#Dietrich writes

[i-dont-write-as-often-as-id-like]

Raphael Eldridge

He woke up, alone in his house. He sat up, looking around at the lights that were still on, the lights that seemed so blindingly bright. His head was pounding as the night before came back to him. The way he had gotten drunk with his friends, where were they? They never left him on the floor like this. He groaned and pushed himself up, wincing in pain at the soreness in his back. He also noticed the pure silence, he didn’t hear his footsteps, nor his breaths or the buzz of electricity. He reached up to check his hearing aid and froze when he realized it wasn’t there. He checked the other ear and much the same, was this some kind of prank? He sighed and looked around, falling out for his friends, at least, he was pretty sure he was calling, but he couldn’t hear anything so he had to hope.

[novel-redacted]

Please- Hold me, kiss me, don't let me fly away.

These two are a goddamn long con romance but they'll be the death of me the entire time I write it.

[perigilpin]

The Amazing Ms.Fell

( with bonus peak of the dressing room less than 5 minutes after the show)

[buffaloborgine]

About Isaak and Dietrich...

Ya know, the idea that Isaak has trouble understanding the concept of "love" is so hilarious to me, because right next to him, Dietrich, the one that understands "love" so much that he can even use "love" to manipulate people and they just have to stick together like peanut butter and jam.

The whole Isaak and Dietrich synergy while terribly horrifying is also comedically tragic. You have that one (literally) immortal struggling to understand why some humans would just discard the world to save their loves, and that one very much mortal who plays people's feeling like a fiddle, and yet these two never found a common point (probably asides from world's destruction).

So, like, Dietrich teases Isaak on the fact that he doesn't understand love, and Isaak just retaliates that by putting Dietrich in "Live or Die" situations.

They are like old married couple that understand each other so much yet never can agree on one simple thing.

[legobiwan]

Random idea I had this evening while trying to tackle some writing projects:

Many of us have commented on how movie!Luigi is able to fight off a whole army of Dry Bones AND take on Bowser with literally no training after he and Mario get a hold of the Super Star.

What if Luigi, pre-movie events, was secretly going to work out at a gym once or twice week, so he would feel equal to his brother? Of course, he's too anxious to actually try it out in real life and gets little to no practice outside the one or two hours a week he convinces his old high school classmate (who definitely picked on him back on the day) to teach him some moves. Meaning, it's not going to be his first instinct, especially when he gets dropped into the Darklands, but something that he can do, when he overcomes that fear and acts on instinct.

It would give a little explanation as how he is able to pull what he did at the end of the movie. Which would lead to a hilarious conversation post-movie between him and his brother. ("Uh, Lou? When did you learn how to fight?" "Huh? What do you mean? I don't. I didn't. I can't." "Uh-huh. Then what was that when you helped me beat Bowser?" "Oh that. Uh...hehe, adrenaline, you know. Funny thing, isn't it?" "Weeg." "Alright, alright. Maybe all those times I told you I was going for a walk in Prospect Park I might have been taking a few lessons with Vinny Mastriani." "Vinny Mastriani as in called you Loogy Loser Luigi Vinny Mastriani?" "I mean - " "This is great! Once we're healed up, we're definitely going to spar. I want to see what you can do." "Mario I don't think I can - " "You absolutely can and you will." *cue Luigi groaning*)

[vaampiricdecay]

fav character in itgo is the loofa

[istibaethoriel]

I wrote some Durgetash fic... :D 

[subjectsix]

25. — intractable for SR Dragonfall

25. — intractable

Dietrich wears his bleeding heart on his sleeve. It's not much of a secret that he wants to set an example but worries about who might follow. The only thing he figures he can do is try and protect everyone-- to throw himself at the danger first. (Winning is always a bonus, but it's mostly the action itself that counts. He's caught somewhere between 'do what's right' and 'do as I say, not as I do'.)

Monika will gladly bend the ear of anyone who gives her a spare second of time. She's got plenty to say and friendly eyes that want to hear from you. She's got that magic touch where everything she does feels genuine. Not like you're her 'project' to fix. Not like she's your savior.

The two of them are too stubborn for their own good. It keeps them both alive, run after run, looking out for each other. Sometimes they were too alike for their own good, intractable in their ways and butting heads. Always in good faith. Don't do what I did. Don't make my same mistakes. I can make my own choices. They might as well have been related.

Shadowrunning is a dangerous job to have a heart in. Loss is more inevitable here than anywhere else. But they both march forward, undeterred, holding true to their cause.

The empty space where she should be and the empty bottle in his hand only makes the hurt worse.

She wasn't the heart of the Kreuzbasar, and she was more than the leader of the team. But she leaves a hole none of them know how to fill.

