Let me ask you this.
Is this really where we belong? It’s true.
We put on a good show.
And we have a hell of a time, too.
Same here, but I’m 1000% over desperate Caroline who goes after guys who don’t deserve her but still somehow treat her like she doesn’t deserve them.
The absolute ONLY reason it would make sense for the writers to go down this road again of making Caroline love lorn would be to set up a realistic scenario in which she peaces out and leaves the MF gang behind. There simply is no other reason why having them repeat the S1 dynamic would make sense unless they wanted to sever her closest friendship and free her from her obligations to the group. At a time when people are refusing to accept Klaus or Caroline with othert romantic interests, having Caroline tossed aside by the one man other than Klaus who seems to truly care for her only galvanizes Klaroline in our hearts.
Out of the 4 men who we know loved Caroline, her father tortures her and decides to die because he hates what she is so very much, Tyler chooses a futile endeavor of revenge against a man who cannot die instead of enjoying his freedom with her, Stefan leaves her to deal with grief alone and spurns her interest even though Caroline is the best option we have seen for him and Klaus, well, Klaus thinks she’s perfect, gave Tyler his freedom, gave up the opportunity to watch Katherine die after trying to kill her for 500 years and agreed to give Caroline the time and space to experience life. Klaus is the ONLY male Caroline has been involved with who has not turned his back on her or spurned her (I don’t count Jess because he just doesn’t count for anything).
This theory makes my fangirl heart squee!
This is dedicated to unwillingsuspensionofdisbelief, who said it best when she said that the only way this one-sided Steroline storyline makes sense is if it’s used as the jumping point for Caroline to peace out away from the Mystic Falls gang. So I decided to write it. Includes one-sided Steroline and drinking-buddy Enzo, because you know how much I love to use my Enzo as Caroline’s BFF/matchmaker.
And yes, I did write this while listening to Taylor Swift.
His name was Liam, and after an hour Caroline is ready for the date to be done.
She always thought doctors were supposed to be intense. They were supposed to have this passion to them, a fire. After all, how was anyone supposed to survive, like, a decade of school without passion?
Liam… well, Caroline would say that Liam would make an exceptional accountant.
Caroline didn’t know why Elena would set her up with him. In what world could her brunette friend possibly believe that this would end well? That Caroline and future-doctor-bore would ever hit it off? Say what you want about Caroline Forbes, but passionless was not an adjective you could use.
Her phone buzzed in her purse and Caroline looked down at it almost startled. Elena had refused to do the usual escape route call, so Caroline had been looking forward to at least another interminable half hour before she could escape the date without coming across as a total bitch. So this call is fortuitous.
classic western-centric lit:
THE STRANGE CASE OF DR JEKYLL AND MR HYDE (of utmost importance!!!!!!!!!)
WASHINGTON IRVING’S SLEEPY HOLLOW (crucial to the creation of American Gothic, and it’s subgenres Southern Gothic/Southwestern Gothic/Northwestern Gothic)
REBECCA by du Maurier (classic mystery horror, and a great movie)
HERBERT WEST— REANIMATOR by hp lovecraft (one of my favorite horror stories of all time. in the same vein as Frankenstein but much more blunt about its criticism of religion and how religion is basically equated to science, and vice versa. also great imagery)
ROSEMARY’S BABY (important feminist lit, also a great movie)
THE VAMPYRE (one of the first vampire stories ever written, very confused narrative, but very important to the genre…. sort of created that “Ruritania” setting in horror, aka the random nameless Eastern European country of gloomy and haunted disposition)
WUTHERING HEIGHTS (soooooo important and basically definitive of gothic fiction/the byronic hero - also importance Victorian appearance of ghosts and their specific form)
THE CRUCIBLE (man and his terror, i consider it horror)
-also please watch 1941 THE WOLFMAN (there is no wolfman book, the American classic wolfman’s genesis is solely rooted in cinema and he is SO IMPORTANTTT)
-also please watch The Bride of Frankenstein 1935 NECESSARY just for the last scenes, very important feminist imagery
-also please watch Frankenstein 1931 which included the HIGHLY ICONIC lynch mobs/burning windmill imagery into the story — a direct connection to the American persecution of people of African-descent. That is where that imagery came from — it WASN’T in the book, it is a DISTINCTLY AMERICAN and ICONIC use of HORROR as a persecution of the societal “Other” in this case, slaves or freed slaves.
-also please watch THE BIRDS by hitchcock which is also an imperative feminist film in my opinion (feminism is very very VERY much linked with horror - of course, just simply think of witches, the epicenter of hostility against female power)
bonus: CHRISTINE (not classic but i love it)
i have more suggestions but those are my personal favorites.
Forgive the quality… I will redo this gif once we have the proper footage. Rumbelle dance footage was recorded by Jay Pineapple
This couple will be the death of me <3
Rick’s hands special for my lovely sis - sikanapanele.
M: We’re the monsters. Even banshees. Even me.
L: I don’t believe that. N o t a l l m o n s t e r s d o m o n s t r o u s t h i n g s .