Death of a Unicorn (R: 2025)

Comments Off on Death of a Unicorn (R: 2025) | Cryptids, Faeries on TV, Modern Fae, Movies, Mythology, Unicorns Tags:, , , ,

I missed this one at the theaters. By the time I saw the previews, it had already left the big screen … at least in my area. I saw it available on Amazon Prime, but I have no idea when it would be discounted or have free streaming. I got impatient. Being a big fan of folklore, myths, and legends … I couldn’t wait. I went ahead and bought it, as it was only a few dollars more as a purchase than a 48-hour rental. Plus, I knew I’d need to watch it again with my son at a much later date. It was worth the investment. In my fascination with the story, the acting was good, cleverly crafted, and had great special effects. I give it 5 stars out of 5.

A deep and familiar sense of wonder arrives with Death of a Unicorn, a film that unites the hard edges of horror with the timeless shimmer of mythology and cryptids. Those weary of paint-by-numbers unicorn tales will find here an intoxicating reimagining, where folklore breathes with terror and beauty in equal measure. The story draws on the long tradition of unicorn symbolism; purity, danger, and the space between myth and reality; giving folklorists plenty to admire and horror fans much to savor.

This five-star experience is more than a suspenseful journey; it stands as a fresh lens on unicorn lore, blending unsettling creature design with folklore’s deep shadows. Students of mythology, collectors of cryptid legends, and lifelong movie buffs will recognize the artistry on display; an inventive, memorable tribute to stories that haunt the human imagination. As the boundaries blur between ancient fable and modern cinema, Death of a Unicorn claims its place among the most original myth-inspired films in recent memory.

Plot Overview and Mythological Foundations

Death of a Unicorn weaves an atmospheric story that bridges folklore, horror, and the subtle mysteries of natural history. The direction and writing treat mythology, cryptids, and unicorns with both reverence and invention, offering viewers a world that feels at once ancient and shockingly new. Instead of simply referencing unicorns as fantasy tropes, the film considers their deeper symbolic currents, purity tainted by violence, rarity on the edge of extinction, and the dangerous beauty at the heart of every myth. Layer by layer, this story wraps itself around the audience with a darkly enchanting grip, asking us to peer into the mythic shadows hidden in familiar woods.

Mythology and Cryptids in the Film’s World-Building

The film’s heart beats through its meticulous use of mythology and cryptids. Here, unicorns move beyond token creatures; they become both protagonists and portents, shaped by centuries of folklore and embellished by the film’s own rulebook. This isn’t the milky-white icon on childhood posters; this unicorn is unpredictable, wild, and laced with ambiguity, its roots borrowed from both medieval bestiaries and whispered folk tales.

World-building in Death of a Unicorn is rich, drawing from an international tapestry of legends. You will find echoes of Slavic Leshy myths, Celtic forest hauntings, and echoes of the Elasmotherium, often cited as the “Siberian Unicorn”, a creature entangling paleontological fact with cryptozoological hope. This subtle dance between documentary realism and gothic invention sets the scene apart from typical genre fare.

  • Hybrid Beasts and Hidden Truths: The film smartly folds known cryptids into its ecosystem. These influences allow for world-building that is dense yet accessible, rewarding attentive viewers and folklore enthusiasts alike.
  • Symbolism in Character and Setting: Each appearance by a mythical being connects to the larger themes of purity, self-sacrifice, and the price of wonder. Symbolic moments; antlers gleaming like silver under moonlight, hoofprints found near untamed rivers, reinforce how mythology, cryptids, and unicorns shape not just the film’s action, but also its spirit.

If the resonance of cryptid stories and ancient symbols catches your curiosity, consider browsing the Cryptids Lore Collection. There, you’ll find a deeper look at the creatures and stories that continue to haunt modern imagination, offering a context that transforms Death of a Unicorn from a simple film to a living folktale.

For those drawn to the interplay of myth and the monstrous, the film offers both a love letter and a bold revision. It rewards everyone who still believes that old stories have teeth; and that danger and beauty often walk hand in hand.

