lucymonster: (books)
[personal profile] lucymonster
This book is classic children's literature that has shaped every generation of Australian horse girls since it was published in the 1950s. I'm revisiting it now for the first time since I turned double digits old, but it all feels almost as fresh in my memory as if I last read it a week ago. It's one of those stories that really, truly sticks with you if you read it at the right age!

Thowra is a brumby (feral horse) living in the Snowy Mountains; he is passionate, wild and deeply in love with his bushland home, but attracts attention wherever he goes due to his unusually pale palomino colouring. He is beset on one side by rival stallions vying for his mares and territory, and on the other side by human trackers and stockmen eager to capture and tame him. But Thowra is extremely cunning, with an intimate knowledge of bush survival imparted since birth by his similarly attention-grabbing mother Bel Bel, so he is able to outwit all his enemies and retain his precious freedom.

The brumbies and other animals are semi-anthropomorphised: they talk among themselves, understand human speech and think in humanlike, analytical ways, but their behaviour, instincts and social structures are as authentically horsey as Mitchell could make them. I am not a brumby expert and can't vouch for the book's actual scientific accuracy, but Mitchell has clearly observed horses closely and tried to stay true to her observations, even when they are sharply at odds with human morality (mature offspring maintaining no relationship with their parents; murderous fights between stallions being accepted as the natural way of things; etc). She wants us to empathise fully with her equine characters while recognising them as fundamentally unlike us, and largely resists the temptation to project familiar human family values onto them as a cheap way of getting us emotionally invested. I'm not saying The Silver Brumby does a better job at teaching children the basic principles of cultural relativism than any Very Special Episode I've ever watched, but I'm also not not saying that.

The landscape of the Snowy Mountains is vividly described to the point of feeling almost like a character in its own right. Everything is snow gums and snow grass, rocky crags and howling winds and icy rivers flowing down from the mountains. As a child I once camped in the region during winter; I remember the cold being so intense that it became like a substance, a physical thing trying to shove me back when I climbed out of the tent. It hurt and it made me feel so, so alive. The whole book crackles with that energy.

I know I must have read every book in this series, but by some unhappy chance I only seem to own copies of the first and last; perhaps I took the others out of the library, or perhaps the rest of my collection fell victim to my mum's legendary garage sales of the early oughts. Tracking down the rest shouldn't be hard, but if possible I'd really like editions to match my battered, lightly foxed sexagenarian hardbacks with their torn or missing dust jackets. Nostalgia is at stake here! Clearly I'll have to do some secondhand bookshop scouting.
snickfic: Giles from Buffy, text: Bookish (mood reading)
[personal profile] snickfic
A collection of short stories translated from Hungarian. I picked this up from the library because I'd seen references to the author writing cosmic horror, which is apparently one way to get me to read a short fiction collection I otherwise know nothing about.

Veres has a direct, unsentimental style that reminds me a bit of Lisa Tuttle, although with less interest in women. Like Tuttle, one gets the impression he doesn't like people all that much. I enjoyed the eastern European perspective, adding extra flavor to ideas I've seen American or British versions of before. Veres also is really good at spooling out the key information, so that apparently unremarkable scenarios get weirder and weirder as we learn more detail.

And indeed, there is some straight up Lovecraftiana in here as well as two different body horror twists on the idyllic rural past, all of which are squarely my kind of thing.

Favorites:
Well, both the Lovecraft ones. "Multiplied by Zero" is a travel report from a man who's gone on a guided tour of a Lovecraftian horrorscape. I enjoyed the contrast between subject matter and tone all the way along, and then it really stuck the landing.

Meanwhile, "Walks Among Us" is an inside view of a Lovecraftian cult, aka exactly my jam, seen from the perspectives of two people raised in the faith and struggling with it and one who's married in. I'm amazed by how deftly Veres weaves all the backstories together with the present day timeline. This is extremely nonlinear and yet I never had any trouble following the action. One could argue the discussion of the cult as a religious minority is not great, given that this minority really is into murder and slavery and all that, but I enjoyed the Watsonian view of the world too much to quibble about the Doylist implications.

The two farming horror ones are honestly quite similar in subject matter, if not theme, to the point of feeling a little repetitive. "Return to the Midnight Soil" has the more interesting and imaginative body horror, but I think the title story "The Black Maybe," about a family from the city doing farming tourism, wins by a hair because it's more horrific, rather than tragic like the first one, and because I cared a lot more about the daughter in it than about either of the boys in the other story.

