Why Lesbian Vampires Are The Ultimate Style Icons


Costume Party: ‘Vampyros Lesbos’

Few cinematic figures are as stylish as lesbian vampires. With their air of seductive mystery, vampires pull mortal women into their dangerous world. The cinematic world of lesbian vampires flourished in the '70s, with many a stylized, panting tale. Now that Halloween's just around the corner, it's an ideal time to embrace sheer, billowing fabrics and bloodlust. New York's Quad Cinema is currently featuring “A Woman's Bite: Cinema's Sapphic Vampires," a luscious collection including such titles as Vampire Ecstasy (1973) and Lust for a Vampire (1971). Most lesbian vampire films are united by gratuitous flesh and archetypal plots. Innocence is lost and lithe bodies are revealed, and it's all a bit formulaic—if you've seen one sexy '70s lesbian vampire film, you probably have a pretty good idea of the aesthetic of this series—but the formula is undoubtedly effective.

Some of the most stylish vampires of all time, Catherine Deneuve as a new wave noir goddess in The Hunger (1983) and Delphine Seyrig as a loungewear queen in Daughters of Darkness (1971), are featured in the Quad series, and I've already paid tribute to their sartorial excellence. One of the best-known, most influential lesbian vampire films, the aptly titled Vampyros Lesbos (1971), playing on Thursday evening, elevates its flimsy narrative with revealing costumes presented in fetishistic tableaux. Countess Nadine Carody (Soledad Miranda), the vampiric seducer, is first seen in her nightclub act, which features sheer black lingerie and a flowing red scarf. Nadine moves gracefully against the black background, the scarf around her neck foreshadowing her bloodsucking.

Nadine is entranced by her own reflection and uses fashion as a means of domination. In the nightclub act, she puts one of her truly fabulous red pom-pom-topped stockings on the leg of her silent, nude subordinate. The pom-pom may initially look frivolous, but taking off the stocking and putting it on another woman's leg is one of the many ways that Nadine asserts her hypnotic power.

Like any good lesbian vampire, Nadine lures a victim/lover, and the power dynamics gradually shift throughout the film. Linda (Ewa Strömberg) is haunted by the vision of Nadine, the brunette libertine foil to her more straight-laced blonde self. Her comparative innocence is telegraphed by a white sweater and pants, which she wears as she sits across from a black lace-clad Nadine at a long table.

The shot quickly conveys the obvious contrast. Nadine's bell sleeves add a touch of bohemian exoticism, and she has another dress with a similar silhouette.

The bell sleeves are used as part of her seduction. In one moment of inspired voyeurism, she holds up her arm, letting the sleeve fall in front of her face, and peers at Linda's nude body through the crevices of the black lace. The camera lingers on the unique perviness of the lace sleeve's eye view.

Nadine tops her outfit off with the scarf from the nightclub act (gotta love a versatile accessory!), and when she and Linda become intimate, the long, hanging blood red scarf falling down between her legs becomes a phallic symbol.

Once Linda is turned to the bloodsucking life, she goes from the comparative innocence of the white outfit to a long black evening gown, which she wears as she looms over Nadine, who lays there in a black-and-gold robe.

Vampirism gives Linda new sexual power, and as is the case in so many films of the genre, the student ultimately becomes the master. Linda ends up killing Nadine, and only the red scarf remains, a vivid tool of seduction left limp on the ground, though the bloodsucking spirit never dies.

Screenshot via YouTube

The band shared details about their new St. Vincent-produced album that will drop "you into the world of catastrophe"

Sleater-Kinney just shared more information about their St. Vincent-produced album and dropped a new single.

Per Billboard, Sleater-Kinney revealed that their new album, which they've been teasing since early this year and will be their first since No Cities To Love from 2015, will be called The Center Won't Hold. It's due out on August 16 via Mom + Pop Records. "We're always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person—ourselves or versions of ourselves or iterations of depression or loneliness—in the middle of the chaos," Carrie Brownstein said in a statement. Corin Tucker further noted that the new album will "[drop] you into the world of catastrophe that touches on the election."

Janet Weiss noted that the band will "explore a different sound palette" with this album, and pointed to St. Vincent as the reason behind it. She said that St. Vincent "has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us."

To satiate us until then, the band released a lyric video for new single, "The Future Is Here," which is very grungy. Bump it, below.