Cinematic Elements: Horror, Performance, and Atmosphere

Death of a Unicorn flourishes in the liminal space where horror breathes alongside legend. The film’s tone balances menace and awe, using visual and performance techniques that root mythology, cryptids, and unicorns firmly in the audience’s senses. Here, horror is not only found in fleeting shadows but in the profound unease of upturned folklore, where every whinny or forest shiver hints at powers older than language.

Creature Design: Bringing the Unicorn to Life

The heart of Death of a Unicorn lies in its striking reimagining of the unicorn, shifting the creature from a gentle fairy tale symbol to something altogether more primal. Instead of the classic white steed, this unicorn is closer to a cryptid; a wild and dangerous animal, closer in spirit to those legendary beasts chronicled in bestiaries and whispered about in folklore.

The design harnesses the uncanny. This unicorn is scarred by survival; its coat is marked, its horn not smooth and elegant, but jagged as if shaped by forest battles. Every movement, each snort and flick of the ear, awakens old fears, suggesting a creature as ancient as it is unpredictable. This isn’t just a monster, but a living myth: part relic, part warning.

  • Anatomical accuracy: The filmmakers draw from paleontological theories, imagining the unicorn with a heavy bone structure reminiscent of Ice Age megafauna.
  • Behavioral realism: The film gives the unicorn plausible animal instincts, blurring the line between fantasy and cryptozoology.
  • Atmospheric lighting: Shadows and moonlight are wielded to conceal and then reveal the unicorn, amplifying both beauty and terror.

To appreciate the historical roots that inspired these choices, explore Unicorn Mythology for a journey through traditional and modern interpretations. Those hungry for even further lore can see how the unicorn straddles myth and cryptid classification in the broader context of animal legends.

Actors and Storytelling: Review Standout Performances, Script Strength, and Emotional Impact

Death of a Unicorn is elevated by its cast, who bring depth and sincerity that cut through the genre’s potential for camp. Each lead actor embodies a complex relationship with the unicorn; fear, awe, and raw survival instinct mingle together in their eyes and voices.

  • Lead Performances: The central family dynamic anchors the film. The parent figure radiates both protectiveness and existential dread, while the child delivers hope and terror in unpredictable waves. These performances never tip into melodrama; instead, they maintain a studied restraint, letting silences and glances fill the screen.
  • Supporting Cast: Side characters populate the looming woods with urgency and unique voices, never feeling disposable or one-note.
  • Script Excellence: Dialogue is spare, but loaded with subtext. Every word counts; each exchange builds the film’s broader themes: the enormity of myth, the confusion of facing the unknown, and the line between folklore devotion and horror.

The emotional moments bite hard because they refuse easy comfort. The film leans into ambiguity: Is the unicorn a blessing, a warning, or something the human mind cannot parse? The script excels in sustaining this uncertainty, rewarding both mythology buffs and horror aficionados.

The atmosphere; woven from mist, flickering light, and trembling voices, carries the movie through quiet dread and sudden, kinetic fear. This is horror that respects the intelligence and emotional sensitivity of its audience, refusing to offer easy answers.

For an exploration of how cryptids exist in both legend and lived experience, visit the compendium on the List of cryptids. Curious minds will also find rich context in tales where monsters and myths spill into our world at Cryptid and Creature Movie Reviews.

Whether you come for the folklore, the cryptids, or the unicorn itself, it’s clear that Death of a Unicorn offers a five-star review for its commitment to mythic terror, nuanced performances, and an atmosphere thick with both reverence and fear.

Thematic Depth: Myth, Nature, and Morality

Death of a Unicorn commands attention not only for its chilling visuals and rich atmosphere but also for its deep engagement with old myths and urgent modern concerns. In this section, we explore how the film threads together environmental themes, moral questions, and symbolic echoes from centuries of folklore. For those fascinated by the texture of mythology, cryptids, and unicorns, these themes pulse just below the surface, framing every twist and revelation with greater meaning.

Moral Questions and Environmental Commentary

At the film’s core sits a quiet but persistent conversation about the relationship between humans and the natural world. By centering the unicorn as both a cryptid and a force of nature, Death of a Unicorn prompts the audience to confront tough questions:

  • What happens when a mythical creature is endangered not by magic but by human folly?
  • Can reverence for the rare ever balance our hunger for control?