And "The Time Remaining" is the slashy entry, a story about a man whose life keeps getting worse and the devil whose life's purpose is to convince him to lead the armiese of hell. VERY shippy.

Least favorites:
"To Bite a Dog," about a woman who discovers the psychic power of dominating other creatures by biting them and her boyfriend who can't decide how he feels about it. The most Tuttle-feeling story of the collection because of how damn bleak it is. Also I just don't like animals being upset or in pain. It's rough being a horror fan sometimes.

"Fogtown," an epistolary story composed of an unfinished manuscript about someone else's unfinished book about an incredibly popular underground band that seemingly no one ever actually heard. I love this kind of thing normally, but the nested epistolary layers (complete with editor's notes!) were hard to keep track of, and the underlying story just didn't have any meat to it. I've read this story before with less effort and at least as much reward.

Those were the first two of the collection, so I'm really glad I pushed through to the ones I enjoyed! In fact, I ended up liking the collection enough that I bought his new one rather than waiting for it to show up at the library.
lucymonster: (i have spoken)
[personal profile] lucymonster
I'm just. I'm ALL OVER THE PLACE. And have drunk rather a lot of gin this evening, meaning you guys get to hear the unfiltered reactions while I'm too compromised to try and make myself sound smart about any of it.

Reading: Saint Augustine's Confessions (blowing my mind, this guy can really Theology) and Elyne Mitchell's The Silver Brumby (haven't read since I was like eight, but remembering everything literally beat for beat as I read, this is honestly such amazing children's literature and I can't wait to post about it in more detail when I'm done).

Watching: The Autopsy of Jane Doe (scared the everloving shit out of me), Gonjiam: Haunted Asylum (didn't scare me even a tiny bit, I literally set up a VPN just so I could access this, everyone was saying it's so scary but it isn't), and Inside the World's Toughest Prisons (are you guys going to think I'm a complete fucking weirdo if I admit that this is a semi-regular comfort watch for me).

Listening: Iron Maiden. So much Iron Maiden. I've been trying to do deep dives into a bunch of different albums, but right now I'm so in love with A Matter of Life and Death that I don't want to move on to a different album, and it's rather hampering my progress.
snickfic: Giles, Buffy: since the beginning of time (mood feminism)
[personal profile] snickfic
(I guess I'm letting out all my bottled-up words today...)

A collection of essays on feminist topics. I've been meaning to read some Solnit ever since everyone was reading her book Hope in the Dark during the first Trump administration. I randomly was in need of an ebook to read, and this was the book of Solnit's available through my library, so here we are.

On one hand, I did not find this a challenging read. Most of what Solnit had to say, I've encountered in some form or another before, and most of these essays are surface-level examinations of their topics. OTOH, there's something to be said for having thoughts laid out in a coherent essay format when one has previously only encountered them via social media, haphazardly and in fragments. And even though the collection had a strong feminism 101 feeling for me, I did highlight a bunch of quotes, which I am putting below under a cut, mostly for my own use. So, clearly I got some value out of the book!

IMO, by far the strongest essay is the one where she gets into specifics, and that's the final essay, "Giantess," about a 1950s film called Giant starring Elizabeth Taylor and Rock Hudson. I feel like I might vaguely have heard of this movie, and although it doesn't sound like my usual jam genre-wise, the politics sound progressive even today, so I'm tempted just from a point of historical interest.

quotes )

Oasis fic and other fannish things

Apr. 12th, 2026 11:09 am
snickfic: (Oasis walkon)
[personal profile] snickfic
Assorted items:
+ [community profile] seasonsofdrabbles spring round signups close today!

+ Having posted the fic below, I seem to have gotten all my Oasis feelings out for the moment, or maybe just all my writing feelings. I spent the last couple of weekends going to art museums, and I've also finally found the brain space and desire to read again. It feels really good. I've finished two books in the past week! Amazing!

