Dan and Phil, The Blair Witch Project, and taking back agency.
In their latest video, «DanAndPhilCRAFTS - Slime» Dan and Phil have made a very clear homage to the 1999 found footage film «The Blair Witch Project» directed by Daniel Myrick and Eduardo Sanchez. The movie tells a story about a group of students, who travel to a small town in order to film a documentary about a local legend. In the process of filming, however, they get lost in the woods and never make it out of there, being haunted and then presumably killed by the witch. In this essay I am going to analyze how the visual narrative is structured in both films in relation to one another, the way «Slime» differs from «Blair Witch» and how that difference conveys the shift in Dan and Phil’s public presence.
Let's start with imagery associated with the paranormal in both films. In Blair Witch one of the signs of the witch's presence become the "dolls" made out of sticks. They are filmed by the characters, who are naturally freaked out by the dolls appearing seemingly out of thin air, signaling the presence of the dangerous and inhuman Other.
Dolls are also used in Dan and Phil's video, the main difference being that the pair are not haunted by the paranormal and unexplainable Other, no, they willingly put the dolls there, they are taking active steps in bringing about their own doom.
While in «Blair Witch» the dolls are placed ominously in between tree branches, filmed from below to make them look like they’re floating above the camera, being forces of a power that the characters ought to be afraid of, in «Slime» the dolls are nailed to a steady surface at camera-level, and while they do provide an unnerving atmosphere, they are not a danger to the characters, at least not a danger they’re not aware of.
The same can be said for other "occult" imagery and artifacts. While in «Blair Witch» the characters finding strange symbols and even bloody remains in the forest strengthens the tension and suspense, signaling the close presence of the witch, in «Slime» all of the unnerving, "occult" and "satanic" exists under the characters' control. Dan draws the symbol on the wall himself, the animal skulls are presumably also brought in by the characters. Instead of being signs of danger, uncontrollable, they are merely tools in the hands of the pair.
The interior of the shack where the students meet their end in the 1999 film is filthy and decaying, which only strengthens the fear within the characters and us as the audience. It is filmed using close up shots which show the shack in it's decrepit and unnerving state. The shack that Dan and Phil's video is filmed in also seems abandoned from the interior, it is broken down, dark and dusty. However, instead of being mortified, like the characters of «Blair Witch», they occupy the space quite comfortably. Instead of being haunted by the building, they become the ones who haunt it, once again taking back control of their own demise. The interior is filmed at strange angles, almost reminiscent of German Expressionist films, in which the odd angles conveyed the detachment from reality and perpetual insanity, which in Dan and Phil's case could be used to depict the pair's descent into madness which leads them to their ritual.
Nature plays a crucial role in «Blair Witch» as the witch herself is never shown. The characters are "surrounded" by the unnerving dark trees, which presumably hide the horror that is never allowed to be seen directly.
Dan and Phil make an obvious homage to that with their shots of the trees, however there is a major difference. While the shot is still desaturated and somewhat unnerving, the flowers on the tree are in bloom, symbolizing a new beginning and the hope that comes with it. The new "life" that is going to happen after the pair summons Baphomet.
In «Blair Witch» Heather's final message is a long shot filled with pure fear and desperation. Dan and Phil's shot mimicking it is almost unnecessary as it lasts only a few seconds, however in those few moments it manages to showcase the pair as a unit, they are calm and in the process of their ritual, determined to bring it to fruition. While Heather is left alone in the dark forest in which she will die, Dan and Phil are not alone: they are in this together, they are a team. If they die, it's because they chose to do so. "Creativity is nothing without friendship".
Now for the infamous "Blair Witching it in the corner". In this memorable scene from the 1999 film one of the students is stood in the corner facing the wall. Heather and the audience both know that, according to the Blair witch mythology, this position is a prelude to being killed, as that is how the murderer, who was persuaded by the witch, used to place his victims, for he couldn't bear to look them in the eyes. This face-to-the-wall position conveys pure helplessness at the hands of the persecutor. In «Slime» there is a scene that makes an obvious homage to the «Blair Witch» scene: Phil is stood in a dark corner of a room, the shot is in black and white. There is, however, a stark difference: Phil is facing the camera. With just this one change the scene no longer feels like a display of helplessness. Phil is looking straight at us, he is not a victim at the hands of unknown horrors, he is in control.
The way the "monster" is presented in both films differs significantly. A big part of the horror in «Blair Witch» is our inability to ever see the witch herself. The "monster" not being shown to the camera is a trope as old as low-budget horror: it helps build suspense and also hides the lack of budget. In «Blair Witch» the rapid movement of the camera also makes it feel like the horror is too great for a human mind to comprehend, too great to be caught on camera, Lovecraftian in nature.
The 1999 movie starts with the characters interviewing Blair locals, who tell the characters and us, the audience, the legend of the Blair witch. The witch was sentenced to death for practicing witchcraft, so she haunts those who try to disturb her peace. Here we can make the connection between those persecuted for "practicing witchcraft" aka being Other with being queer and being othered and, historically, persecuted for it.
This interpretation correlates well with the fact that the "monster", in this case the devil Baphomet, is present in «Slime». More than that, Dan and Phil actively seek him out. In the final scene of the short film, Baphomet has his arms around the pair, claiming them. The characters are willingly allying themselves with the Other. Dan and Phil see the "monster" and yet they do not run away, instead, they worship him. In the theme of reclaiming your agency, this could symbolize coming out, proudly and purposefully becoming part of the Other.