The unicorn’s fragility and haunting presence tap into legends that long treated these animals as guardians of pure landscapes. Here, the unicorn’s suffering and resilience become metaphors for ecological destruction and the irreversible loss of wildness. The story frames the creature not as a passive victim, but as a symbol of nature’s limits, issuing a silent warning.

This theme resonates powerfully in our era of biodiversity collapse. The unicorn’s elusive beauty stands in for countless species teetering on the edge, calling the viewer to rethink the old narratives of conquest and ownership. Is it any surprise that unicorns, alongside other legendary creatures like the Loch Ness Monster and kelpies, have become cultural shorthand for environmental anxiety, as explored in discussions on the commodification of monstrous creatures?

Death of a Unicorn demands that the viewer witness not just a monster, but a living question about the cost of domination and the ethics of wonder.

Symbolism from Mythology and Folklore

Unicorns have always served as rich symbols; icons of purity, tests of character, and sentinels at the edge of the known world. Death of a Unicorn honors and upends these expectations, drawing on a deep well of references that folklorists and casual viewers alike will recognize.

Throughout the film, moments echo the oldest tales. When the unicorn is glimpsed by moonlight or rears in silent agony, these visuals recall those medieval bestiaries where unicorns could only be tamed by the pure of heart. Horns are more than weapons; they are tools of healing, agents of change, and guards of boundaries between worlds.

  • The unicorn’s horn, for instance, nods to legends where it could purify poisoned water; a role that links it directly to anxieties about environmental loss. Learn more about these traditions in the examination of the mythology of the unicorn.
  • The haunted forests and shadowed rivers evoke the boundary lands of folklore; places where humans encounter not only monsters but also their own moral limits.

The film smartly connects its unicorn not just with grace, but with danger; a duality at the heart of ancient tales. This mirrors the treatment of other legendary beings, such as the Giant Leech Monster, whose stories also live at the intersection of fear, awe, and a need to explain what lies in the dark.

For those interested in the broader cultural tapestry, stories of unicorns have shaped everything from spiritual allegory to ecological consciousness. They remain animals of contradiction; wild yet gentle, hunted yet untouchable. Death of a Unicorn breathes new life into these contradictions, offering moments when the creature’s symbolic weight feels almost unbearable.

By rooting its horror in the oldest myths and echoing the ongoing debates about how we live with the wild, Death of a Unicorn delivers a thoughtful, memorable, and deeply layered cinematic experience.

Why “Death of a Unicorn” Resonates with Folklorists and Horror Fans

Death of a Unicorn does something rare; it forges a direct link between ancient myth and skin-prickling fear, elegantly speaking to both folklorists and horror lovers. This movie does not merely nod to unicorns as decorations or metaphors. Instead, it digs into the deep roots of mythology, cryptids, and unicorns, demanding that viewers see these creatures not as playthings but as the living heart of legend. Folklore experts will detect the layers of traditional meaning, while horror fans will feel the pulse of dread that runs beneath every hoofbeat.

By stripping away the glitter and charm so common in pop culture, the film finds the darkness at the core of myth. It captures the uncanny; a feeling as old as the first stories told around a fire. This is why those who study and savor folklore, as well as those who crave sharp horror, find themselves drawn together in appreciation.

Unicorns in Contemporary Pop Culture: Briefly Compare the Film’s Unicorns with Modern Unicorn Representations, Noting Its Darker, More Haunting Approach

Unicorns today are bright, playful, and almost sanitized, appearing on everything from children’s pajamas to viral internet memes. The modern unicorn is all smiles and sparkles, usually designed to bring comfort or whimsy rather than fear. As noted in resources like the Origin of the Modern Unicorn, our contemporary image descends from centuries of softening and sweetening; centuries that have washed away the animal’s wilder traits.