+ Currently actively reading:
- In the Forests of Serre by Patricia McKillip
- It's Not a Cult by Joey Batey (thanks to [personal profile] troisoiseaux, who passed their copy on to me <3)
- The Beginning Comes After the End by Rebecca Solnit




I wrote a fic! Not even for an exchange!

doughnut hips (6511 words) by Snickfic
Fandom: Oasis (Band)
Rating: Explicit
Warnings: No Archive Warnings Apply
Relationships: Liam Gallagher/Noel Gallagher
Additional Tags: Chubby Kink, sensory play, Light CBT, Light BDSM, Anal Sex, Porn with Feelings, Oasis Reunion (Band), Sibling Incest, Crying, Weight Gain, Kissing
Summary:

Liam settled his hands on Noel’s hips and then wondered if he shouldn’t, but there weren’t a lot of places for him to touch Noel that weren’t softer than they’d been sixteen years ago.

Noel cleared his throat. “I didn’t think you’d care if—you know. If I put on a few pounds.”



This was supposed to be a quick kink-focused one-shot, but it almost immediately grew a bunch of reunion feelings and became a lot more emotionally dense than I planned, and it ended up taking me about five months to write (across 19 days of writing). It was really satisfying to finish, and I feel like I did all the things I set out to do.

On the theme of "every kink applies to Gallaghercest," this has my first ever CBT and sensory deprivation. I've never had even the faintest inclination to write those before, did not go in planning to write them here, and yet: here they are.

I'm calling this a fill for [community profile] crackthewip, which makes it the first fic I've finished for that event, despite having run it for three years (and then passed it on to [personal profile] chacusha). Yay.

This fic really filled a niche, apparently, because I got the most feedback on this that I've ever gotten in the first week of posting an Oasis fic (not counting the one last year that I was posting in daily installments). It's so gratifying to write things that people want to read. ;______;

Movies: Exit 8 and Forbidden Fruits

Apr. 12th, 2026 10:36 am
snickfic: Buffy looking over her shoulder (Default)
[personal profile] snickfic
Exit 8 (2026). A man who has just found out his ex-girlfriend is pregnant gets lost in a seemingly infinite subway tunnel.

This is a Japanese movie based on a Japanese video game that was apparently a huge hit a few years ago. It's also the second movie this year based on an essentially non-narrative video game with long stretches of "yup, this sure feels like I'm watching someone play a video game." Like Iron Lung, they really have to work here to stretch their premise to a 90-minute runtime with an actual story. Things get pretty repetitive after a while, since the tunnel acts essentially as a spacial time loop (as elegantly depicted by the movie poster).

That said, I mostly enjoyed the experience, in large part because of the lead actor Kazunari Ninomiya, who is great. I've learned he was a beloved Jpop idol 20+ years ago, and I believe it, because he has loads of charisma while acting basically alone for the first 2/3 of the film. I would absolutely watch him in more things.

The movie is also occasionally really stylish. The opening scenes are IMO the best part of the film from a filmmaking perspective, starting with our guy on a crowded train listening to Bolero to the camera-eye POV first loop through the subway tunnel (as a nod to the game being a walking simulator).

However, I think my favorite part of the movie is the interlude where we see the backstory for the other recurring character in the subway tunnel, a man walking robotically with a briefcase. That's easily the best horror material in the film.

--

Forbidden Fruits (2026). Three women named after fruits who work in a mall fashion boutique tentatively welcome a new member into their girl-power coven.

This movie is kind of all over the place. It leans a bit too hard into satire, which loses me sometimes, while also not seeming to have a clear idea what it's trying to say about female relationships. In my opinion Lili Reinhart as the coven leader is one of the weak links, although I've seen a lot of people say the opposite. On the other hand, Victoria Pedretti as the airhead recovering alcoholic stole the show for me. I didn't even recognize her at first because Cherry is so different from the Mike Flanagan characters I've seen her play, but she's hilarious and heartbreaking.

The movie is also very stylish, and the fashion is incredible, like truly impossible to describe, you have to experience it for yourself. Each of the four gets their own consistent look: glam seductress, gothy femme, girl next door, sexy baby.

The movie also, after an hour and fifteen minutes of campy satire, suddenly goes extremely hard. It gets gnarly, you guys. It fucking commits. It must have been a real challenge to market this film, because if you're watching it as a horror movie, it takes over an hour to get there, but if you're not into horror, you are in for a nasty surprise at the end.

Put this on the list of "wasn't quite for me, not mad I saw it, happy it exists." It had style and ambition, and that goes a long way with me. (Typing that out, I realize it has a ton in common with last movie's football horror movie Him, with a lot of the same strengths and weaknesses. So if you were into that, try this.)