Dante nuzzles up underneath Dietrich's loose hand, leaning all his weight into the man's leg. He drops the bottle to the floor and presses his forehead against the dog's fur.

Loss is more inevitable here than anywhere else.

It always happens. But it never gets easier.

(one word writing prompts)

[ffxivaltstars]

FFXIVWrite2023 - Prompt 21 - Grave

Every year they made the pilgrimage. Dietrich still remembered they day they'd said farewell his mother, despite how young he'd been at the time. Such a tragedy was not one to be forgotten easily no matter one's age.

She'd been ill. From what Dietrich had learned since then, he knew that she had always been of a frail constitution, and it was assumed that childbirth had taken more out of her than she had wanted to let on. It had been hard to cope with that, at first; the realization that he had likely been a large part of what had killed his mother. There wasn't really an easy way to process that sort of guilt.

It especially hurt on the anniversary. Dietrich walked stiffly behind his father, steadfastly avoiding eye contact and not saying a word. They each had their own trauma to contend with that was secret and personal. Presumably Colton had his own way of dealing with his issues. Dietrich had never asked, and the older man had never volunteered. Aside from Colton letting Dietrich know his expectations for Dietrich's life and career path - and then when those were failed, his disappointment - father and son barely managed anything resembling communication.

Angela's ashes had been scattered to the wind and sea off the La Noscean coast. There were no markers of any kind; such memorials were likely to go mysteriously missing, either due to weather or wildlife, or more likely to the enterprising humanoid. But neither Dietrich nor Colton needed a visible mark for the location, knowing it as well as they did.

They stood together while the wind tugged at their coats and tossed their hair. Dietrich wondered idly if Angela would have been proud of the man he'd become. Probably not. The thought brought the ghost of a wry smile to the corner of his mouth. Alcoholic, addict, recluse-- Dietrich was many things, but not one of them was worth being proud of.

[dietrichs-fanclub]

i finished hiiiiim!! eight whole dietrichs in one art? normal amount of dietrichs.

thx rose for the pretty circle :)

[azulsartdump]

“Dressed up like your dorm leader today, I see.”

“And you look more like a corpse than usual, Nanami.”

(Dietrich is the wonderful @faehistorian ‘s OC!)

Nanami Wantanabe SSR Halloween ~Marsella Kidnapped?~ (Part 1)

Nanami: Good grief. That certainly was quite the rush of Schoenheit-senpai’s fans. I’m glad everything is under control now.

Dietrich: NANAMI!

Nanami: Oh great seven, what is it now?

Dietrich: Nanami! There you are!

Nanami: I’ve been here all evening, Azami-san. I’m assuming you’re not here for the stamp, so what can I help you with?

Dietrich: Marsella’s been kidnapped.

Nanami: ...

Nanami: I beg your pardon?

Dietrich: Marsella! Your darling roommate! She’s been kidnapped.

Nanami: That’s impossible. She said she would be with Draconia-senpai the entire night. I’m covering her shift for stamps because of that.

Dietrich: Well, she’s not at Diasomnia’s set up, so she must have gotten kidnapped.

Nanami: I find it a bit surprising that Draconia-senpai hasn’t turned over the campus looking for her if she’s really missing.

Dietrich: I don’t have time to keep track of what that lizard’s doing. Come on, we need to go find her.

Nanami: Hold on! Unhand me! Augh! At least let me tell Kiku-chan know I’ll be going before you drag me away!

Nanami Wantanabe SSR Halloween ~Marsella Kidnapped?~ (Part 2)

Nanami:  Azami-san, with all due respect, are you sure that Marsella isn’t just having a good time at the festival?

Dietrich: Do you really think she’d be able to resist making a magicam post about the festival if she were out having fun? She hasn’t posted in 6 hours, Nanami. 6 HOURS.

Nanami: I heard you the first time! Great Seven... The festival grounds are all so crowded. Do you at least have an idea of where she might be? I’d like to get this over with as quickly as possible.

Dietrich: Do you think I’d really ask you for help if I knew? She could be anywhere on the island.

Nanami: Well what do you expect me to do? It’s not like I can magically conjure up a way for you to find her out of nowh-

???: Nami-nee!

Nanami: Kaito?

Kaito: Nami-nee! There you are! Mama and I were looking for you, but the pretty girl with white hair in the mirror hall said you left to walk around the festival.

Nanami: Ah, Kiku-chan. Well, are you having fun, Kaito?

Kaito: Mhmm! Mama and I have almost all the stamps we need! Oh! We also met your roommate!

Nanami: You ran into Marsella?

Kaito: Yeah! She was really nice and super pretty! The man she was with was really cool too! He was dressed up like that man was!

Dietrich: What do you know? There is a god out there. Hey squirt, could you take us to where you last saw Marsella?