But Death of a Unicorn stands in firm contrast to this trend. The film’s unicorn is wild and forbidding, its beauty hiding danger in every glance. While pop culture leans into pastels and innocence, the movie pulls from the oldest tapestries and stories, where a unicorn was a solitary, unpredictable force, often just as terrifying as it was alluring. Here, we see a return to the animal’s roots as both a symbol of purity and a harbinger of doom.

  • In Pop Culture: Unicorns often appear as companions to the innocent or as magical solutions to earthly problems. Their horns have lost their bite, serving as little more than fancy hats on friendly beasts.
  • In Death of a Unicorn: The unicorn reclaims its place as something uncanny and liminal, unsettling precisely because it is neither wholly good nor evil. Its horn drips with the suggestion of violence, its movements hint at intelligence both alien and ancient.

This stark difference creates a tension that folklorists recognize immediately: the struggle between myth and modernity. Horror fans, too, understand why this matters. The film’s unicorn is a cryptid, not a mascot; an animal that lives in the dangerous borderlands between fact and fantasy, as discussed in lists of Cryptid Horror Movies. By pulling the unicorn back into the shadows, Death of a Unicorn gives the audience a much-needed reminder. There are legends that we soften at our peril, and some symbols refuse easy domestication.

For a closer look at how unicorns are usually portrayed in today’s media, check out 13 Great Unicorns in Pop Culture. You’ll see unmistakably sweet versions there; bright, approachable, and harmless. The film stands as an antidote to this, restoring a sense of scale and power.

If you want to see more on how films use mythology and cryptids to unsettle and entertain, visit the Cryptid/Folklore horror movies thread. Death of a Unicorn has earned its five-star review for daring to challenge worn-out traditions, making its unicorn both a relic and a genuine threat.

In this bold reimagining, mythology, cryptids, and unicorns return to their roots, haunting, beautiful, and impossible to deny. Whether you study symbols for a living or simply crave horror with a folkloric bite, Death of a Unicorn offers a rare and compelling vision.

Reviewed

***** of 5 stars; Oisin Rhymour – Techno Tink Media: design.technotink.com. Death of a Unicorn earns its five-star review by turning the familiar symbol of the unicorn into something rare, at once beautiful and threatening, anchored in both mythology and the shadows of modern horror. Stunning visuals, dramatic special effects, the essence of Tim Burton – what an amazing creation. This film stands out for its deep respect for folklore, its sharp awareness of cryptid traditions, and the gravity it gives to old symbols often lightened by modern media. Its careful use of mythology, cryptids, and unicorns invites folklorists and horror buffs alike to see something fresh: a creature that demands attention, fear, and understanding.

For anyone who values the unpredictable edge of myth or the dark fascination of unexplained beasts, this movie is a gift. Let it guide you into richer tales on folklore, monsters, and the strange places where myth still breathes. Explore more haunting creatures and the legacy of monster stories in cryptid and creature movie reviews. Thank you for joining this journey through shadow and story; share your thoughts, and keep the discussion alive for those who love a world shaped by myth and the unknown.

 


Gargoyle (R: 2004)

gargoyle-movie

Gargoyle (Rated R: 2004. 84 minutes – Action / Fantasy / Horror. Russian produced.)

Director: Jim Wynorski. Starring: Michael Paré as Ty “Griff” Griffin; Sandra Hess as Jennifer Wells; Fintan McKeown as Father Nikolai Soren; Kate Orsini as Dr. Christina Durant; Tim Abell as Lex; William Langlois as Inspector Zev Aslan; Petri Roega as Father Adrian Bodesti; Rene Rivera as Gogol; and more.

Storyline tackles an age-old tale about a Christian priest killing off one of the world’s last gargoyles whose body falls down a hole into the earth that they seal with “the blood of Christ”. Jump to modern day where a CIA agent is sent to Bucharest with his partner to investigate numerous kidnappings and while trying to bust the thiefs, an earthquake releases a gargoyle from inner earth out to wreak havoc around the city. This gargoyle, ready to breed and multiply is also out for vengeance, and tracking down the only crossbow known to kill him. Effects are plain and definitely poorly done CGI. Plot has value, flow had errors, and after trying to watch this over 2 late nights, I fell asleep midway twice. Rating: 2.5 stars out of 5.

