1:16:25
Canal & Walker subway, NYC. *Edited to add: I can’t believe I missed the obvious and most essential part of this poster, “In theaters this Christmas,” as if the message wasn’t blatant enough, this is a “Christmas” movie.
“Succumb to Darkness” should be the tagline for our entire culture at this point, which no longer tries to hide, mask, cloak, or sublimate its Luciferian agenda.
Lily-Rose Depp with her NPC-face stars in this new Nosferatu movie. Because we need more of this story, apparently?
Darker and darker versions. The whole culture celebrates blood lust now. The horror genre (which I grew up watching) has been replaced by what Jay Dyer calls Satanic Cinema.
Why do actors always have actor children? Calling them Nepo Babies is missing the point—trivializing and hiding what it means to keep it in the family, to witness generational cycles of abuse, industry exploitation, and cultural programming.
The engineering of so-called careers.
All these kids know how to do is sell themselves, Aka ACT, starting with their first Instagram account at 12, or younger.
It’s worth noting that we went from child actors (with vicarious non-famous stage parents) in the 1970s, 80s, and 90s, to the full-blown glorification of Nepo Babies in the post-2000s—the children of celebrities, who dominate the industry now.
It’s just easier this way, built-in Mkultra.
Mkultra as lineage, Mkultra in the genes.
Interview with the Vampire, 1994
Most of these children of actors never saw their parents growing up. Most of them never saw their hugely famous fathers at all, who were away on film sets all year long, who all had women on the side, buckets of them.
Who all did drugs and drank and sold their souls to be famous and work non-stop.
A few have made it out and talk about this.
The evil of Hollywood.
There is a reason these people’s children all know how to act—like their parents—and go into the business, like their parents.
The business of what? “Acting”?
These are made up titles and professions.
Why does anyone still want to do this?
Because knowing how to do this is all that is left of this world.
The last skill.
It’s over, it’s done.
There is no such thing as merit-based fame.
No such thing as real talent, or integrity.
Fame as a “dark gift” to use a term from Interview with the Vampire (1994).
“Succumb to the darkness.”
A simple sentence/descriptor (in this case, it’s a command) can be all you need to know about what is behind an entire cultural matrix.
Epoch.
Dying epoch.
Dead.
That’s why they love remaking Dracula (the dead) so much.
Now more than ever.
Imagine if the tagline were: “She (the girl in repose in the poster) succumbed to the darkness.”
Then it would be a cautionary tale, like many of these stories used to be.
A battle against the Darkness.
A battle for the Light.
But no, it’s not that. And it’s very intentionally not that.
It’s simply: “Succumb to the darkness.”
Do as it says.
It’s a command for all of us to be under the spell of this unnamed but total darkness.
To stop fighting it and just give in.
Succumb: “To bring down, bring low.”
To bring down a civilization, to bring down—bring low—the human Spirit.
In Interview with the Vampire, the opening flashback of how Louis became a vampire makes clear that he was targeted by “darkness” (the vampire Lestat) because he had no will to live. He lost his light. He was already in darkness, in despair. Courting death and misery. He had already succumbed and made himself vulnerable—susceptible, prone—to dark forces. But pain cannot be escaped, or traded for pleasure, it can only be healed.
Interview with the Vampire
Interview with the Vampire
All these new movies (The Substance, Baby Girl, Nosferatu 2024) are the same now, regardless of genre. BDSM with the Devil/demonic.
Get on your knees, and crawl for me.
Get a facelift, cut your back open, spill your blood for fame.
Go dead, go hollow.
Wear our masks for fame.
Below is a comparison of previous Dracula/Nosferatu movie posters. This is not an extensive list. It’s just some examples to compare to.
After the 2000s, Dracula movies literally tripled. The least amount of Dracula films were made in 1980s, surprisingly, when the slasher film took over. The wrong kind of monster for a new kind of era of violence and psychological warfare.
Nosferatu 1922 (F.W. Murnau)
Dracula 1931 (Tod Browning)
Dracula, Prince of Darkness 1966 (Terence Fisher)
The Fearless Vampire Killers 1967 (Roman Polanski)
Dracula 1979 (John Badham)
Nosferatu the Vampyre 1979 (Werner Herzog)
Vampire’s Kiss 1988 (Robert Bierman. I love this film. It is far superior to Mary Harron’s American Psycho. It’s also a beautiful NY film, with an amazing score & cinematography.)
Bram Stoker’s Dracula 1992 (Francis Ford Coppola) (my personal favorite Dracula)
Interview with the Vampire 1994 (Neil Jordan)
Ed Wood 1994 (Tim Burton)
Vampir 2021 (Branko Tomovic)
Renfield 2023 (Chris McKay)
*I am skipping the Warhol horror movies.
