Give Me A Call, Hun

OMG IVE NEVER SEEN THIS CREATURE BEFORE BUT I LOVE IT 🫀

I love the character trope that just goes: Sharp teeth, fish/bug eyes, socially inept ESPECIALLY when it's in the horror genre

like wdym this is bro

Every time I listen to Inbred by Ethel Cain I think of TCM; Specially the 2003/2006 franchise but I guess the others work just as well. Especially:

"You get off on innocence, so you savor this Does your baby know her daddy's a rapist? He hates the way you look at me You're already dead, you're already dead

If he wakes up, he'll show you what I'm talking about

You can't win 'em all Who knows how much longer I'll lay on the floor? Touch me 'til I vomit I'm not scared of God, I'm scared he was gone all along (oh, oh)

Who will take the fall? Who of us is stronger? You'll just want it more If you could, you'd have fought it, but you know you're not From the start, they knew you were wrong, you were wrong"

____

IS THIS NOT TCM?? HELLO?? DOES THIS NOT AUTOMATICALLY REMIND YOU OF HOYT AND THOMAS??

The section mentioned above really really reminds me of Hoyt. The line "If he wakes up, he'll show you what I'm talking about" reminds me of the distinction of Hoyt versus Charlie. @demphen hints at this in their fic, Darkest Hour {which is phenomenal, it's a good read🫀,} Hoyt and Charlie are almost two "entities" living in one vessel. Charlie's vessel. I like to think Charlie was permanently altered after the war; As would anyone after experiencing such trauma. I think the town dying, Thomas losing his job, and killing the sheriff was what finally did it. What finally "killed" Charlie. Charlie was hanging by a thread; clawing at the shell which once was his, desperately trying to restore the lifeline only to be shut out and 'killed' once the sheriff was too. The one thing keeping the town inline; Keeping Charlie inline, was gone. Hoyt realized {and maybe always knew} that the "protectors" never cared about his family. Back to how this relates to the Inbred lyrics; It almost feels like Hoyt waking up within Charlie. Charlie is in there, we can see "him" when he talks to the family. But as soon as things go rogue, Hoyt 'awakens.' If he = Hoyt; Wakes up, he'll show you what I'm talking about = someone gets hurt. This is LITERALLY like the hitchhiker scene in the 2003 remake !! "He's a bad man, he's a really bad man -- you're all gonna die."

This song also reminds me of Thomas; Specifically:

"Older brother made a name for himself with the cops Scumbag fuck, but I swear that he's not He's so good to me and to nobody else So you should watch yourself

Mama's comatose, she can't leave the bed Something smells rotten and it starting to spread I'm bad, he's worse, we're already dead We're already dead"

____

"Older brother made a name for himself with the cops - Scumbag fuck but I swear that he's not" reminds me of Hoyt and Thomas' relationship. For one, Hoyt not only "became" part of law enforcement, he was a POW. Now, a POW is not someone who gets "involved with the cops" per se, but he did get involved in serious warfare which for some reason reminds me of this line. The following line "Scumbag fuck but I swear that he's not" reminds me of the intense family pride. I think Thomas knows Hoyt is a bad person. Hell, aren't they all? But at the same time he loves his family; They're all he has. Continuing with this narrative; "He's so good to me, and to nobody else - So you should watch yourself." We know Hoyt cares for Thomas, but he's definitely 'tough-love' and judgmental. So this line reminds me of them more because of the essence: He treats us {the family} well, no one else gets that privilege. Watch yourself :)

Now, the line "Mama's comatose, she can't leave the bed" reminds me of Monty, as opposed to Luda Mae. Monty really can't do anything anymore. He used to help tow the victim's cars and help with mechanic repair; But he obviously can't do that now. So it's more the essence of the line as opposed to the line itself. Following up with "Something smells rotten and it's starting to spread" has always reminded me of Thomas' skin condition. His condition caused his skin to rot to such an extreme that he amputated his nose. His condition obviously spread throughout his face, causing him to cover it fully. I guess the anxiety of "it's starting to spread" reminded me of Thomas in a way. How anxious he must've felt seeing his condition worsen over time; Taking more and more of him until it's all he was. His one defining feature.

"I'm bad, he's worse, we're already dead - We're already dead"

We're already dead.

"Anyway, staying around this town, there's no more jobs, no more money, no more food. It's down right suicidal."

We're already dead.

"You can't have a creature like that around normal folk, that's what I'm saying."