Kaito: Okay! Follow me!

Nanami Wantanabe SSR Halloween ~Marsella Kidnapped?~ (Part 3)

Kaito: Here we are! This is where I met your pretty roommate, Nami-nee.

Nanami: Oh, I think I see her over there.

Dietrich: Marsella! Over here!

Marsella: Nanami! Dietrich! How are you guys? Oh! I see you found your sister, Kaito!

Kaito: I did! Thank you for helping me, Miss!

Marsella: I’d love to stay and chat longer, but Malleus and I were just taking a short break to eat. We still have a few stamps we need to go collect. 

Nanami: So you’ve been with Draconia-senpai this entire time, huh?

Marsella: Yep! Can’t leave him alone for too long, you know how clingy he gets when I do. Anyway, have fun walking around! See you soon!

Dietrich: Wait! Marsellaaaand she’s gone...

Nanami: Dietrich...

Dietrich: ...

Nanami: Do you remember when I told you when Marsella was probably just enjoying the festival?

Dietrich: ... I do...

Kaito: Uh oh... Mister, you might not want to look at Nami-nee. She’s making that scary face she does when you’re in trouble.

Dietrich: I know kid... I know...

[fullmetalwindbreaker]

i’m gonna pull a gregory berrycone and start referring to people and things as “soooo dietrich dietrich”

[augment-duke]

Dietrich was a man who always memorized the details, he knew that, he also knew he couldn't hide his mistakes forever; but as he lay there, comfortable and bare, watching the way that stoic brow creased with some unspoken sorrow. He wished he could. Just to keep that pain from his heart. "I was desperate when BAEL first found me...Then... I was left alone, unable to die." A shiver of a whisper crossed his throat, bobbing those violent scars done by his own hand. "It didn't work. Nothing ever did I mean-" "Never again." It was a harsh whisper, a declared vow that interrupted him, the softest touch of genuine affection pushed snowy locks aside as that gaze rose to meet him. It was not pity, it was not judgment. It was earnest and understanding compassion. "I promise Alexander, never again."

-----

[[Me on my bullshit for my own novel work???? Maybe so. This fuckin book (and these two) are a fucking slowburn so I ain't gonna get this actual scene context properly written till like the summer LOL. So here's me just fuckin around with the draft of it. I'd rant more about the whole of this scene and book things cause Im FERAL but I'll save that for... actually writing it.

I am enjoying writing it though! Sappy as I be!

I'm colorblind so I can't be bothered to color things apparently (its so fuckin hard sometimes so I'm going back to lines) but here's a color layout below cut to save space]]

[i-dont-write-as-often-as-id-like]

“Officer Ross, come to the office. Now.”

The commander snapped over the phone, a dead sweat running down my face.

[hotvintagepoll]

Propaganda

Marlene Dietrich (Shanghai Express, Witness for the Prosecution, Morocco)—Bisexual icon, super hot when dressed both masculine and feminine, lived up her life in the queer Berlin scene of the 1920s, central to the 'sewing circle' of the secret sapphic actresses of Old Hollywood, refused lucrative offers by the Nazis and helped Jews and others under persecution to escape Nazi Germany, the love of my life

Xia Meng, also known as Hsia Moog or Miranda Yang (Sunrise, Bride Hunter)—For those who are familiar with Hong Kong's early cinema, Xia Meng is THE leading woman of an era, the earliest "silver-screen goddess", "The Great Beauty" and "Audrey Hepburn of the East". Xia Meng starred in 38 films in her 17-year career, and famously had rarely any flops, from her first film at the age of 18 to her last at the age of 35. She was a rare all-round actress in Mandarin-language films, acting, singing, and dancing with an enchanting ease in films of diverse genres, from contemporary drama to period operas. She was regarded as the "crown princess" among the "Three Princesses of the Great Wall", the iconic leading stars of the Great Wall Movie Enterprises, which was Hong Kong's leading left-wing studio in the 1950s-60s. At the time, Hong Kong cinema had only just taken off, but Xia Meng's influence had already spread out to China, Singapore, etc. Overseas Chinese-language magazines and newspapers often featured her on their covers. The famous HK wuxia novelist Jin Yong had such a huge crush on her that he made up a whole fake identity as a nobody-screenwriter to join the Great Wall studio just so he can write scripts for her. He famously said, "No one has really seen how beautiful Xi Shi (one of the renowned Four Beauties of ancient China) is, I think she should be just like Xia Meng to live up to her name." In 1980, she returned to the HK film industry by forming the Bluebird Movie Enterprises. As a producer with a heart for the community, she wanted to make a film on the Vietnam War and the many Vietnam War refugees migrating to Hong Kong. She approached director Ann Hui and produced the debut film Boat People (1982), a globally successful movie and landmark feature for Hong Kong New Wave, which won several awards including the best picture and best director in the second Hong Kong Film Award. Years later, Ann Hui looked back on her collaboration with Xia Meng, "I'm very grateful to her for allowing me to make what is probably the best film I've ever made in my life."

