More than anything else, queer relationships grow on intimacy. A shared perspective, shared pain, shared joy, and shared love. There’s a level of trust required to be your most authentic queer self with another person. Because however much you may love or trust someone, the possibility always exists that they will simply not accept you. One of the most well-known covens of all lives in The Craft . A witch story that is so queer until it’s not. Witches in the Woods (2020) not so much a witch movie, but a creepy witch-hunt movie that is new and somewhat good. Quentin Tarantino sparked renewed interest in this Spanish horror film, putting it on many of his top ten lists and naming a chapter of his “Kill Bill Vol. 1” book after it. DirectorVicente Aranda, the film attained cult status not only for its erotic horror themes, but for its rejection of fascism in Francoist Spain.

It is not easy, she said. Lesbians in Cameroon live with secrecy and caution every day, communicating via code names and frequently changing the public places where they gather.

Blood and Roses (1960)

With that in mind, it’s no wonder Maleficent and Ursula are queer icons. Freedom from a Narrow View of the World Mexican cult horror directorJuan López Moctezuma castCristina Ferrare, later a top TV host, as a bisexual artist who visits Mexico with a bloodthirsty mission. The film stars John Carradine as her estranged vampire father, and features cinematography byMiguel Garzón (“Highway Patrolman,”“Red Dawn”).

They kept shouting that I deserved this punishment, that they were correcting me," said the 33-year-old, who has told her story to hundreds of girls in sexual health awareness and LGBT+ workshops in Cameroon. But Catherine has never talked about it or opened up on this aspect of her sexual life. Her tomboy nature and life might also be contributing to this rumor. Penny Atwell’s response to the suspected Catherine-Brooke relationship Into the Woods(2014) a childless couple seek a witch’s help in reversing the curse put on their family. Depicting witches of color in an authentic way goes deeper than seeing a relatable face. It is a possible avenue for people of color to further curiosity about their ancestors’ beliefs and rituals that became known as witchcraft. It is a chance for those who practice various forms of witchcraft to be represented in a way that challenges preconceived notions and harmful stereotypes about their identity. And it can show the full scope of witches, which extends far beyond White cishet women.

Dianic Wicca was born out of the second-wave feminist movement and was founded by Zsuzanna Budapest. It “embraces the Goddess but spends little time on her male counterpart,” and has long been associated with lesbianism, while still welcoming any woman. Dianic Wicca focuses on Mother Nature as the “life-giver and life-sustainer.” It promotes the connection and parallels between Mother Nature and women, for example, the act of carrying and birthing life. While most Wiccan paths disallow hexes and curses, Zsuzanna Budapest believes that cursing against those who do wrong by women is perfectly acceptable. Spellbinder (1988) a lawyer falls in love with a beautiful and mysterious woman, only to realize she belongs to a coven. Throughout Becoming Dangerous, many of the stories by queer people focus in on the self-care as warfare aspect of witchcraft that Ortiz touches upon, but also – as the title of the book suggests – highlight the notion of witchcraft as a way of becoming rather than being. They talk about the occult as non-essentialist, as fluid. Perhaps this is why a lot of trans people see intersections between their trans identity and witchcraft. A UK based witch called Avery Edison describes in Becoming Dangerous how, for her, at school, experimenting with Wiccan was a way to try on an identity as part of her journey to figuring out who she was (at the time, she hadn’t realised she was trans). Another writer, a Latinx witch called Mey Rude, talks about using spells as affirmations to boost her confidence and accept her trans, plus size body.

A fun/fluffy/angsty/smutty story where we have Kate and Yelena but we also get the sibling storylines Marvel robbed us of! Language: English Words: 74,903 Chapters: 14/? Comments: 285 Kudos: 892 Bookmarks: 99 Hits: 20,881 The found family is central to the queer narrative and also to a witch’s story. What is a coven, after all, but a found family plus powers? And what queer found family doesn’t dream of a little of magic? It’s no coincidence that many queer units of this kind have, at one point or another, dabbled in real-world renditions of spellwork . But unfortunately, something that every one of these witch narratives gets unwittingly right about the queer experience, for all the wrong reasons, are the consequences that come for witches who step into their power. Due to often misogynistic and sometimes queerphobic perspectives, witches almost always get punished for daring to be themselves, both by the narrative and the authors. (Writers, by the way, should watch out for this facet of the story and prevent it in future witch tales. And when learning about queer narratives from witch stories, creators should also leave this one out.) I love the trope of a character returning to their hometown after an extended absence. As someone who moved away from my own hometown as soon as I graduated high school, I can totally relate to those feelings. What could be more good, after all, than King Triton’s abusive destruction of Ariel’s property? Or Aurora’s birth betrothal and the desire of her father that she wed and have babies immediately? Or the way, even when King Triton does come around, Ariel gets literally hefted from her father to her husband? But what could be purer than birth? Or more important than marriage?Eventually, we have to stop being happy that things just exist. Things need to actually be good,” Dar said. “I don’t think the appetite has been satisfied. If I’m saying my favorite vampire film was made in the 1980s and it’s 2021, there’s still a lot of room there.” What really drew me into witchcraft was how it didn’t focus so much on making everyone live under the same rules,” says Antonina, who is 19-years-old, queer, and a self-labelled witch. She moved to the UK from Bulgaria, where she was raised around Christianity, and finds witchcraft to be a more welcoming form of spirituality, pointing out that you don’t have to be straight, cis, or be part of the gender binary to practise. “Sexuality isn’t treated as a taboo, there’s no shame around it as there is in other religions,” she says. “As long as you aren’t harming anyone or anything you can live how you want to and I think that’s so important for individuality and freedom of expression. All kinds of love can be viewed as pure and holy!” The witch’s narrative role is to eschew and sometimes destabilize the hallmarks of normative life. Many witch symbols are inversions of a more “typical” traditional existence, especially for women. For example, they fly around on their broom instead of sweeping the floor. They make potions in their cauldrons instead of cooking in them. They are often childless and unmarried. And it is precisely the sum total of these facets which call to the queer audience. Because to hold magic, to be a witch, is to be other. Four Rooms (1995) is an anthology film featuring different directors for each segment. The first story includes a coven of witches who need a very personal ingredient from a bellhop (Tim Roth) to complete a spell. This bottle represents the oppression and persecution of those who were outside ‘acceptable’ binaries. Some of these so-called witch bottles were used to ward away spells or disease but others were used specifically to harm supposed witches. The victim of the witch would include urine in the bottle, which would stop the witch from urinating until the spell was removed, causing some serious pain. Interestingly, many techniques used to ward away witches involved the use of spells. The witch apparently trapped in this bottle was never freed, upon the warning of the original owner. It also shows that although that last execution of witches occurred in 1682, beliefs about magic and witchcraft were alive and well within English folkloric traditions into the 20th century, particularly in the southernmost points of the country.