Imagine that somewhere in the ministry there is a large statue in honour of the very first Sister of Sin.

Inspired by a photograph of Gian Lorenzo Bernini's statue of Constantine, taken by Saiko (wikipedia).

I didn't keep the statue because my aim was to practise by completely creating a part of the work, but the photograph was very useful for everything else, the architecture and especially the light! Without Saiko's beautiful photo, this illustration wouldn't exist.

It was an interesting exercise!

I love how the feminists have their own subplot

🌍✨ A Voice from Gaza: Fighting for Hope ❤️‍🩹

Hi, my name is Mosab , and I’m from Gaza. Life here has been harder than I could ever imagine, but today I’m sharing my story with hope in my heart, because your kindness has already given us so much strength.

This journey hasn’t been easy. The war has taken 25 family members from us—25 beautiful souls we loved deeply. Their laughter, their presence, their love… all of it is gone, leaving behind memories that are both precious and painful. Every day, I carry the weight of their loss, but I also carry their spirit, which gives me the strength to keep going.

Our Journey So Far When I first reached out, I couldn’t have imagined we’d make it this far. Thanks to your incredible kindness, we’ve reached 19,800 out of 30,000. Your support has been a light in these difficult times, and we are so deeply grateful for every single contribution.

But the road ahead is still challenging. Every day, we’re reminded of how much we’ve lost and how much we still need to rebuild.

Here’s what life in Gaza looks like for my family right now: 🏠 Safety: The uncertainty of tomorrow weighs heavily on us. 😢 Loss: The absence of the 25 family members we’ve lost is a pain we carry every moment. 💔 Dreams on Hold: The future feels so far away when survival takes all our strength.

How You Can Help Us Cross the Finish Line Even the smallest act of kindness can make a difference:

Why Your Support Matters Your kindness isn’t just about helping us meet our goal—it’s about reminding us that we’re not alone in this fight. It’s about hope. It’s about survival. And it’s about giving my family a chance to rebuild our lives, even in the face of unimaginable loss.

Thank you for helping us get this far. Your generosity and compassion have already brought us closer to a better tomorrow, and for that, I’m endlessly grateful.

With all my love and gratitude, Mosab and Family ❤️

#gaza #palestine

Perverts is officially out. Thank you so much to Matthew Tomasi for his drums on Vacillator (and the boom on Amber Waves), Angel Diaz for the lapsteel and baritone guitar on Punish that makes my world go round, the upright bass on Onanist, and that lapsteel and e-piano also on Amber Waves, Madeline Johnston for her heavenly metal on Amber Waves (a track she served as an intense inspiration for), and Bryan De Leon for his acoustic stylings on Etienne. Y’all make my world go round.

I’d also like to think the natural drone music that exists everywhere in this world, in transformer boxes and powerlines on the side of the highway, in the radio static of an empty AM frequency, in the fan of my computer as my Ableton project files overloaded the CPU, and in the distant roar of the interstate on the other side of my favorite field. I love you, sound, you have always been there for me.

Thank you for listening, I love you I love you I love you I love you I love you I lo

Spoilers: Eggers' Nosferatu

There's a lot of debate right now on if Count Orlok represents Ellen's shame/trauma/abuse, or if he represents her repressed erotic desires, and in turn there's debate on whether or not viewers who find the Ellen/Orlok dynamic alluring are "missing the point." Eggers and Lily-Rose Depp have both said in interviews that there's a mutual pull between Ellen and Orlok, and even that there's a love triangle element, but obviously the experience is terrifying for Ellen. How can we reconcile the sexual tension and the horror?

I think the broader theme is that Orlok represents everything in a woman's inner world that men refuse to acknowledge and accept - fear and shame and trauma, yes, but also our appetites . After the prologue, the story starts with Ellen begging Thomas to stay in bed with her; she says "the honeymoon was yet too short" and tries to pull him in and kiss him (obviously trying to start some nuptial bliss). But Thomas is anxious to meet with his boss and get his promotion, because he has a narrative he's going to fulfill: he's going to pay Friedrich back, buy a house, and then start having kids (he and Friedrich touch on this a bit later. Notably, Friedrich discloses Anna's pregnancy to Thomas before Anna has made it public.)

It's the start of Ellen and Thomas' married life and she just wants him to prioritize her sexual desire, but he chooses to focus on his ideal of success, which sets him on this path to confronting Orlok. We know Ellen doesn't care about having a house or fine things and she begs him not to go, but Thomas listens to Herr Knock and Friedrich, who tell him that as a husband he has to provide materially. He ignores Ellen's stated desires, and so fails to provide sexually and emotionally. When Thomas gaslights her about her nightmares and calls them childish fancies, he shuts down her vulnerability, which kills the intimacy she was enjoying in the literal honeymoon phase.

On a related note, there's a defence in here for Aaron Taylor Johnson's performance, which I've seen a few male critics call "over acting." In this story Friedrich represents the masculine ideal of the time, he's a rich business owner with a beautiful wife and kids. Thomas clearly looks up to him and wants to emulate him - he wants to give Ellen the life "she deserves." But Friedrich's elevated masculine status is why he refuses to listen to Ellen's "hysterical, sentimental" worries, he's too rational for all that of course. And his stubborn "rationality" leads to the death of his entire family. Friedrich IS the patriarchal ideal that crumbles when confronted with nuance and uncertainty. Some people see Friedrich and assume that a character like him is meant to come across as dignified, and that Aaron Taylor Johnson is messing up by making him look annoying, but really he is giving a great portrayal of a really common, annoying kind of guy. The kind of guy who melts down and has childish tantrums whenever they lose control of a situation, or their manly skills and values are shown to be irrelevant.

The men in the movie (excluding Professor von Franz) frame Ellen as childish for speaking about her dreams candidly, but their own childishness is revealed when her dreams manifest in the form of Orlok and become unavoidable. Ellen (partially? possessed in the moment by Orlok) tells Thomas how "foolish and like a child" he was in Orlok's castle. In the literal context that's cruel, and obviously that shit was scary as hell, but it hits on Thomas' failure in the metaphorical reading. He was a child playing house: 'I'll be the husband and make money, you be the wife and make babies.' When it came time to confront his wife's inner world and all the scary, traumatized, lustful complexity of it, he was completely inept. The message isn't that Orlok is what Ellen really needs, or that Thomas is a wimp, but he's not a perfect husband either. I think "the point" is that a real healthy marriage with sexual, emotional, and spiritual mutuality is impossible in that society with Thomas/Friedrich's ideals. In that kind of society, a spiritually and sexually potent woman like Ellen ("in heathen times you might have been a Priestess of Isis") will always be caught in a "love triangle" with her husband and her own inner world.

#nosferatu