 


Thale (R: 2012)

thaleposter

Thale
Rated NR: Released: February 2012
http://www.thalemovie.com/
IMDB: http://www.imdb.com/title/tt2112287/
Facebook: http://www.facebook.com/thalemovie

Director: Aleksander Nordaas. Writer: Aleksander Nordaas. Starring: Silje Reinåmo as Thale; Erlend Nervold as Elvis; Jon Sigve Skard as Leo; Morten Andresen as Hvittkledd; Roland Astrand as the voice; and Sunniva Lien as
Thale.

A fabulous mythical tale meets modern day when Elvis and Leo, two crime scene cleaners discover a hidden stairwell leading to a concealed cellar where a beautiful naked woman has been kept captive. A mystery unwinds through tapes, research notes, and images of horrors unleashed. Secret labs, experiments on the fae-folk, and genetic altering to try to transform a fae to a human. More specifically focusing around the faerie folk named the Huldra, a mythical bipedal anthropomorphic tailed creature with magical powers … based on Norwegian folklore of the hidden folk in the woods. As a faerie lore enthusiast and researcher, I was extremely intrigued when discovering this subtitled gem on the Blockbuster shelf, and to my disappoint found out the store only had one copy, and it was checked out. Not available yet for streaming on Netflix, but did find immediately accessible on Amazon Prime for $3.99 (7 day rental) which you can watch directly through the link below. For any folklore enthusiast, fantasy film buff, or faerie fan … this is a must see. Made in Norway, language is Norwegian/Swedish and released on February 17, 2012. Filmed in Bergen, Hordaland, Norway. Rating 5 stars out of 5. [Rating:5] by Leaf McGowan, viewed 4/21/2013 on Amazon Prime
.


 


Cabin in the Woods

Cabin in the Woods (R: 2012)

Cabin in the Woods ~ (Rated R: 2012)
http://www.imdb.com/title/tt1259521/ * Director: Drew Goddard. * Written by Joss Whedon and Drew Goddard. * Starring: Kristen Connolly as Dana; Chris Hemsworth as Curt; Anna Hutchison as Jules; Fran Kranz as Marty; Jesse Williams as Holden; Richard Jenkins as Sitterson; Bradley Whitford as Hadley; Brian White as Truman and many others.

Within the last several years Hollywood and the film industry has been evolving and expanding the classical monster tale, as we watched through the ages meandering from Frankenstein, the Mummy, the Werewolf, and Count Dracula towards a whole different species of Werewolves, vampires, and zombies. Then came the serial killers obsessed with pain, torture, maiming, and realistic grotesque murder sprees self styled after Ted Bundy, Fred West, or Jeffrey Dalmer only to exaggerate to supernatural tales of Halloween, Friday the 13th, and the Texas Chainsaw Massacre. Now a new sense of horror, going back to supernatural beliefs on Witches, Druids, Spirits, and creatures from the races of Darker Faeries come crawling out from their sidhe with vicious mermaids and mer-men, leprechauns, gremlins, goblins, orcs, giants, and titans. The Old God/desses are being brought back to life. What one would imagine would be a typical hack n’ slash film by the title of “Cabin in the Woods” turned to a conspiracy theorie, Dark ancient Deities tale of human sacrifice at a high corporate level ploy to satiate the “ancient ones”. None other than a tale weaved by Buffy’s Joss Whedon to give that twisted plot some fantastical depth. These five friends go on vacation to a remote cabin in the woods, only to find them trapped and manipulated in a pseudo-realm where they are lined up to voluntarily sacrifice themselves to the dark spirits.