Another horror movie post

Apr. 9th, 2026 09:45 pm
lucymonster: (horror)
[personal profile] lucymonster
The Dark and the Wicked (2020): The grown children of Texas farmers come home to support their dying father in his last days, but a demonic presence is hanging over the house, filling the family's heads with terrifying hallucinations and the urge to commit brutal acts of self-mutilation. This film is style over substance, but the style was genuinely extremely good, so...I liked it, I think? The plot is paper thin and the veneer of "elevated" horror is hardly worth analysing. It's a haunted house story. Terrible forces do terrible things to ordinary people and there's no way to stop them. But the focus is on slow, building dread over action; the atmosphere is stark and lonely, full of sweeping shots of the farmstead that are sometimes so underlit you have to squint and other times so overexposed it sears your eyes, all clearly done intentionally; the soundtrack doesn't miss a single trick to get your heart beating faster. Everything is beautiful and horribly off-kilter.

Do I see myself wanting to rewatch this? No, probably not. The fucky lighting made my eyes hurt and there's nothing about any of the characters that makes me crave more time with them. But the movie gave me exactly what I wanted: to feel so scared it was a genuine struggle not to close my eyes and cower away from the screen. Only one other movie has so far given me such an intense, lizard-brain fright, and that was The Tunnel. We all have our specific fears; I guess "inhuman figure approaches slowly, jerkily, inexorably out of the darkness" must be mine.

It Follows (2014): Hahaha, and then after that realisation I decided to watch a film where an inhuman figure approaches slowly, jerkily and inexorably for like ninety minutes straight. Three guesses what kind of emotional state I was in after this one. 😅

It was great, though! It's about a murderous horror that is sexually transmitted; once it has latched onto you, the only way to get rid of it is to pass it on to someone else. Until then, it follows you. Everywhere. At a slow and steady walking pace. It can take on any human form, it knows where you are at all times, and it never stops. You can buy yourself time by getting far away, but sooner or later it will catch back up; if it gets its hands on you, it will kill you. So, obviously, our college-age protagonist Jay catches It after sleeping with a guy she's been dating, who it turns out seduced her under a false identity out of desperation to save his own life. Her sister and a handful of childhood friends rally around her, and together they try to find a solution to the curse while staying ahead of the pursuit. It's a really interesting, self-aware but not satirical twist on the "sex = death" slasher trope, and also REALLY FUCKING SCARY. (I mean, we've established that slow pursuit scares me shitless; others' mileage may vary, idk.)

On the other hand, the main girl looked so much like Hilary Duff that it kept throwing me out of the story, and the time period was jarringly out of whack. Everyone drove vintage cars, had 80s wall phones and 90s TV sets on which they watched 1950s horror movies, the internet didn't seem to exist but one character had this bizarre, kitschy little clamshell e-reader on which she was reading Dostoevsky...apparently it was supposed to feel "timeless" and "dreamlike" but I just found it distracting. Not enough to negate how much I liked the actual storyline, but it was an irritating little niggle, and in general I found a lot of the aesthetic choices in this movie odd and unappealing. Horror movies can be scary, thematically interesting AND pretty! This one only scored two out of three, and that just felt like an unfortunate waste.

Hell House LLC Origins: The Carmichael Manor (2023): A true crime vlogger takes her real estate agent girlfriend and her schizophrenic brother to stay several nights at a remote manor that was the site of a grisly domestic homicide, and that also (she learns, to her very great misfortune) turns out to be connected to the infamous Abaddon Hotel tragedy. [personal profile] snickfic promised me 1) a lesbian main couple and 2) even scarier clowns than the ones in the original movie, and has proved faithful on both counts. These were some seriously NASTY clowns, and I really liked the main couple with their Mulder and Scully-Against-Her-Will dynamic. I thought the true crime fan angle was a very good justification for the whole investigation setup, even as it set my teeth on edge (in a fuck-you way, not a scary horror way - I have some strong views on the true crime genre and the fannish community around it, but we are not going to get into that here, because life is short and outrage is cheap and I should be in bed right now instead of blogging about horror movies in the first place).

Anyway, yeah, really enjoyed this! Don't have much to say about it, but really enjoyed it.
lucymonster: (vampires again)
[personal profile] lucymonster
I'm bouncing around the media landscape like a pinball at the moment. No idea why but I'm having a great time! Icon in honour of Bela Lugosi, who is forever and always a vampire in my heart if not in this specific film selection.

