyosha's momentary crisis of faith? Because I understood why he had one, but not so much why he was immediately ready to drink and go see Grushenka. Interested to see if you've any opinions on the matter, either regarding Grushenka or just in general.
OOOOOO this is an interesting question and my answer is going to get kinda long, warning you now LOL
i think alcohol & drinking in general is often a big part of "the karamazovian nature"—fyodor pavlovich and mitya are open alcoholics & hedonists, and ivan's heavily implied to be an alcoholic as well by his delirium tremens at the end—and more generally as one of the wordly temptations that human nature as a whole is susceptible to (tangent, but this is also really interesting when you keep in mind ivan's cup analogy!! drinking & cups are tied to living & life so often; mitya chooses to "fill" his cup/life with alcohol, ivan drinks in secret until he throws the cup/life to the ground at 30 in rebellion, and alyosha instead chooses to fill his cup/life with god. one of the schiller verses mitya quotes in the ardent confession chapter even says "To the soul of God’s creation / Joy eternal brings her draught, / In strong secret fermentation / Flames the cup of life aloft")
and the common denominator is that they don't believe enough to overcome the natural urge to indulge. mitya does believe, but he can't stop himself and reproaches himself for it; ivan doesn't believe despite wanting to and that contributes too imo. but alyosha doesn't drink and is an ascetic for the most part bc everything for him is based off of his unwavering faith—and so when his entire worldview and moral system is shaken by both ivan and father zosima, he questions EVERYTHING and begins feeling detached from reality when it doesn't match up. without his bulletproof faith intact, he no longer has the external ruleset to dictate his behavior, and the karamazovian desire to ease pain with alcohol wins for a moment without being able to trust his prior moral compass
(on rereading for this post, i don't have a formulated thought on it but it's interesting that he agrees to rakitin's initial offer of vodka even though they end up having champagne instead—there's probably some connection there between vodka and worldly/russian baseness vs champagne, which while not communion wine is still wine LMAO)
this quote from the onion chapter is what stands out the most to me, bold mine:
"Alyosha cried out with a wail in his voice. ‘I speak to you not as a judge, but as the least of the judged. What am I before her? I came here in order to be destroyed, saying: “Go on, go on!” – and that was because of my cowardice, while she, after five years of suffering, no sooner did someone come and say a sincere word to her, forgave everything, forgot everything and cried! The assailant of her honour has returned, is summoning her, and yet she forgives him everything and hurries to him in joy and she will not take the knife, she will not take it! Oh, I am not like that! I do not know whether you are like that, Misha, but I am not like that! Today, the moment I received this lesson, I … She loves in a way that is loftier than yours or mine … Have you heard her say this earlier, what she said just now? No, you have not; if you had, you would have understood everything long ago … And let the other woman, whom she offended the other day, let her, too, forgive her! And she will forgive her, if she learns of this … and she shall learn of it … This soul has not yet been reconciled, we must spare it … This soul may contain a treasure …" (tr. mcduff)
when he loses his infallible external/divine guidance, he has to turn inward/to the world around him instead, where he finds guilt and the human urge to self-destroy (as well as the influence of rakitin & his schadenfreude) and as a karamazov, it naturally comes first in the form of alcohol (women, too, but alyosha never really shows any desire on that front) when he sees grushenka's kindness and forgiveness, he snaps out of it and his faith is reinforced (while he believes he's a sinner and unworthy, he sees in her christlike forgiveness and is reminded that although he has these karamazovian urges, giving in to them entirely isn't the answer etc etc im not a theologian and have been writing too long anyway)
this has been such a long ramble with so little structure but this is SUCH an interesting plot point, thank you for asking my thoughts on it!! :D
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[cws: starvation/food insecurity, fantasy racism, psychiatric abuse, ableism, and Upsetting Pictures.]
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one thing that fucks me up immensely about pericles before and after the asylum is how fucking skinny he is.
like. as much as obviously the two designs are Very Inconsistent in general which annoys me, look at him pre-timeskip. look at how he's shaped.
his head and face are way smoother and rounder, both in front and back, and the space between his cheekbones and his eyebrow ridge is filled in; his body is rounder in general and his belly is noticeably between his thighs when he's standing up; he has kind of a chubby butt; his chin and neck are softer and wider around, which you can really see with the width of the scarf compared to his shoulders and the angle where it meets his head. it comes up in front of his face more because there's not as much of an angle with his chin to hold it down.
now. compare all those things to this.
christ.
and like, you could argue some of these design differences are tiny things to zero in on in a show that's as loose with its models as sdmi is. but present-day pericles' design is pretty obviously supposed to be unsettling because he's physically built to be a Cute Roumb Little Mascot Creature--so much so that the framework has managed to stick around a little in spite of everything--and has become gaunt and haggard anyway. and you could also argue that the body type changes are just thanks to aging twenty years (and i don't doubt that's contributed).
except. he spent those twenty years in an asylum where the other inmates we see look like this.
christ.
(fun little fact that @thecottageinthedark pointed out also: remember how he literally got caught at one point because he couldn't stop eating sunflower seeds, even during a heist? a high-fat, high-calorie snack for birds? you know, exactly the kind of thing a starving person who finally has proper access to food would be wolfing down?)
(yeah.)
did i mention that this happened in a (fantasy) racially segregated prison, which is technically an asylum so the inmates can be kept there indefinitely, because in an actual prison you're required to have a sentence? did i mention that none of the human characters we see in human prison look any less healthy during or afterward, and on top of that are allowed to move around and socialize? did i mention the absolutely horrific treatment of the asylum inmates is implied to be despite the fact that the (physically abusive!) guard is playing up how dangerous and malicious they are? (you know. except for pericles 🙃)
did i mention the man who got pericles imprisoned--who he had not only done nothing to beforehand, but had helped--says he was there to 'live out the rest of his miserable parrot life in a cage, where he belonged,' and not only do none of the characters we're supposed to side with have anything to say about that, but the audience is clearly supposed to agree with him too?
(did i mention said man--who was in on the crime, singular, that pericles went to prison for!--spends those twenty years living a life of luxury in power while abusing the child he kidnapped as a baby and held hostage his entire life, and when we see him in prison he is not only chilling out and helping the authorities but reading a newspaper?)
did i mention the part where by the time we meet pericles he hasn't spoken in years?
like. man the 'ooooo scary evil abused asylum crazies' trope is bad enough, even when they pretend to lampshade it for a minute before playing it straight; i don't know how they added in All That and made him emaciated and expected no one to find it heartbreaking or even sympathetic. i don't care how bad he was before the asylum (and dear god was he ever), that is horrifying and no one deserves it. god damn.
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