The five college-aged kids head off to a friend’s cabin in the woods and lose all communication with the outside world. During “party time” and unwinding, the cellar door mysteriously flips open, only to involved a truth or “dare” to investigate the darkness. Within is a treasure trove of artifacts, each with a secret and a beast to unleash. Meanwhile they are monitored by a high tech secret lab where the white coats bet on which creature they will face – Pinhead, the Mer-man, flesh eating zombies, a ghoul, or a prehistoric monster of dinosaur proportions. Dana reads from the diary of an imbred hillybilly family thereby awakening the now family of deadly murderous zombies. But this is not the only laboratory experiment of what supernatural creatures will be unleashed, as the lab coats are monitoring similar setups from around the world, hopeful of a successful stint with the cabin. As each of the college kids get knocked off, the ploy backfires as the “virgin” saved for the last, teamed up with the brainy pot-head discover the conspiracy and find their way down into depths uncovering an ancient temple lair holding back the ancient Titans from destroying the Earth – satiated by an annual sacrifice that was planned. None of the scenarios work out for the guardians and literally “all hell breaks loose” as magical and supernatural beings, creatures, and monsters look at the lab coats and armed forces as a smorgasboard brunch. The Director of the agency, played by Sigourney Weaver, tells them the truth that the ritual involving sacrifice of the Whore (Jules), the Athlete (Curt), the Scholar (Holden), the Fool (Marty), and the Virgin (Dana) was to appease the “Ancient Ones” who lived beneath the facility. They had to die in archetypical order until the virgin remained. Werewolves, mer-creatures, unicorns, ghouls, zombies, and a giant serpent take their wraith. The Ancient ones rise to destroy the facility and the cabin. While an element of “kitch” and whacky elements loomed over the film, the special effects and deep mythical supernatural plot humored and entertained me. [Rating:4] Rating of four stars out of five. ~ Reviewed by Leaf McGowan.

Youtube Trailer Preview

Photos are copyrighted and cannot be reproduced without permission of authors Tom Baurley or Leaf McGowan. Photos can be purchased via Technogypsie.com at Technogypsie Photography Services for nominal use fees. Restaurants, Businesses, Bands, Performances, Venues, and Reviews can request a re-review if they do not like the current review or would like to have a another review done. If you are a business, performer, musician, band, venue, or entity that would like to be reviewed, you can also request one (however, travel costs, cost of service (i.e. meal or event ticket) and lodging may be required if area is out of reviewer’s base location at time of request).

These reviews are done by the writer at no payment unless it is a requested review and the costs for travel, service, and lodging was covered – in which case, expenditure reimbursement will not affect review rating or content. If you enjoy this review and want to see more, why not buy our reviewer a drink to motivate them to write more? or help cover the costs they went through to do this review?





 


Lost Girl: Season 1

 

Lost Girl: Season 1
(Television NR: Showcase, 2010)
Creator: M.A. Lovretta. Starring: Anna Silk, Kris Holden-Ried and Ksenia Solo; and many others.

Its an expose of the Faerie world hidden within the human world where the season follows on the sensual charismatic Bo who never really felt at home with the humans tortured by not being able to experience love with them as she drains them to death during sex. She soon discovers she is a Succubus and is not alone, but in a world of the Genus Fae and without a tribe. She’s pushed to choose a tribe with the Dark Fae or the Light Fae, and decides to stay neutral. She becomes a renegade and teams up with a gothy girl human sidekick who becomes an investigator for the abnormal while figuring out who Bo’s mom is and her faerie origins. Falling in love with a Lycanthrope, at ends with the Morrigan, fighting off various species of Fae while keeping things secret from the human world. Full of mythology and faerie lore blended into the modern human world … this is a treasure and an action packed series. A must see for any faerie enthusiast. Rating: 5 stars out of 5
 

Season 1:

  • Episode 1: It’s a Fae, Fae, Fae, Fae World (September 2010)
  • Episode 2: Where There’s a Will, There’s a Fae (19 September 2010)
  • Episode 3: Oh Kappa, My Kappa (26 September 2010)
  • Episode 4: Faetal Attraction (3 October 2010)
  • Episode 5: Dead Lucky (17 October 2010)
  • Episode 6: Food for Thought (24 October 2010)
  • Episode 7: ArachnoFaebia (31 October 2010)
  • Episode 8: Vexed (7 November 2010)
  • Episode 9: Fae Day (14 November 2010)
  • Episode 10: The Mourning After (21 November 2010)
  • Episode 11: Faetal Justice (28 November 2010)
  • Episode 12: (Dis)Members Only (5 December 2010)
  • Episode 14: Blood Lines (12 December 2010)