His Girl Friday (1940): This is a really fun screwball comedy about a slick, dodgy newspaper editor trying to win back his journalist ex-wife by manipulating her into covering one last story for him. Hildy is a brilliant reporter who excels at her aggressive, fast-paced job and is very much "one of the guys" among her colleagues - including her ex-husband Walter, hence the divorce. Walter's life revolves around the newspaper; he even cancelled their honeymoon so they could both rush to the site of a breaking story. Hildy pines for a more traditional feminine life in which she is romanced and protected, free to maintain a peaceful home and raise children while her husband works a steady, predictable job to provide for them. To that end, she has left Walter and become engaged to insurance salesman Bruce. The meat of the movie is a chaotic farce in which Walter deploys a wild barrage of sneaky, often criminal tactics to lure Hildy away from Bruce and reawaken her love for her career (and, by assumed extension, for him).

The gender dynamics in this were fascinating. Hildy's professional competence is about the only thing the film takes seriously; through all the wacky hijinks she is universally respected as a good reporter, with no trace of any "for a woman" caveat. (Nearly every other woman who appears onscreen is a secretary or telephone operator, and in brief interactions Hildy is as collegial with them as she is with her more "esteemed" fellow reporters, but they don't really feature much one way or another.) Of course Hildy's whole inner conflict revolves around the unchallenged premise that women, as a class, belong in the domestic sphere; but Hildy herself is the only character who seems to view the issue along gendered lines. For everyone else, it's about journalists vs non-journalists; people who can be satisfied with staid domestic life (of whom Hildy's classically masculine new fiancé is the prime example) versus people who crave the thrill and challenge of the fast-paced media world. The other career reporters all shake their heads and predict a swift end to the whole Hildy/Bruce business. No way will anyone as thoroughly like them as Hildy be able to stand the tedium of the American picket-fence dream for more than six months. I'm not saying it was some kind of feminist statement in the modern sense; I just enjoyed the nuance of how Hildy's femininity was handled. She was a great character.

The Devil Bat (1940): Bela Lugosi stars as a mad scientist with a vendetta against his employers, the owners of a cosmetics firm who have gotten rich off his designs while paying him only a tiny fraction of the profits. His genius plan for revenge is twofold: firstly he has engineered himself a giant bat large and strong enough to kill a man, and secondly he has trained the bat to become enraged at the scent of a specific chemical, which he has put into a specially formulated aftershave. Target applies aftershave to neck. Bat swoops in to tear out jugular. Bam! Greedy capitalist gets what he deserves.

This was every bit as ridiculous as I hoped it would be. It's billed as straightforward horror, but it's really more of a bat-themed, lightly murderous comedy. A lot of the action is driven by a pair of madcap journalists investigating the story, whose antics include things like using taxidermy to produce fake photos of the devil bat, doctoring out the wires that made it fly but forgetting to remove a label from the wing that says "Made in Japan". I was honestly cheering for the doctor, partly because his evil plan is so delightfully (ahem) batshit, and partly just because, you know. Bela Lugosi. Unlike the other two films in this post, this one is very much not a must-watch of 40s cinema, but it's certainly a why-the-hell-not, especially since its runtime is barely over an hour. I had fun.

The Maltese Falcon (1941): Hardboiled private detective Sam Spade gets hired under false pretences for a job that leads to the death of his business partner and ends up embroiling him in a violent, competitive criminal scheme to gain possession of an unthinkably valuable historical artefact known as the Maltese Falcon. This is, of course, one of the films noir and has all the elements you'd expect: a cynical, street-smart protagonist, a beautiful femme fatale for him to have dangerous chemistry with, a supporting cast of gangsters who are forever double-crossing each other.

I'm kind of drawing a blank on what to say about this one, but I honestly really loved it and it has whet my appetite for more film noir. The pacing is much slower than today's modern crime thrillers and that really worked for me; the latter tend to stress me out so much that I have to be in just the right mood to watch them. This was tense and exciting without forcing me to lie down afterwards. The whole chiaroscuro aesthetic was absolutely gorgeous. My favourite moment was when the femme fatale slaps a gangster, who goes to hit her back, only for Sam to leap in and bellow in the man's face, 'When you're slapped, you'll take it and you'll like it!' Iconic, honestly. Sam Spade is a true ally to femdom fans everywhere. More men should learn from his example.
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