christine prevas

@cprevas.bsky.social

164 Followers 114 Following

phd on gender, architecture, and queer/trans horror // GM on The Unexplored Places // secret third thing | they/them

a letterboxd screenshot of my recent activity: Rose of Nevada, Rabbit Trap, The Mastermind, Palm Springs
a photograph of light pink roses against a brick wall with a black framed window
book cover of The Works of Vermin by Hiron Ennes
a puff pastry tart with asparagus and feta on it
two bowls of brightly colored food, each with a bright pink pile of beets with scallions on top, a pile of oyster mushrooms, and some bread
a screenshot of a tumblr post by despair-the-zero that says "we need less insane rat men in fiction. if you have an insane rat man character do everyone a favor and make him into a woman. we need more insane rat women. just real greasy nasty freaks"
“gender crisis” enacts an encounter with gender that is characterized by several key traits: (1) it is playful; (2) it is repeatable, rather than final; and (3) its temporality is marked not by steady linear progression, but by a state of stasis followed by the sudden and unexpected rupture of falling blocks. Like “Teen Witch,” it frames the encounter as a constant process of re-discovery and self-analysis. But unlike “Teen Witch,” the encounter is prompted not only by internal self-exploration and embodied action, but also by compounding forces in the external world: gravity, the movement of others through the space, the slant or slope of a table or floor, the gentle shaking of nearby footsteps. The moment of “becoming” is not just about how one feels, but how the world, sometimes completely unwelcome, moves us. It represents any gendered understanding of the self as existing within a constant state of precarity, resolved only by the willingness to confront its instability over and over again. It figures transness as a form of falling, a cascading of blocks, a tumbling that crucially calls to mind not only the constant interplay of interactive forces such as gravity simultaneously supporting and pulling down on the blocks at all times, but also the act of childlike play. The collapse of a tumbling block tower elicits a kind of delighted surprise, a spontaneous laughter, a relief to the build of tension that grows and grows as pieces are removed and the tower grows taller and less steady. The collapse of a tumbling block tower elicits a desire to rebuild it and start again.
Christine dressed as No Face from Spirited Halloween, wearing a black hooded dress, a white mask with an open mouth and purple markings, and black gloves, offering several strings of gold beads towards the camera
a row of wood-block houses painted to look like haunted houses, shops, and graveyards
a movie theater screen showing the poster for the movie Hundreds of Beavers
the video is a blank screen with captions of the audio
a screenshot of a Google Docs find+replace window for the word "which" at 7 our of 526 results
a scan of a black and white zine page — half of the page is covered in a ripped image of an oil painting of a shipwreck. the other half says "ebb tide." the bottom is labeled "issue #1, by christine prevas"
a ttrpg title page that reads “ICEBREAKER: a Cyberpunk hack of Errant by Christine Prevas” in a cyberpunk-esque font
a screenshot of Edith from Crimson Peak, with subtitles that say "A man that feeds off land that others work for him"
Then, there is his incestuous relationship with his sister Lucille (Jessica Chastain) and how their love for each other drives them both mad, creating a very toxic relationship that they each share. This relationship transforms into the moral lesson that del Toro wants us to understand from his narrative: that love can make people go mad, and this is embodied closely by the Sharpes. And yet, Thomas changes, thanks to meeting Edith as he attempts to betray his sister, whom he loved, and thus willingly dies in order to save Edith from his sister's wrath.
a stack of 7 academic books, all but one of them about Roman Polanski
Roman Polanski's "The Tenant" was the official French entry at Cannes last May, and in the riot to get into the press screening one man was thrown through a glass door and two more found themselves amid the potted palms. It's a wonder nobody was killed in the rush to get out.
Christine in a subway station wearing Wirt’s cape from Over the Garden Wall
just the Divine mask and a pair of clip on dangly diamond earrings
Christine sitting down in a red body con dress with a huge tulle ruffle at the bottom, wearing a mask painted to look like Divine’s makeup in Pink Flamingos
a stuffed frog, a rock facts rock, a pair of gold stork embroidery scissors, and a small pile of colorfully wrapped candy
christine dressed as Greg from Over the Garden Wall, with a big smile on their face
a screenshot of Samantha Sloyan as Bev in Midnight Mass
Christine wearing a crocheted tank top and glowstick necklaces, with fake blood on their face, dressed as Alice from Bodies Bodies Bodies
Christine in a baseball tshirt with stage makeup slashes across their face to look like they’ve been attacked by a werewolf
Christine in a wig, glasses, and an orange turtleneck dressed as Velma from Scooby Doo
a meme of the dad from Fairly Odd Parents with text that says “and this is where I’d put the Parthenon Marbles… if I had them”
the sun beginning to rise over the island of Kea in the distance, take from a ferry
a selfie of Christine standing in front of the Volos Gorge
a picture of Christine’s mom sewing at a wooden table on a stone porch, with Christine’s notebook and pen lying on the table
8 yards of red tulle and a cocktail shaker with a skeleton hand on it
a disposable camera photo of five people walking down a wooded road away from the camera
A screenshot of LaKeith Stanfield in Apple TV+'s The Changeling. He is standing in a library looking over a railing.
a thigh tattoo of an ornate old fashioned straight razor with “DeWitt” written in the handle, letters crossed out so that it just says “wit”
a 16oz bottle of fancy cinnamon
a screenshot of a text message that reads “ROBOT IS SO GOOD TO HAVE THE WORLD ON A FLOOR”
The cover art for The Unexplored Places, a red pattern of stars and lines over a parchment-colored background with the title overtop.
A picture of Christine, a white person with long brown hair and a tattoo of a spiral staircase on their upper arm