 


Ondine (PG-13: 2010)

Comments Off on Ondine (PG-13: 2010) | Mermaids, Movies, Selchies Tags:, , , , , , , ,

 

Ondine (PG-13: 2010)
* Rated: 5 stars out of 5 * Starring: Colin Farrell … Syracuse; Alicja Bachleda … Ondine; Dervla Kirwan … Maura; Alison Barry … Annie; Marion O’Dwyer … Nurse – Dialysis; Tony Curran … Alex; and many more. * Director: Neil Jordan * http://www.ondinefilm.com/ *
A modern Irish lyrical faerie tale about a fisherman named Syracuse who pulls up a stunning woman in his net called “Ondine”. Her name means “She who came from the sea” and begins to believe his daughter’s theory that Ondine is a selchie or mermaid, a seal woman who in Celtic myth is believed to be able to become human by taking off her seal coat in order to pursue love with a human. They begin to treat Ondine like she is a selchie as many oddities in the situation, the events, and the tale is mystical and tragic. Whenever Ondine is aboard the fishing vessel and sings her siren song, his nets are filled with bounty. It becomes a torrid love affair that turns out to have an even crazier origin of truth. Beautifully woven tale embedded in myth. Brought tears to my eyes and edge of your seat excitement. Why can’t I pull up a beautiful selchie like that in my fishing nets? Amazing plot, storyline, and cinematography.
 

 


Faeries

The Tree Leaves’ Oracle icon flower fairy

The Victorian Flower Fairy or Nature Sprite

Flower Fairies are believed to be the fairy spirit essence of various flowers; they are portrayed as tiny creatures that rarely are larger than 20 cm. tall. Most of these depictions come from Victorian art and is a common ‘model’ for what most people think of what is a fairy. They live in tree tops, marshes, forests, gardens, fields, and waysides. It is believed by many that when a seed sprouts a flower fairy is born. Each flower fairy lives upon its host plant and not found too far from it. They sleep within the flower. As the flower grows so does the fairy. The flower fairy exists to tend and watch over the flower. If the flower dies, so too does the fairy. Disembodied spirits, elves, fairies or daemons; often the term used for the Air elemental known as “sylphs,” or as the name of the elementals of Spirit. Flower fairies are often also referred to as nature sprites or spirits. Some define sprites as a being who are beginning a course of evolutionary growth and in the elemental states of their growth. In some ways, this is the concept, in the life of a flower, what makes a flower fairy a sprite. Examples: http://www.flowerfaeries.com/flowerfairies.shtml; http://www.flowerfairies.com/US_version/home.html.

(more…)

 


Ragnarok


Ragnarok

 