This is round 5 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Xia Meng:

Marlene Dietrich:

ms dietrich....ms dietrich pls.....sit on my face

its marlene dietrich!!!! queer legend, easily the hottest person to ever wear a tuxedo, that hot hot voice, those glamorous glamorous movies…. most famously she starred in a string of movies directed by josef von sternberg throughout the 1930s, beginning with the blue angel which catapulted her to stardom in the role of the cabaret singer lola lola. known for his exquisite eye for lighting, texture, imagery, von sternberg devoted himself over the course of their collaborations to acquiring exceptional skill at photographing dietrich herself in particular, a worthy direction in which to expend effort im sure we can all agree. she collaborated with many other great directors of the era as well, including rouben mamoulian (song of songs), frank borzage (desire), ernst lubitsch (angel), fritz lang (rancho notorious), and billy wilder (witness for the prosecution). the encyclopedia britannica entry im looking at while compiling this propaganda describes her as having an “aura of sophistication and languid sexuality” which✔️💯. born marie magdalene dietrich, she combined her first and middle names to coin the moniker “marlene”. she was a trendsetter in her incorporation of trousers, suits, and menswear into her wardrobe and her androgynous allure was often remarked upon. critic kenneth tynan wrote, “She has sex, but no particular gender. She has the bearing of a man; the characters she plays love power and wear trousers. Her masculinity appeals to women and her sexuality to men.” in the 1920s she enjoyed the vibrant queer nightlife of weimar berlin, visiting gay bars and drag balls, and in hollywood her love affairs with men and women were an open secret. she was an ardent opponent of nazi germany, refusing lucrative contacts offered her to make films there, raising money with billy wilder to help jews and dissidents escape, and undertaking extensive USO tours to entertain soldiers with an act that included her a playing musical saw and doing a mindreading routine she learned from orson welles. starting in the 50s and continuing into the mid-70s she worked largely as a cabaret artist touring the world to large audiences, employing burt bacharach as her musical arranger.

First of all, there are those publicity photos of her in a tux. Second of all, I have never been the same since knowing that she sent copies of those photos to her Berlin lovers signed "Daddy Marlene." Not only is she hot in all circumstances, but she can do everything from earthy to ice queen. Also, she kept getting sexy romantic lead parts in Hollywood after the age of 40, which would be rare even now. She hated Nazis, loved her friends, and had a sapphic social circle in Hollywood. She also had cheekbones that could cut glass and a voice that could melt you.

Her GENDER her looks her voice her everything

“In her films and record-breaking cabaret performances, Miss Dietrich artfully projected cool sophistication, self-mockery and infinite experience. Her sexuality was audacious, her wit was insolent and her manner was ageless. With a world-weary charm and a diaphanous gown showing off her celebrated legs, she was the quintessential cabaret entertainer of Weimar-era Germany.”

The bar scene in Morocco awoke something in me and ultimately changed my gender

"Her manner, the critic Kenneth Tynan wrote, was that of ‘a serpentine lasso whereby her voice casually winds itself around our most vulnerable fantasies.’ Her friend Maurice Chevalier said: ‘Dietrich is something that never existed before and may never exist again.’”

"Songstress, photographer, fashion icon, out bisexual phenom (notoriously stole Lupe Velez and Joan Crawford's men, and Errol Flynn's wife, had a torrid affair with Greta Garbo that ended in a 60-year feud, other notable conquests including Erich Maria Remarque -yes, the guy who wrote All Quiet on the Western Front- Douglas Fairbanks Junior, Claudette Colbert, Mercedes de Acosta, Edith Piaf), anti-Nazi activist. Marlene was a bitch - she had an open marriage for decades and one of her favorite things was making catty commentary about her current lover with her husband, and her relationship with her daughter was painful- but she was also immensely talented, a hard worker, an opponent of fascism and the hottest ice queen in Hollywood for a long time."

"She can sing! She can act! She told the Nazis to fuck off and became a US citizen out of spite! She worked with other German exiles to create a fund to help Jews and German dissidents escape (she donated an entire movie salary, about $450k, to the cause). She looks REALLY GOOD in a suit. If you're not convinced, please listen to her sing "Lili Marlene". Absolutely gorgeous woman with a gorgeous voice."

Gifset link

"Bisexual icon and Nazi-hater. Looks absolutely stunning in the suits she liked to wear. 'I dress for the image. Not for myself, not for the public, not for fashion, not for men'."

"would you not let her walk on you?"

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.