They are doomed from the start, but they are not helpless victims of the Other, scary and unknown, they are the ones bringing about their own doom. This is taking your agency back, and I feel like this narrative rhymes really well with Dan and Phil's current presence on the internet. While the early years of their careers were filled with public speculation and being stripped of their agency, something that "was just theirs" being scrutinized by the public, which definitely affected the way they had to behave, their current self-described "chaos era" is very different. They no longer make the effort to pretend to be anything they're not. They are the ones in control of the narrative, keeping their private life private, while also sharing way more openly and freely, knowing that we know and not really caring about the public's perception, as post coming out they have taken the power and agency back into their own hands.
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The more I learn about Civil War politics, the more I'm convinced that Lincoln's most impressive and useful leadership trait was that he never let his pride get in the way of doing his job.
Other people in Lincoln's position would have come to Washington with something to prove. They'd have resented the insults and tried to disprove them. They'd have tried to seize power and credit, rejected help, spent a lot of time trying to reach a certain level of respect.
Lincoln's response to, "You're just a backwoods lawyer with no executive experience who makes too many dumb jokes," was pretty much always, "Yeah. And?" He had no interest in petty personal power plays. He had a country to run. There was a war on. It didn't matter what people thought of him so long as the job got done.
He was aware of his personal shortcomings and was always willing to accept advice and help from people who had more knowledge and experience in certain areas. He presided over a chaotic Cabinet full of abrasive personalities who thought they were better and smarter than him, but he kept working with them because they could get the job done. For example: Stanton was absolutely horrible to him when they were both working as lawyers. Just incredibly mean on a personal level. But when Lincoln needed someone to replace Cameron, he swallowed his pride and appointed Stanton as Secretary of War, where Stanton proceeded to be mean to everyone in the world, but he whipped that department into shape and kept it running efficiently through a very chaotic war. Pretty much no one except Lincoln would have been able to put up with that. He could put up with people who were personally difficult if they could do the job he needed them to do--which he was only able to do because his own ego didn't get in the way.
Lincoln's example is a prime demonstration of how humility isn't underrating yourself--it's being so secure in your own abilities and identity that you don't need to attack anyone or defend yourself to prove your worth. He knew his shortcomings, but he also knew his strengths. He was willing to give other people credit for successes and take blame upon himself for failures if it kept things running smoothly. He was secure enough in his own power that he could deal generously--but firmly--with people who tried to undermine him. In a city full of huge egos, in a profession that rewards puffed-up pride, that levelheaded humility is an extremely rare trait--which is what made it so impressive and effective.
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incorrect quotes part 2
Finley: Wow, you’ve pissed off a lot of people.
Briony: Well, that’s what happens when you live out loud.
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Alistair: Could you be anymore annoying?
Marianne: Yes.
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Alistair: So..hypothetically… how does one make a date more.. interesting? i want to take Gavin out for one. Hypothetically, of course.
Isobel: Um, sometimes acting sorta mysterious can be intriguing??
Alistair: Got it, thanks.
later......
Gavin: So, where are we going?
Alistair: None of your damn business.
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Reid: Are you sure this is safe?
Isobel: I never said that.
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Finley: On a scale of 1 to 10, how much am I going to hate this little plan of yours?
Briony: About an 85.
FInley: Oh, good.
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Alistair: Marianne, I sense hostility.
Marianne: Good, because I hate you.
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Guess who’s doing whumptober this year? (You don’t have to guess, it’s me)
I feel like I may have mentioned this already? But I don’t remember exactly and even if I did, I don’t think it was it’s own dedicated post. But now it is! Yay!
Without further ado, I introduce to you:
The Forgotten Heirs
The main whumpy aspects it shall feature are: child neglect (mostly just mentions in the story and no physical or verbal abuse), sibling caretaker and whumpee, caretaker-turned-whumpee, whumpee-turned-caretaker, underground/secret slavery, dehumanization, multiple whumpers, fantasy racism, royal BS, starvation.
Here is our two main characters, Eric and Blair Dandridge.
The Dandridge House, a family of vampires with a long line of both nobility and royalty, is known for their traditional values, ruthless political game, and tough love towards the members of their family.
So it is no surprise that when the Duke’s youngest daughter, Blair, did not develop persuasion or hunting instincts, they all but abandoned her. Shoved her into a small room up in the attic, meant to be never seen again. They even lied and claimed she died in an accident while playing outside, citing one of their numerous enemies as possibly responsible.
All her life, the only people Blair knew were the human slaves who cleaned and cooked for her, and her lone visitor: Eric, her older brother. Eric was the only one in her family that ever acknowledged her, and better still, her brother was endlessly kind and compassionate. Even when their family tried to discourage the boy with threats, her older brother sticked by Blair’s side. So when Eric mysteriously disappears and, despite running away and searching for Eric herself, isn’t heard from again for years, she is forced to accept the untimely demise, grieve, and move on best she can in the unfamiliar world outside her family’s castle walls.
Meanwhile, a lonely enslaved Eric is passed around from cruel owner to cruel owner, longing for home and slowly breaking under the stress.
This story is inspired by the phenomenal series Kane & Jim by the amazing @whumpsday. Go check out that story and blog if you haven’t already, there’s truly marvelous stuff over there.
(Quick note: Eric is a cis man, but he uses mirror pronouns. Mirror pronouns is when a speaker uses their own pronouns to refer to a person. My pronouns are he/him, so I’m referring to Eric with he/him. But if Blair, who uses she/her, was talking, she’d use she/her for Eric. Because in the story doesn’t have an official, in-story narrator, Eric’s name will be the only way Eric is referred to during descriptions (meaning no pronouns))
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