Ragnarok

“Ragnarok”, “Gotterdammerung”, or a.k.a. “Doom of the Gods” or “Final Destiny of the Gods” is the apocalypse in Norse mythology. Its an important event in the Norse canon. This event will be followed by the Fimbulvetr, or the “Winter of Winters”. These three winters will follow each other with no summer. This will be a time of conflicts and feuds between all people and inhabitants on Earth, and all morality is believed will disappear. The mythos discusses that the “wolf Skoll will devour the sun and his brother Hati will eat the moon, plunging the Earth into Darkness. The stars will vanish from the sky. the Fjalar cock will crow to the giants and the Gullinkambi cock will crow to the Gods. A third cock will awaken the dead. The Earth will shudder with earthquakes and every bond and fetter will burst. The wolf Fenrir will be released. The sea will rear up because Jormungand the Midgard Serpent will write in fury making his way to the lands. With every breath, he’ll stain the soil and skly with poison. The Naglfar ship will be freed from waves caused by the serpent, and the Hymir giant will lead the giants to the battlefield. The Realm of the dead will send a second ship with Loki as the helmsmen, off to the battle. The fire giants led by Surt will leave Muspell in the south to join forces against the Gods and scorch the Earth. Heimdall will sound his horn, calling the sons of Odin and heroes to the battle. From all corners of the world – the Gods, the Giants, the Dwarves, the Demons, and the Elves will ride towards the huge plain of Vigrid to fight the last battle. Odin will engage Fenrir in battle, and Thor will attack Jormungand. Thor will be victorious, but the poison will eventually kill him. Surt will seek out the swordless Freyr, who will succomb to the giant. The one-handed Tyr will fight the Garm and they will kill each other. Loki and Heimdall, will meet a final time, and both will die. The fight between Odin and Fenrir will rage for a long period until Odin gets seized and swallowed. Odin’s son Vidar will leap to kill the wolf. Surt will fling fire in every direction and the nine worlds will burn, killing all friends and foes. The earth will sink into the sea. After the doomsday, a new and idyllic world will arise from the sea and abundant with supplies. Some of the Gods will survive will others will be reborn. Wickedness and misery will be non-existent and Gods with men will live happily together. Two humans, Lif and Lifhrasir will survive by hiding in the wood Hoddmimis holt and will repopulate the Earth. The personified sun, Sol will have a daughter at least as beautiful as she and this daughter will follow the same path as her mother. ” This cosmic event is attested in the 13th century “Poetic Edda” from early traditional sources, and the “Prose Edda” written also in the 13th century by Snorri Sturluson. There are several archaeological objects that depict events from Ragnarok. These are (1) Thorwald’s Cross: a partially surviving rune stone erected on the Isle of Man, depicting a bearded human holding a spear down at a wolf, his right foot in its mouth, while a large bird sits at his shoulder. This dates between 940-1000 C.E. Its believed to depict Odin, with a raven or eagle at his shoulder, being consumed by Fenrir at Ragnarok. There is also a depiction of a large cross and another image parallel to it that some state is Christ triumphing over Satan. (2) Gosforth Cross: mid 11th century, from Cumbria, England that parallel’s Thorwald’s Cross combining Norse Pagan and Christian symbolism in a similar manner apparently combining scenes from Christian Judgement Day and the Pagan Ragnarok. (3) The Ledberg Stone. 11th century C.E. from Sweden and is similar to Thorwald’s Cross featuring a figure with his foot at the mouth of a four-legged beast, perhaps of Odin being devoured by Fenrir at Ragnarok. (4) The Skarpaker Ston. 11th c. C.E. from Sweden – father grieving his dead son used the same verse as in the Poetic Edda in the engraving translating to “Earth shall be riven and the over-heaven”.

Some correlations have been made between Ragnarok and the 9th century Old High German epic poem Muspilli about the Christian Last Judgement that states the world is to be consumed in flames. Other comparisons between Ragnarok and other Indo-European peoples depict a later evolution of a Proto Indo-European belief about a cosmic winter motif between the Norse Fimbulwinter, the Iranian Bundahishn, and Yima. Vidarr’s stride compared to Vishnu’s with a special shoe to tear apart the beastly wolf. Larger patterns drawn between final battle events in Indo-European cultures including the occurrence of a blind or semi-blind figure in the themes. Other theories about the volcanic events after the death of the Gods – the sun turning black, steam rising, flames touching the heavens – may be inspired by the volcanic eruptions on Iceland. Records of eruptions on Iceland bear strong similarities to the sequence of events described in Voluspa, especially the eruption at Laki that occurred in 1783.

Articles can be purchased for use in magazines, print, or for reproduction on web sites. Photos are copyrighted and cannot be reproduced without permission of authors Tom Baurley or Leaf McGowan. Photos can be purchased via Technogypsie.com at Technogypsie Photography Services for nominal use fees. Restaurants, Businesses, Bands, Performances, Venues, and Reviews can request a re-review if they do not like the current review or would like to have a another review done. If you are a business, performer, musician, band, venue, or entity that would like to be reviewed, you can also request one (however, travel costs, cost of service (i.e. meal or event ticket) and lodging may be required if area is out of reviewer’s base location at time of request).

These articles/stories are done by the writer at no payment unless it is a requested review and the costs for travel, service, and lodging was covered – in which case, expenditure reimbursement will not affect review rating or content. If you enjoy this story, tale, article, or review and want to see more, why not buy our reviewer a drink to motivate them to write more? or help cover the costs they went through to do this review?





 


Archives

Categories