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Davinia Byron

@davyeverhart

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🇬🇧👩🏼‍🏫 Headteacher in the-englishway.com
🍀🍺organiser at @zgzlanguagexchangeuniversidad
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Este año me ha enseñado más de lo que jamás hubiera querido aprender.

🤍 He aprendido que perder a una madre en apenas un mes deja un vacío que nunca desaparece. El duelo no termina; simplemente aprendes a vivir con él.

💔 He aprendido que no todas las personas que llamas "amigos" lo son. A veces los celos, el orgullo o los intereses personales sacan lo peor de quienes creías que estarían a tu lado.

❤️ He aprendido que, cuando alguien te dice desde el principio que no busca lo mismo que tú, el mayor acto de amor propio es creerle. Porque por mucho que quieras a una persona, no puedes hacer que sienta lo que no siente.

✨ También he aprendido que una persona puede no corresponderte de la forma en que tú esperabas y, aun así, convertirse en una de las cosas más bonitas que te hayan pasado. No todas las historias de amor terminan en una relación, pero algunas dejan una huella para siempre.

🎭 He aprendido que algunas personas disfrazan de amistad un interés que, en realidad, es únicamente sexual. Y que, cuando descubren que no van a obtener eso de ti, tampoco les interesa conservar la amistad que decían ofrecer.

🌿 Pero también he aprendido que existen personas maravillosas. Personas que aparecen cuando menos lo esperas y que hacen que todo sea un poco más llevadero. Por ellas no podría arrepentirme de nada.

🌅 He aprendido que no puedo controlar cómo actúan los demás, pero sí la forma en la que decido seguir adelante.

✨ Y, sobre todo, he aprendido que incluso los años más difíciles pueden convertirse en los que más te transforman.

Con más cicatrices. Con más paz. Con más amor propio.

Porque, al final, incluso los capítulos más duros también pueden traerte a las personas más bonitas que el universo tenía preparadas para ti. by @davyeverhart

Part IV :
The relationship between Clark and Barbara illustrates this dynamic particularly well. Barbara's fear of the monstrous version of Clark may be interpreted as more than fear of a physical creature. The monster functions as an externalisation of Clark's psychological deterioration—his grief, guilt, obsession and emotional fragmentation. Such a reading aligns closely with Gothic traditions in which monstrosity emerges from within rather than arriving from outside. The horror lies not merely in the monster's existence but in what it reveals about the self.

Throughout the film, characters repeatedly attempt to save one another, yet these acts of rescue remain incomplete. Mary enters the labyrinth in an attempt to save Clark, yet the film gradually reveals the impossibility of such a rescue. The deeper she travels, the clearer it becomes that Clark's greatest threat is not an external monster but the unresolved forces within himself. Healing cannot simply be imposed from outside; it requires a confrontation with the forces that haunt the self.

Viewed through the combined perspectives of the American Gothic, psychoanalysis and Trauma Studies, The Backrooms emerges as far more than a contemporary horror film. Like Poe's House of Usher, Gilman's yellow room and Morrison's haunted house in Beloved, it transforms psychological suffering into inhabitable space. Its labyrinth is not simply a maze from which one must escape but a materialisation of trauma itself—a place where memory, loss and psychological fragmentation become visible. Beneath its liminal aesthetics lies a much older Gothic concern: the terrifying possibility that what haunts us most is not an external force, but the unresolved wounds that continue to inhabit the hidden chambers of the mind.#BackroomsMovie #Cinema #HorrorMovies #PsychologicalHorror #filmanalysis by @davyeverhart

Part III:
Yet perhaps the most revealing comparison is Toni Morrison's Beloved. Morrison fundamentally reimagines Gothic haunting through the lens of trauma. In Beloved, the past refuses to remain in the past. Memory acquires physical presence, inhabiting space and shaping the lives of those who attempt to escape it. The haunting is not merely supernatural but psychological, historical and emotional. Trauma becomes embodied.

A similar process appears to operate throughout The Backrooms. The labyrinth functions as a landscape of memory and repetition, forcing characters to confront experiences that resist resolution. The film repeatedly suggests that what haunts its characters is not simply an external threat but the persistence of unresolved psychological wounds. The Backrooms do not merely imprison bodies; they imprison memories. Like Morrison's haunted house, they become spaces in which the past continually returns, refusing to be forgotten.

Such a reading aligns closely with the concerns of Trauma Studies. Contemporary trauma theory suggests that trauma is not experienced as a coherent memory that can be easily narrated. Instead, it often returns through fragmentation, repetition and reenactment. Trauma is not simply remembered; it is relived. This perspective helps explain the peculiar logic governing the Backrooms. Characters become trapped within recurring emotional patterns, repeatedly encountering situations that resist closure. The labyrinth operates according to the structure of traumatic memory itself.