I'm bad, he's worse, we're already dead.

"People may not remember what we say here tonight, but they sure as shit gonna remember what we do. Thanks to the good sheriff here...We ain't gonna go hungry tonight. Matter of fact, we ain't never gonna starve again."

Hewitt Height Chart

Hiii here's a post to keep you guys {slightly} fed whilst I work on school/more posts :)

All heights calculated via actor height

Andrew Bryniarski: 6'5 {195.58 cm}

Terrence Evans: 6'4 {193.04 cm}

R. Lee Ermey: 6'0 {182.88 cm}

Marietta Marich: 5'6 {167.64 cm}

Kathy Lamkin: {165.1 cm}

Heather Kafka: {162.56 cm}

I didn't do Jedidiah 'cause I couldn't figure out his height {at his age}

Loves ya - More posts coming this week 🫀

average Hewitt family convo - Charlie's Jealous

uh hello that is the only appropriate response

im so funny hahahaha

So..I was listening to Ethel Cain {as always} specifically Strangers and may or may not have thought about this franchise again..whoops. Here's a complete list of Ethel Cain songs + lyrics that I feel reflect the franchise ++++ an analysis of each one ! 🫀 I'd also like to preface this by saying I understand the meanings behind each of these songs are not what is reflected in this analysis, this is simply just finding connections.

I might make this a series, who knows?

TW: SA / Rape, Strong Language, Self-Harm, Self-Mutilation, Gore, TCM-Canon-Typical Violence / Topics, Animal Abuse?, Hoyt being Hoyt {boo lame boo, I know}

Family Tree

"I'm just a child, but I'm not above violence My mama raised me better than that When the preacher talks, that man demands his silence And daddy said, "Shoot first, then run and don't look back"

So take me down to the river And bathe me clean Put me on the back of your white horse to ride All the way to the chapel, let you wash all over me"

-

"These crosses all over my body Remind me of who I used to be And Christ, forgive these bones I've been hiding Oh, and the bones I'm about to leave, yeah"

____

Right off the bat "I'm just a child but I'm not above violence" throws me right back to the introductory credits in TCM:TB 2006. Thomas' self-harm, killing and skinning animals, all the violence he was subjected to at a young age. He was young sure, but he was willing to be violent. Not necessarily to other people, but animals. Maybe he viewed himself an animal; Something to skin and use. Following that line "My mama raised me better than that." We know the relationship between Thomas and Hoyt, but we just barely scratch the surface of Thomas and Luda Mae's relationship. I'm sure Thomas was raised to fight back, especially considering Hoyt's background.

"When the preacher talks, that man demands his silence And daddy said, "Shoot first, then run and don't look back." This is just self-explanatory. Hoyt, in this case, is 'the preacher.' He's a man who provides and dictates his family {at least that's what he thinks.} He demands silence; The family listens to him without interruption. Now, this also applies to Luda Mae. She doesn't demand silence, but she is the one who 'preaches.' Whether it be religious ideals, scoldings, or general guidance to the family. The continuation of this line reminds me of what I previously discussed: Encouraging self-defense as well as dividing yourself socially from the opposing side. In this case, it's the 'city-slickers' Hoyt preaches about.

"So take me down to the river And bathe me clean Put me on the back of your white horse to ride All the way to the chapel, let you wash all over me"

"These crosses all over my body Remind me of who I used to be And Christ, forgive these bones I've been hiding Oh, and the bones I'm about to leave, yeah"

These lyrics are just so reminiscent of the first supper scene. That scene has always come across as the family killing off who they were. Consuming the final ounce of humanity within the town and fully transforming into the killers they portray in the 2003 film. I find this to be especially prominent during this segment:

"Thanks to the good sheriff here, we ain't gonna go hungry tonight. Matter of fact, we ain't never gonna starve again." Followed by "Charlie, say grace." It seems almost as if Luda Mae is encouraging Charlie / Hoyt to 'say grace' similarly to how Ethel writes "Christ forgive these bones I've been hiding - and the bones I'm about to leave." She's asking for forgiveness not only for herself and the remaining members of the family, but especially for Charlie. The 'bones' he's been hiding are the sadistic tendencies he gained over the war. The 'bones' he {and the family} are about to leave are the carcasses of the people they once were. The kind receptionist at the community center. The mechanic. The veteran farmer. The butcher.