Sleater-Kinney - The Future Is Here (Official Lyric Video)


This is so satisfying!

Even Jon Snow knows just how unsatisfying the final season of Game of Thrones was, and he's ready to apologize. Well, a deepfake of him is at least. A heavily-edited version of Snow's speech from the fourth episode—just before the bodies of those lost in the Battle of Winterfell get burned—now features Snow apologizing for the conclusion of the show and lighting the script on fire.

"It's time for some apologies. I'm sorry we wasted your time," Snow begins. "And I know nothing made sense at the end. When the Starbucks cup is the smallest mistake, you know you fucked up! We take the blame. I'm sorry we wrote this in like six days or something," he adds, before signaling to his peers to light the script with torches and "just forget it forever." "Fuck Season 8," he says before the pages begin to crackle and burn.

If there were more lines left to alter, we would have loved to see Snow also tackle how messy Brienne of Tarth and Jaime Lannister's story line ended up, as well as Bran's kingship, Cersei's boring demise, and the water bottle appearance.

Watch the entire deepfake and try to heal the wounds left by HBO below.


Photo by Darren Craig

It premieres today, exclusively via NYLON

In LP's song "Shaken," the most recent single from her 2018 record Heart To Mouth, she tells the story of seeing her lover out with someone else—ouch. Today, exclusively on NYLON, she releases a cheeky animated music video that pokes fun at the song's heightened drama and perfectly demonstrates all the angst that comes with falling hard for someone.

"She looks at you like I used to/ And I'm just sitting in the corner sh-sh-shaken," LP sings, as the visual—with art by Maayan Priva—depicts the singer hanging out in a bar, watching the girl she likes meet up with another girl. Despite the situation's inherent drama, "Shaken" is less of a ballad and more of an upbeat bop. LP told us she loves the way "this little video captures some of the fun of the song, and its inherent comical anxiety." Sure, heartbreak isn't that funny, but our (sometimes) overly dramatic reaction to it kind of is.

"'Shaken' feels like a bit of a wild card on this record," LP says. "It's the closest I've come to writing a musical, which I hope to do one day." We heartily endorse this idea: Please, LP, give us the queer jukebox musical we crave.

Until that day comes, though, you can watch the music video for "Shaken," below.

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Photo courtesy of Sony Pictures.

This cameo has the Beyhive buzzing

I went to see Men In Black: International alone. Which would have been fine if it wasn't for the shock I received when I saw two specific characters on the screen. Unable to keep it to myself, I shared a curious look with the stranger next to me, who was obviously thinking the same thing as me. "Is that them...?" I whispered first. "I think… so," she replied. Then the two men in question started to dance, and we were both sure: "Yep, that's them."

It was Laurent and Larry Nicolas Bourgeois, better known as Les Twins. Fans of Beyoncé will recognize the duo as the talented brothers who often accompany her on tour and in music videos. In Men In Black: International, the two of them play shapeshifting entities—they're more like energy forces than aliens—who pursue Tessa Thompson's and Chris Hemsworth's characters throughout the duration of the film. The twins' ability to manipulate their bodies in ways that are graceful and otherworldly really helps sell them as extraterrestrials and is fun to watch.

So if Thompson in a suit or Hemsworth shirtless weren't enough motivation, here's another reason to go see it. If you look close, you can see them in the trailer below.


Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue

"I am honored to share this bonding experience with my own daughter"

In a heart-warming Instagram photo, Serena Williams shares the history of hair braiding and the importance of the tradition. The tennis player shared a photo of herself braiding her daughter Olympia Ohanian's hair and spoke about how "honored" she was to be able to "add another generation" to the tradition of the practice.

The photo shows Williams attentively braiding her daughter's hair while Olympia smiles, obviously loving the experience. Williams noted that hair braiding was created by the Himba people in Namibia, Africa, and that "we have been braiding our hair for centuries." "In many African tribes braided hairstyles were a unique way to identify each tribe," she continued.

Williams pointed out that braiding is a bonding experience. "People would often take the time to socialize," she wrote. "It began with the elders braiding their children, then the children would watch and learn from them. The tradition of bonding was carried on for generations, and quickly made its way across the world."

Williams closed her post with a sweet message about her daughter, saying that she's "honored to share this bonding experience" with her.

See the post, below.