From this perspective, one of the film's most intriguing features is its emphasis on role-play and performance. The characters appear repeatedly compelled to reenact unresolved emotional conflicts. They do not merely remember their suffering; they inhabit it. The Backrooms function as a stage upon which traumatic experiences are continually performed and re-performed. What initially appears to be a physical labyrinth gradually reveals itself as a psychological theatre structured by memory, repetition and loss.
#BackroomsMovie #FilmReview #MovieReview #PsychologicalHorror by @davyeverhart

Part II :
This Gothic framework naturally invites psychoanalytic interpretation. Freud's theories provide a useful vocabulary through which to understand the film's symbolic landscape. The Backrooms resemble a descent into the unconscious, a realm where fears, memories and unresolved conflicts acquire physical form. Ordinary spaces become unsettling, producing what Freud described as the uncanny. The familiar is transformed into something disturbingly strange. Corridors repeat endlessly, rooms appear simultaneously recognisable and alien, and reality itself seems governed by emotional rather than rational logic. The film's dreamlike structure reinforces this impression, suggesting a world organised according to repression, desire and fear rather than objective reality.

Particularly significant is the motif of repetition. Characters appear trapped within recurring emotional and psychological patterns, repeatedly confronting situations that cannot be fully resolved. Freud's concept of repetition compulsion offers a compelling framework for understanding this dynamic. Trauma resists closure. Rather than remaining safely confined to the past, it returns compulsively, demanding to be relived. The Backrooms therefore function not simply as a maze but as a theatrical space in which unresolved experiences are endlessly replayed.

Charlotte Perkins Gilman's The Yellow Wallpaper provides another illuminating point of comparison. Like The Backrooms, Gilman's story transforms physical space into a manifestation of psychological distress. The protagonist gradually projects her deteriorating mental state onto the room that confines her, blurring the distinction between external reality and internal perception. The comparison becomes particularly striking when considering the film's persistent use of yellow spaces. Far from conveying warmth or comfort, these yellow corridors evoke confinement, obsession and mental exhaustion. In both texts, architecture ceases to function as a neutral backdrop and instead becomes an active participant in the characters' psychological experience. #Backrooms #BackroomsMovie #FilmReview #MovieReview #Cinema by @davyeverhart

Part I : The Architecture of Trauma: Reading The Backrooms Through Poe, Gilman, Morrison and Trauma Studies

Most discussions of The Backrooms focus on its origins in internet horror culture, emphasising its liminal aesthetics, unsettling imagery and connection to online folklore. While such approaches are undoubtedly valuable, they risk overlooking the film's deeper literary resonances. Rather than viewing The Backrooms solely as a contemporary horror film, it may be more productive to situate it within the tradition of the American Gothic. Through its labyrinthine architecture, psychological fragmentation and obsessive repetitions, the film engages with concerns that have long preoccupied American Gothic writers such as Edgar Allan Poe, Charlotte Perkins Gilman and Toni Morrison. Viewed through this tradition, The Backrooms emerges as a meditation on trauma, memory and psychological deterioration, transforming suffering into inhabitable architectural space.

One of the defining characteristics of the American Gothic is its tendency to externalise psychological experience. Buildings, rooms and landscapes cease to function merely as settings and instead become manifestations of mental and emotional states. This strategy is particularly evident in Edgar Allan Poe's The Fall of the House of Usher, where the decaying mansion reflects the physical and psychological collapse of its inhabitants. The house is not simply haunted; it becomes inseparable from the anxieties, obsessions and deterioration that consume those who live within it.

The Backrooms employs a remarkably similar logic. Its endless corridors, deteriorating rooms and impossible architecture function less as a physical location than as a psychological landscape. The labyrinth appears to absorb and reflect the emotional condition of those trapped within it. As the characters become increasingly disoriented, fragmented and exhausted, the environment itself mirrors their decline. Like Poe's House of Usher, the Backrooms transform architecture into psychology, turning physical space into a visible expression of inner distress.#Backrooms #BackroomsMovie #FilmReview #MovieReview #psychoanalysis by @davyeverhart

Romanticising the ordinary, always...

— Davy Byron

#slowliving #springaesthetic #dailyrituals #cozyliving #romanticiseyourlife by @davyeverhart

literature, rituals & desire
between light and shadow
— Davy Byron
🖤 🌸 🖤
🌸 🖤 🌸
🖤 🌸 🖤
#slowliving
#aestheticlife
#springvibes
#romanticiseyourlife
#dailyrituals by @davyeverhart

#birthday II 38 years old by @davyeverhart

#birthday part 1 by @davyeverhart

#english #blondehair #bluetshirt💙 #learnenglishonline #cambridgezaragoza #cambridgeexams #englishtutor #englishlearning #englishcouch #passyourenglishexams #cae #firstcertificate #oxfordexaminationschools #oxfordexams #onlineacademy #onlinebusiness #teachingenglish #theenglishway #distanceacademy #workingremotely #pinkclothes by @davyeverhart

#newlifestyle #healthybythebeach #stunningviews #oropesadelmar #healthyfood #healthyliving #stunning #couplegoals #selfcare #selfreminder #selfmotivation #thisisblissful #oropesa #pychology #nomadlife #momadventures #nomadict #teachingonline #thelifeideserve😎 by @davyeverhart

#picnic #brunch #brunching #healthyfood #healthylifestyle #healthyliving #bythesea🌊 #bythebeach #smothiesbowl #juicesandberries #newlifestyle #healthybythebeach #fruitandveggies #plantbaseddiet #inbetweenclasses #sportyandfit #picoftheday #scottishtablecloth #picnicdate #couplegoals #workingonline #remotework #lifestyle #newstart by @davyeverhart