____

Ptolemaea

"I followed you in and I was with you there I invited you in twice, I did You love blood too much But not like I do Not like I do

Heard you, saw you, felt you, gave you Need you, love you, love you, love you"

-

"You'd do well to say yes to me"

-

"Even the iron still fears the rot Hiding from something I cannot stop Walking on shadows, I can't lead him back, uh Buckled on the floor when night comes along Daddy's left and momma won't come home, oh, uh

You poor thing Sweet, mourning lamb There's nothing you can do It's already been done

What fear a man like you brings upon a woman like me (show me your face) Please, don't look at me I can see it in your eyes, he keeps looking at me Tell me, what have you done?

Stop, stop, stop, make it stop Stop, make it stop, make it stop I've had enough"

____

This song reminds me a lot of Hoyt {for obvious reasons which we will get into} but also Thomas. This specific set: "I followed you in and - I was with you there - I invited you in twice, I did - You love blood too much - But not like I do - Not like I do" reads to me as a subconscious urge of Thomas'. His urge to destroy and abuse. To tear into and become. It's almost as if the sadistic and animalistic side of him coaxes him. This could also apply to Hoyt; How hist trauma began to whisper urges into his ears. How the sadistic desire dripped into his mind, forming puddles until it flooded. The next segment: "Heard you, saw you, felt you, gave you Need you, love you, love you, love you" - "You'd do well to say yes to me" is SO reminiscent of Hoyt. It feels like him talking to a victim. ESPECIALLY when he was talking to Bailey. "Don't you think you're gonna go any place, huh? - I love you." And his moans just felt so..selfish. So primal and inhumane. It's so reflective of the constant 'I love you"s in Ptolemaea. Such a demonic and contradictory statement that festers within the background of the song. This song continues to reflect Hoyt within the lines: "Hiding from something I cannot stop - Walking on shadows, I can't lead him back, uh - Buckled on the floor when night comes along - Daddy's left and momma won't come home, oh, uh." Each victim may try to hide from the family, but their fate is inevitable. Hiding in the shadows whilst figuratively being in the shadow of the family. By this I mean, they will never be seen as human by the family. Never considering more than a meal and a puppet of pleasure by their captures. Their humanity consistently overshadowed by the family's primal hunger. "Buckled to the floor as night comes along - Daddy's left and momma won't come home" Essentially reads as being trapped in the rotten walls of the house. No one is there to help you, no one there to comfort you. It also describes the physical conditions: Being buckled to the table in the basement, hung on a meathook, tied to the chairs, wrapped to a bedpost, ect.

"You poor thing - Sweet, mourning lamb - There's nothing you can do - It's already been done." This segment just reminds me of Luda Mae, Kathy / The Tea Lady, and Henrietta. The three women of the household seem to be the only ones attempting to cover-up their malice with maternal reassurance and comfort. It's not like they care about the victims, at least not anymore. All they care about is the family. All they can trust is the family.

"What fear a man like you brings upon a woman like me (show me your face) - Please, don't look at me - I can see it in your eyes, he keeps looking at me - Tell me, what have you done?" You cannot TELL ME that listening to Ethel sing "Tell me, what have you done?" Doesn't slightly sound like "Tommy, what have you done?" It's at 3:32 in the song, please someone tell me they hear it too 😭. Anyway, this entire segment feels like an outside perspective of how terrified the victims {and people in general} are of Thomas. I'm sure even Luda Mae was terrified and just extremely worried when she found Thomas mutilating himself {which is where the "Tell me, what have you done?" and "Show me your face" comes in.}

"What fear a man like you brings upon a woman like me" Is also just, EXTREMELY reminiscent of Hoyt. Cmon now. As well as the repeated "Stop", "Make it stop", "I've had enough."

____

Gibson Girl

Speaking of Hoyt; Gibson Girl. That's it. That's the post. Nah I'm kidding but hear me out:

"Says he's in love with my body, that's why he's fucking it up And then he says to me

"Baby, if it feels good, then it can't be bad" Where I can be immoral in a stranger's lap And if you want it good, downright iconic Something they all want that only you can have

You wanna fuck me right now You wanna see me on my knees You wanna rip these clothes off And hurt me

And if you hate me Please don't tell me Just let the lights bleed All over me"

____

You COULD NOT convince me this song doesn't reflect Hoyt. ESPECIALLY "Says he's in love with my body, that's why he's fucking it up - Baby, if it feels good, then it can't be bad." Cmon now. He doesn't seem to want his female victims to be dead, but his behavior often results in extreme injury. Specifically gynecologic bleeding / tearing, bruising, cuts, ect. So he really is "fucking up" their bodies. {If you're experiencing sexual abuse of any kind, contact RAINN or the local authorities.}

____

Strangers

"I tried to be good, am I no good? Am I no good? Am I no good? With my memory restricted to a Polaroid in evidence (oh, oh)

I just wanted to be yours, can I be yours? Can I be yours? Just tell me I'm yours If I'm turning in your stomach and I'm making you feel sick (sick)"

____

Alright, let's just state the obvious: This is Thomas' subconscious. At least how I interpret it. He craves praise, he needs it. And I'm not taking about "you're so good to me; You did so good, ect." I mean reassuring him he's not just a destructive brute. Praising his strength, giving him patience and space when it's needed. Providing and acknowledging opportunities where he can do more than just butcher. Providing new ways to communicate whilst trying to understand his current communication skills. Reassuring him that he doesn't make you feel sick. Understanding that his hygiene is poor for a few reasons {I.E; Depression, exhaustion, fear of looking at himself, disgusts, ect.} and not shaming him but simply encouraging self-care. Praise his accomplishments, even small ones. Reassure him that he doesn't scare you; That his physical state isn't revolting. And especially that he's worthy of love, that he won't be abandoned; "Can I be yours - Just tell me I'm yours." This is the type of praise Thomas needs. Something that helps him grow as a person whilst fulfilling his needs. He needs specifics, and genuine interest in what he's doing. But remember, give him space :) We all need it. Getting into specifics within the lyrics:

"I tried to be good, am I no good? Am I no good? Am I no good? With my memory restricted to a Polaroid in evidence (oh, oh)"

This reminds me of when Thomas burnt and destroyed his childhood pictures. To his family, those are memories of him, his childhood, their time spent together. To Thomas, those are his childhood. The childhood that was full of ridicule, disgust, trauma. I doubt he wants to remember that; Hell, I don't remember some of the things that happened to me as a kid because they were traumatic and upsetting. The memories of pain aren't usually remembered by the perpetrator. The only recollection of Thomas' insulting memories are "restricted to a polaroid in evidence." The memories that made him doubt himself.

____

Inbred

I did my analysis on Inbred here :)

____

Onanist

Listen..I know this song is about masturbation; I just think some of the lyrics OUT OF CONTEXT could fit a narrative found in TCM. Hear me out PLEASE

"Witness to such agony but there, - before the grace of god go I - I want to know love - I want to know what it feels like"

"it feels good "

"it feels good"

"it feels good"

"it feels good"

____

Okay..this may seem way out in left field but this almost reads to me {In the context of TCM} like a semi-sexual experience for Thomas. LISTEN. Just hear me out. I know the masks are a way for Thomas to hide himself, to present as someone else; I just can't help but imagine how intense putting on his first human mask felt. I know it just looks like a normal day for him in the scene, but I just have this inkling that this felt so intense for Thomas. I've discussed Thomas' sexuality before in this post, just for extra details. Sometimes experiences that aren't inherently sexual feel sexual, y'know? Just this intense build-up that feels pleasurable once it climaxes. Thomas had finally found his craft. This feeling of intense accomplishment. Almost an 'a-hah' moment. It was the first time Thomas could fully take on the appearance of another person; Truly transform himself into an 'alternative mind' if you will. He's still him, obviously. I don't think he 'transitions' between persona's like Bubba Sawyer does, but I still think his masks are influenced by how he wants to navigate the moment. During such an intense moment of agony, Thomas found himself in the grotesque. His image stitched into the face of another. There was no longer an 'Eric', only Thomas. Eric was 'consumed' by Thomas, if you will. Both literally and figuratively {assuming the family ate Eric's body afterward.} Idk, I could be talking out my ass rn but for some reason I could imagine this being mentally stimulating in the same way sex is {for him.} Definitely a source of pleasure, maybe just a form of catharsis.

____

It feels good.

It feels good.

Does it not?🫀{GOD THE WAY HIS BICEPS LOOK IN THIS RAFGHFHAH}

my shaylaaa 😭 ouugghh my shaylaaa

little tommy!!! before he cut his face open ("the accident"). my shaylaaa

it's in a more sketchy style because i got lazy. ok

Guys Thomas is harder to draw than Hoyt..

Jumpscare + OG image below: