#1837-1901 | Explore Tumblr posts and blogs

lacryem · 9 months ago

Text

— A surprisingly long and in depth look about symbolism in the recent G-Fantasy cover by Yana Toboso ✦

Including references, flower language, how to decode the meaning of flowers, and a little too much brainrot. As well my personal interpretation drawn from all the sources I looked at. And of course what all of means (and maybe hints at?) for Sebastian and Ciel… and maybe even Sebaciel?

Originally posted as a twitter thread, but threads suck and I forgot a couple things. so here now.

Disclaimer :

I don’t know FOR SURE that all these things were directly referenced by Yana when creating this art. But being a fan of her work for over a decade I've become familiar with her use of symbolism and reference, and believe myself to have a good eye for it at this point! I'm also pretty familiar with the use of flower language, including different languages, due to having been involved in a project about it and having to read wayyy too much about this.

Some of it also includes my own personal interpretation, but the meanings and info I based myself off of ARE factual. I think I made it pretty clear when referencing my personal interpretation. You're welcome to reach your own interpretation based off of the stuff provided!

And lastly, I'm not a sebaciel shipper. I'm not an anti (the complete opposite, actually) and have nothing against the ship, I like the narrative around them and how they're written but I don’t actively ship them romantically or sexually. So I'd say this is actually a pretty unbiased interpretation. Personal taste is one thing, but I don’t deny the author's intention and whats written in front of me! That is what this post is about.

Kuroshitsuji takes place in the Victorian period (1837~1901) in 1889.

The following are both important Victorian books on the language of flowers that I will be basing myself off of.

Language of Flowers by Greenaway Kate (1884), and The Language of flowers: An Alphabet of Floral Emblems (1857).

(Also, I’m treating Ciel’s rose as a deep red rose. Which is a bit different than red roses. But I am adding some relevant information about roses in general, anyway.

Now, on what they say about these flowers.

Deep rose, meaning "bashful shame". White lily, meaning "Purity and sweetness."

— The White Lily

Most people assume that the lily refers to Ciel's purity, and that’s a fair assumption. But I disagree.

Firstly, the one holding the lily is Sebastian. Holding it on his right hand, tilted towards the right. However what's relevant here is the VIEWER. From the viewer's POV he's holding it to the left. Note he also holds the scissors on his left hand, where he bears HIS contract seal.

How you hold a flower, what position you give it to someone in, changes the meaning of the flower. These context clues are very important. It tells us that 'purity and sweetness' doesn’t refer to Ciel, but actually refers to Sebastian (…sorta).

This may be a little confusing. Purity and sweetness, Sebastian?! I know, I know. bear with me.

These books provide poems to help us understand how you may interpret the intended meaning. The lily poem is about enduring trials out of love because of the purity and sweetness he sees in his lover's eyes and soul. I believe Yana directly references the poems I will include in this post in her new artwork.

— My Interpretation

the meaning of Sebastian's lily is:

"I do all out of love for the sweetness and purity within you."

Him holding it to the contact seal and cutting the flower could stand for him destroying this sentiment (affection within himself) that has arisen in him as a result of their contract by destroying the sweetness and purity—the source of it—within Ciel (consuming his soul).

Note: This is debatable, as 'reversed' almost always means upside down. But if you consider the lily facing away from the viewer as reversed then it could mean "impurity and bitterness" which fits pretty well with Ciel, and it being held against the contract seal which is a physical representation of his impurity, brought on by his bitterness.

— The Deep Red Rose

There something I find very interesting. The rose is in a teacup, standing in for tea (I think there's even tea alongside it in the cup.) From Yana herself we know that Sebastian's eyes are a reference to the reddish brown colour of tea.

Like I said, I believe this rose to be a deep red rose, which is a bit more specific than the meaning given to red roses. However I think the poem included for roses in general very much applies here.

I was going to add my thoughts but I found this interpretation that sums it up pretty well if you replace the carpe diem theme with a more "running out of time" or "impending death" theme, which seems to be a more accurate reading for this artwork.

Looking at the rose itself, it has no thorns or leaves.

It is not a youthful rose as its already fully open and losing petals. "No hope, and no fear" fits with the poem, the rose is basically an hourglass referring to Ciel. His fate is unavoidable, but this isn't a deterrent. He's dancing on the ledge.

The deep red rose means 'bashful shame'.

When you compare it to the lily, which is a direct proclamation, the deep red rose is a quiet confession one cannot verbalize.

Debatable, to be fair but given the tie in to Sebastian's eye colour and the fact that he is always the one pouring tea for Ciel, I believe the Sebastian to be the speaker here too, but this time speaking on Ciel's feelings (Hence why he's the one holding it) rather than Sebastian's own.

— My Interpretation

The meaning of the deep red rose Ciel holds, speaking about Ciel's feelings of guardedness, and in response saying:

"Abandon your bashful shame, and let yourself be admired without expectations (hope) or fear"

Sebastian speaks about Ciel's feelings, the deep red rose acknowledges his feelings but they remain unspoken.

The Waller poem is a plead for his beloved to seize the day, for time is short, and allow herself to be loved completely.

Her beauty is one to be appreciated, she is not meant to be a rose unacknowledged (unloved) in the desert.

Regarding 'expectations', I think this is more about rigid ideas of how 'appreciation' or 'admiration, might be shown or received. Sebastian and Ciel's relationship defies normality or 'expectations'. So this, too, would defy expectations a young boy like Ciel, or a traumatised boy like Ciel, may have.

From Yana herself, we know Sebastian's dedication and how highly he holds 'beauty', specifically Ciel's beauty.

The author of the poem proclaims that beauty not appreciated is not beautiful indeeed, and so he calls his beloved to come to him and be appreciated wholly during the invaluable, limited time they have.

We see the deep red rose's petals fall away, in my opinion not only symbolising the withering away of time, but also the crumbling away of this "bashful shame" that Sebastian ascribes to Ciel.

How Sebastian wishes to "appreciate" this beauty is debatable. How he wants to "admire" and "desire" (per the poem) Ciel is rather open ended. Wether it be in a romantic way, a sexual way or by consuming his soul.

However, I don’t think these are mutually exclusive. And consuming Ciel can easily be a metaphor for the former two.

— The Lily and The Rose

The Greeneaway book has this poem which im sure was directly referenced. This poem speaks about the lily and the rose in a direct power struggle and fight for dominance, until they eventually unite and reign as one.

Now when speaking about this "union", you could say it refers to their contract, but I don’t think so.

The contract ties them to each other, but it doesn’t necessarily unite them. So I believe 'unity' to be about the appreciation Sebastian speaks of Ciel opening up to.

"The Lily" and "The Rose" might be interpreted as directly representing Sebastian and Ciel, and the unity that would come from them joining and becoming a truly complimentary pair. I think a power struggle and fight for being the one in control is very accurate way to describe their current dynamic in canon.

It may also be interpreted as "The Lily" and "The Rose" as being representations of their feelings and ideals previously. And then it would represent these two conflicting expressions—a loud unrelenting and destructive devotion, and a guarded, bashful, unspoken reluctance— coming together and turning from conflicting to complimentary.

Or as it tends to be with these things, both!

Either way all of this is expressed under the sense of impending doom created by their circumstances and the contract. So there's a sense of urgency permeating all of it.

Also clear to me is a sense of internal conflictedness coming from Sebastian's message that is usually only hinted at like this, and some people end up overlooking.

Sebastian desires Ciel deeply, but having him would also mean not being able to have him anymore.

Sebastian is torn and that’s why he attempts to cut the root of his wavering feelings represented by the lily.

All of this makes me wonder about what's next, and if we will see these things said more blatantly. Foreshadowing with flower language and references like this, isn't exactly rare for Yana. I wonder if we will see this 'unity' come to be, and what necessary development Sebastian and Ciel will need to undergo to make it possible. As well as what shape it will take.

I also wonder very much about Ciel's perspective in all of this, as this was almost entirely from Sebastian's POV, but I think that's intentional. Ciel has his own goals and a lot on his mind. Sebastian's goal IS Ciel. So I assume he spends a lot more time thinking about Ciel and this kind of thing.

Thank you if you read the whole way through. Like I said before, even though the sources defending it are, my interpretation is not law and you're welcome to reach your own with the things presented.

Links for sources, including free public domain PDFs of the books mentioned are found at the end of my twitter thread.

— Thanks for reading! —

#sebaciel shipper friendly post #kuroshitsuji #black butler #sebastian michaelis #ciel phantomhive #sebastian black butler #ciel black butler #sebaciel #please refrain from ship discourse on my post. I don't care if fictional characters upset you. I'm looking at the source material here.

343 notes · View notes

vermilionsun · 7 months ago

Text

This post translates directly to @musas-sideblog's about how Touchstarved ties with Victorian horror and implicit/metaphorical sex, and I couldn’t stop thinking about it, so here is a lengthy theory. Enjoy :)

Note 1: Victorian era authors used an unholy amount of ways to imply sexual feelings/acts etc, so I here I will include only the ones that are of interest. Note 2: I've highlighted the "most important" parts. Note 3: I'm not an expert at this, so please bear with me and feel free to correct me. Note 4: Do I need to add a TW? I think it's obvious-

Overview: What is Victorian Horror?

Victorian horror refers to the genre of horror literature, art, and culture that flourished during the Victorian era, roughly from the mid-19th century to the early 20th century, coinciding with Queen Victoria's reign from 1837 to 1901. This period was marked by a fascination with the macabre, the supernatural, and the dark aspects of human nature, reflecting the anxieties and societal changes of the time.

Key Themes and Characteristics

Supernatural Elements:

Ghosts and Spirits: Tales of haunted houses and spectral apparitions were central to Victorian horror. Charles Dickens's "A Christmas Carol" (1843) and Henry James's "The Turn of the Screw" (1898) are notable examples.

Monsters and the Gothic: The era's literature is filled with monstrous creations and gothic settings, such as in Mary Shelley's "Frankenstein" (1818), Bram Stoker's "Dracula" (1897), and Robert Louis Stevenson's "Strange Case of Dr Jekyll and Mr Hyde" (1886).

Science and the Unknown:

The Victorian period was a time of great scientific advancement, but also of fear about the implications of these discoveries. This is evident in works that explore the dangers of unchecked scientific experimentation, like "Frankenstein" and H.G. Wells's "The Island of Doctor Moreau" (1896).

Exploration of the Human Psyche:

Victorian horror often delved into the darker aspects of the human mind, including themes of duality, madness, and the hidden, sinister side of human nature. This is seen in "Dr Jekyll and Mr Hyde" and Edgar Allan Poe’s works, such as "The Tell-Tale Heart" (1843).

Social and Moral Anxieties:

The literature frequently reflected Victorian society's fears and anxieties, including issues related to sexuality, class, and the role of women. Gothic novels often contained subtexts about societal norms and the consequences of transgressing them.

Urban Fear and Isolation:

The rapid urbanisation of the Victorian era contributed to themes of isolation, alienation, and fear of the crowded yet lonely cityscape. This is evident in the settings of many horror stories, such as Arthur Machen's "The Great God Pan" (1894).

Sexual Content: Victorian literature is renowned for its strict moral codes and conservative views on sexuality. Explicit depictions of sexual activity were considered taboo and were subject to censorship. Consequently, authors developed subtle and nuanced methods to imply sexual scenes or themes.

Literary Techniques for Implying Sexual Scenes

✧ Symbolism and Imagery:

Sexuality was often conveyed through symbolic imagery. Objects, actions, or natural phenomena could serve as metaphors for sexual activity or desire. For example, in "Dracula" by Bram Stoker, blood and biting symbolise sexual penetration and the exchange of bodily fluids, infusing the act with a sense of forbidden desire and eroticism.

Clothing and Undress:

Gloves: In Victorian culture, gloves were highly symbolic. The act of a woman removing her gloves in the presence of a man, or a man assisting her in this act, could signify a moment of intimacy or vulnerability. Similarly, a man giving a woman his gloves could be a sign of affection or a deeper connection.

Hats and Bonnets:

Corsets

Objects and Personal Items:

Locks of Hair

Jewellery

Books and Letters

Touch and Physical Contact:

Kissing Hands

Hand-Holding

Food and Drink:

Wine: Sharing wine or a meal in an intimate setting often suggested a prelude to deeper connection. Descriptions of characters drinking wine together in private could imply a romantic or sexual undertone.

Fruit: Certain fruits, like apples, grapes, or peaches, were laden with sexual symbolism. Eating or sharing fruit could represent temptation or indulgence. For instance, in Christina Rossetti’s poem "Goblin Market", the act of eating the goblin fruit is rich with sexual symbolism.

Flora and Fauna

Flowers and Gardens:

Roses: Roses were often used to symbolise love and passion. A red rose might suggest romantic or sexual attraction, while a wilted rose could imply lost innocence or sexual ruin.

Lilies: Lilies, especially white ones, represented purity but could also suggest a contrasting theme when associated with a fallen or tarnished character.

Garden Settings: Scenes set in secluded gardens or amongst lush, overgrown vegetation often hinted at secret or forbidden encounters. Descriptions of characters wandering through or tending to gardens could imply sexual exploration or awakening.

Flowers Blooming or Opening: The blooming of flowers often represented sexual awakening or the act of losing one's virginity.

Nature Imagery:

Rivers and Water: Flowing water and rivers often symbolised sexual desire and the act of lovemaking. For instance, in "Tess of the d'Urbervilles" by Thomas Hardy, Tess's encounter with Alec d'Urberville is often described with metaphors of nature and fluidity.

Storms and Weather: Storms, with their intense energy and sudden outbursts, were frequently used to symbolise sexual passion or climactic moments.

Birds and Beasts:

Animals, especially those that are wild or predatory, often symbolised primal sexual instincts and desires. The taming or interaction with these animals could imply a character’s grappling with their own sexuality.

Fire and Heat

✧ Phrases and Sayings

Euphemistic Language

Descriptive Phrasing

Dialogue and Confessions

Private Spaces:

Secluded or Dimly Lit Rooms: Scenes set in private, darkened rooms often suggested clandestine sexual encounters. The privacy of the setting allows authors to imply what could not be explicitly stated. In Wilkie Collins’s "The Woman in White", many key interactions happen in secluded spaces, hinting at secrets and hidden desires.

Dreams and Fantasies:

Dream Sequences:

Dreams and fantasies were used to explore a character’s subconscious desires and fears, often revealing their suppressed sexual longings. These sequences provided a socially acceptable way to delve into erotic themes.

Hallucinations and Madness:

Moments of madness or hallucination could serve as a metaphor for overwhelming passion or uncontrollable sexual desire. These states allowed characters to express forbidden feelings in a way that was metaphorically safe.

Physical Interactions and Horror

Touch and Proximity as Menace:

Unwanted or Forced Touch: In horror, touch that is typically a sign of affection or intimacy becomes a source of fear.

Physical Closeness in Horror Settings: Close proximity in dark, secluded places amplifies the sense of claustrophobia and vulnerability, turning what could be an intimate setting into one fraught with terror.

Undress and Exposure in Horror:

Loosening Corsets and Vulnerability: The act of undressing or loosening clothing, which can be a prelude to intimacy, in horror often leaves characters vulnerable to attack or exposure of their deepest fears.

Food and Consumption in Horror

Cannibalism and Vampirism:

Blood as Sexual and Vital Fluid: The act of consuming blood, as in vampirism, blends the themes of sustenance and sexual exchange. The vampire's bite becomes a metaphor for both sexual penetration and the transfer of life force.

Example: "Dracula" is a prime example where blood consumption is deeply eroticized, with Dracula’s victims often portrayed in a state of ecstatic submission as he drains their blood.

Food as a Lure: Food and feasting, typically symbols of pleasure and indulgence, in horror contexts can be used to lure victims into dangerous situations.

Example: In "Goblin Market" by Christina Rossetti, the goblins’ fruit is both irresistibly tempting and dangerous, representing a forbidden and potentially fatal indulgence.

Plot and Character Dynamics in Horror

Power and Domination:

Common Dynamics with a Dark Twist

Predators and Victims: Characters who prey on others are often literal monsters in horror, representing the loss of control or innocence.

Secrecy and Concealment:

Hidden Desires and Monstrous Revelations: Characters who conceal their true identities or desires often find these hidden aspects manifesting as monstrous or terrifying in horror narratives, suggesting that repression can lead to dire consequences.

Clandestine Meetings and Forbidden Encounters: Secret meetings and forbidden relationships, often tinged with sexual implications, add an element of danger and fear, suggesting that transgressing social norms leads to horror.

Common Themes in Victorian Horror

Duality and the Doppelgänger:

Theme: The concept of duality, where a character has a hidden, darker side, or encounters a double (doppelgänger), often symbolises the internal conflict between good and evil within individuals.

Connection: This theme reflects Victorian anxieties about identity, morality, and the consequences of repressing one’s darker impulses.

Gothic and Supernatural Elements:

Theme: Victorian horror is rich with Gothic elements such as haunted houses, dark landscapes, and supernatural beings. These elements create a sense of dread and evoke the mysteries of the unknown.

Connection: The Gothic setting often serves as a backdrop for exploring human fears, isolation, and the impact of the supernatural on everyday life.

Decay and Degeneration:

Theme: The fear of decay and degeneration, both physical and moral, is a recurring motif. This theme often examines the decline of individuals, families, or societies and the consequences of corruption and vice.

Connection: This theme mirrors Victorian concerns about the erosion of social and moral values amidst rapid industrial and social changes.

Madness and Psychological Horror:

Theme: The exploration of madness and psychological horror delves into the fragility of the human mind and the terror of losing one's sanity. This often includes hallucinations, obsessions, and the thin line between reality and delusion.

Connection: This theme resonates with Victorian fears of mental illness, the limitations of medical knowledge, and the impact of societal pressures on mental health.

Forbidden Knowledge and the Faustian Bargain:

Theme: The pursuit of forbidden knowledge and the resulting consequences is a central theme. Characters who seek power, immortality, or forbidden truths often pay a heavy price, reminiscent of the Faustian bargain.

Connection: This theme highlights Victorian anxieties about scientific progress, moral boundaries, and the potential hubris of human ambition.

The Uncanny and the Unknown:

Theme: The uncanny involves the strange and unfamiliar becoming eerily familiar, often unsettling the reader and characters. It blurs the lines between reality and the supernatural, invoking fear and discomfort.

Connection: This theme taps into Victorian fears of the unknown, the foreign, and the otherworldly, reflecting broader anxieties about social and cultural boundaries.

Death and the Afterlife:

Theme: Victorian horror frequently grapples with themes of death and the afterlife, exploring the fear of mortality, the possibility of an afterlife, and encounters with the dead or undead.

Connection: These themes reflect Victorian preoccupations with death, the spiritual realm, and the possibility of life beyond death, often intensified by the era's high mortality rates and interest in spiritualism.

Isolation and Alienation:

Theme: Isolation and alienation are prevalent themes, often highlighting characters who are physically or emotionally detached from society, leading to their vulnerability and descent into despair or madness.

Connection: This theme resonates with the Victorian experience of industrialization and urbanization, which often led to feelings of disconnection and loneliness.

Class and Social Anxiety:

Theme: Victorian horror often explores themes of class and social anxiety, including the fear of losing social status, the consequences of poverty, and the tension between different social classes.

Connection: This theme reflects the rigid class structures of Victorian society and the fears and tensions that arose from social mobility and economic disparity.

Moral Corruption and Hypocrisy:

Theme: Victorian horror frequently critiques the era’s moral standards and exposes the hypocrisy of societal norms. Characters who appear virtuous often harbor dark secrets or engage in morally dubious activities.

Connection: This theme mirrors the Victorian concern with appearances and the underlying tension between public propriety and private desires.

The Five Pillars of Victorian Horror & The Five Love Interests

The Supernatural and the Gothic (Ais)

Essence: Victorian horror often revolves around the supernatural, blending Gothic elements to evoke a sense of dread and otherworldly terror. This includes ghosts, vampires, haunted houses, and curses, which create an atmosphere where the boundaries between the natural and the supernatural blur.

Impact: The use of Gothic settings and supernatural phenomena provides a backdrop for exploring deeper themes of fear, mortality, and the unknown.

Psychological Depth and Madness (Vere)

Essence: Victorian horror delves into the complexities of the human mind, exploring themes of madness, obsession, and the psychological effects of fear and trauma. Characters often grapple with their sanity, facing inner demons as terrifying as any external threat.

Impact: This focus on psychological horror allows for a deeper exploration of character motivations and the impact of societal pressures.

Moral Corruption and the Double Life (Leander)

Essence: Themes of moral corruption and the duality of human nature are central to Victorian horror. Characters often lead double lives, presenting a veneer of respectability while concealing dark, sinful secrets. This tension between outward appearances and hidden truths reflects the era’s social hypocrisy and fear of scandal.

Impact: These themes critique Victorian society’s emphasis on propriety and the dangerous consequences of repressing one’s true nature. The idea of a double life or hidden self adds to the horror by suggesting that evil can reside within anyone, masked by a facade of normalcy.

Decay, Degeneration, and Disease (Kuras)

Essence: The themes of physical and moral decay, societal degeneration, and disease permeate Victorian horror. These motifs symbolise the fragility of human life and the inevitability of decline, reflecting the anxieties of a society grappling with rapid change and uncertain futures.

Impact: By focusing on decay and degeneration, Victorian horror underscores the transient nature of life and the ever-present threat of corruption and decline, whether through ageing, moral compromise, or societal breakdown.

Isolation and Alienation (Mhin)

Essence: Isolation and alienation are pervasive themes in Victorian horror, often depicted through characters who are physically or emotionally cut off from society. This separation heightens their vulnerability to external threats and internal fears.

Impact: Isolation serves to intensify the psychological tension and sense of dread, as characters confront their fears alone. It also reflects the era’s social and existential anxieties, including the fear of being disconnected or outcast from society.

Generally, I believe each LI connects with a pillair (as seen above). Perhaps by looking at the archetypes we could deduce propable endings and route elements.

Forgive me, for the following part is MESSY;

Ais

Vere

Leander

Kuras

Mhin

194 notes · View notes

make-friends-with-the-rats · 1 month ago

Text

newsies fandom I love you dearly, but why do we reference the time period that newsies takes place in as the 'Victorian Era" when we have another term that quite literally describes the period of history and the place that newsies is set in?

If you didn't know, the Victorian Era is tied directly to the history of Great Britain and coincides with Queen Victoria's reign from 1837 to 1901. It was a time of social reform and significant advances in science and technology.

In the United States, we have a term that refers to the period after the American Civil War or the 1870s to 1890s. This term is the "Gilded Age". The Gilded Age in US history was so named because it was a time of political corruption and serious social problems (like child labor, poverty, and Jim Crow laws) thinly veiled or "gilded" by a golden mask of economic expansion and industrialization.

The newsboys' strike of 1899 was set against the backdrop of the Gilded Age, not the Victorian Era. It might seem like a small thing to nitpick, and both periods bare resemblance to each other, but I swear it's so important when looking at the history and the context of the time.

#newsies #newsies 1992 #1992 newsies #1992sies #92sies #shitposting #nerd alert!

85 notes · View notes

inlovewithregencyera · 1 year ago

Text

Regency Era Acessories Part 1:

I've converted both of these from maya40, when downloading please read the description. Also, if you downloaded the Jeanne straw hat earlier, please redownload it now as I've fixed it.

Jeanne's hat will work for the late Georgian era and very early Regency era. (1795-1837)

Sylvia Bonnet will work for the Regency era and also the very early Victorian Era (1837-1901). This style of bonnet however became unpopular by 1840.

3 Swatches each, BGC and Hat Slider Compatible

DOWNLOAD

#regency sims 4 #sims 4 regency #ts4 regency #sims 4 historical #sims 4 rococo #rococo sims 4 #ts4 rococo #sims 4 cc #my cc #historical cc #regency cc #victorian cc #sims 4 victorian #regency era #georgian era #sims 4 georgian cc #sims 4 georgian #ts4 georgian #georgian cc

273 notes · View notes

missyblr · 7 months ago

Text

missy costume

analysis!

my personal favourite part of missy's costuming is her boots. described as victorian/edwardian mid-calf black leather boots with a louis heel ~2-3 inches, I think her boots add alot of character to the already amazing outfits, being a basic peice from her chosen period of fashion, while also amplifying the villain vibes when paired with a character so formidable.

(top photos are genuine photos of the boots used in the show, bottom photos are similar pieces I found online)

the boots missy wears were a very common style for women in the late victorian (1837-1901) and edwardian (1901-1910) period. when world war 1 started, alot of women scrapped the frequented heel and opted for a more simple style. missy's heel is a reminder that she is nothing simple, and she is very eccentric. also feminine, and badass, as she fights her battles in lightly inconvenient footwear.

the boots fit perfectly with the rest of her outfit but in my opinion, something about them is very eye catching, though I may just have an eye for shoes as these were a staple choice for women in that time period which missy wears the clothes of often on screen.

(below is an advert for similar styles from the time period, and a genuine pair from the early 1900s.)

idk if anyone has fixated on this as much as me but I used to be very interested in edwardian fashion and I'm obsessed with missy now so this has been at the back of my mind for a while.

if you read all of this thank uuuu ik it's not my normal content 🖤☂️

#missy costume design #☂️🖤#doctor who costume design #doctor who #missy doctor who #gomez!master #missy #the master #missy dw #character design #edwardian #edwardian fashion

78 notes · View notes

thebeesareback · 1 year ago

Text

Every episode of New Who in chronological order (Doctor Who)

Spoilers: it makes no fucking sense. Also, there are some episodes which occur in two or more time periods

"The Fires of Pompeii" - 79 David Tennant

"The Eaters of Light" - 2nd century Peter Capaldi

"The Pandorica Opens" - 102 Matt Smith

"The Big Bang" - immediately after "The Pandorica Opens", 102 Matt Smith

"The Girl Who Died" - 851 Peter Capaldi

"Resolution" 9th century Jodie Whittaker

"The Magician's Apprentice" - 1138 Peter Capaldi

"The Witch's Familiar" immediately after "The Magician's Apprentice", 1138 Peter Capaldi

"Robot of Sherwood" - 1190 Peter Capaldi

"The Bells of Saint John" - 1207 Matt Smith

"Can You Hear Me?" - 1380 Jodie Whittaker

"The Day of the Doctor" - 1562 Matt Smith and David Tennant

"The Vampires of Venice" - 1580 Matt Smith

"The Shakespeare Code" - 1599 David Tennant

"The Curse of the Black Spot" - 16th century Matt Smith

"The Witchfinders" - 1612 Jodie Whittaker

"The Woman Who Lived" - 1681, sequential to "The Girl Who Died" Peter Capaldi

"Legend of the Sea Devils" - 1807 Jodie Whittaker

"Thin Ice" - 1814 Peter Capaldi

"The Haunting of Villa Diodati" - 1816 Jodie Whittaker

"Spyfall Part Two" - 1834 Jodie Whittaker

"Deep Breath" - Victorian era (between 1837-1901) Peter Capaldi and Matt Smith

"The Next Doctor" - 1851 David Tennant

"War of the Sontarans" - 1855 sequential to "The Halloween Apocalypse" Jodie Whittaker

"The Unquiet Dead" - December 1869 Christopher Eccleston

"Tooth and Claw" - 1879 David Tennant

"A Town Called Mercy" - somewhere between 1865-1890 Matt Smith

"Empress of Mars" - 1881 Peter Capaldi

"Vincent and the Doctor" - 1890 Matt Smith

"The Snowmen" - 1892 Matt Smith

"The Crimson Horror" - 1893 Matt Smith

"The Name of the Doctor" - 1893 Matt Smith

"Ascension of the Cybermen" - "the early 20th century" Jodie Whittaker

"Nikola Tesla's Night of Terror" - 1903 Jodie Whittaker

"Survivors of the Flux" - 1904 sequential to "Village of the Angels" Jodie Whittaker

"Human Nature" - 1913 David Tennant

"The Family of Blood" - Immediately after "Human Nature", 1913 David Tennant

"The Power of the Doctor" 1916 Jodie Whittaker and David Tennant

"The Unicorn and the Wasp" - 1926 David Tennant

"Daleks in Manhattan" - 1930 David Tennant

"Evolution of the Daleks - Immediately after "Daleks in Manhattan", 1930 David Tennant

"Let's Kill Hitler" - 1938 Matt Smith

"The Angels Take Manhattan" 1938 Matt Smith

"Victory of the Daleks" - between 1939-1945 Matt Smith

"The Empty Child" - 1941 Christopher Eccleston

"The Doctor Dances" - Immediately after "The Empty Child", 1941 Christopher Eccleston

"The Doctor, the Widow and the Wardrobe" - December 1941 Matt Smith

"Demons of the Punjab" - August 1947 Jodie Whittaker

"The Idiot's Lantern" - June 1953 David Tennant

"Rosa" - 1955 Jodie Whittaker

"Village of the Angels" - November 1967 sequential to "Once, Upon Time" Jodie Whittaker

"The Impossible Astronaut" - 1969 Matt Smith

"The Day of the Moon" - Immediately after "The Impossible Astronaut" 1969 Matt Smith

"Blink" - 1969/2007 David Tennant

"Hide" - 1974 Matt Smith

"The God Complex" - 1980 Matt Smith

"Cold War" - 1983 Matt Smith

"Twice Upon a Time" 1986 Peter Capaldi and Jodie Whittaker

"Father's Day" - 1987 Christopher Eccleston

"The Return of Doctor Mysterio" - 1992 Peter Capaldi

"The Eleventh Hour" 1998 Matt Smith

"Rose" - contemporary to release, March 2005 Christopher Eccleston

"School Reunion" - 2005 David Tennant

"The Christmas Invasion" - contemporary to release, December 2005 David Tennant

"Aliens of London" - Approximately March 2006 Christopher Eccleston

"World War Three" - Immediately after "Aliens of London", approximately March 2006 Christopher Eccleston

"Rise of the Cybermen" - contemporary to release, May 2006 David Tennant

"The Age of Steel" - Immediately after "Rise of the Cybermen", May 2006 David Tennant

"Love & Monsters" - contemporary to release, June 2006 David Tennant

"Army of Ghosts" - after "Love & Monsters", summer 2006 David Tennant

"Doomsday" - Immediately after "Army of Ghosts", summer 2006 David Tennant

"Boom Town" - autumn 2006 Christopher Eccleston

"Turn Left" - autumn 2006 David Tennant

"The Runaway Bride" - December 2006 David Tennant

"Smith and Jones" - contemporary to release, March 2007 David Tennant

"The Lazarus Experiment" - contemporary to release, May 2007 David Tennant

"42" - contemporary to release, May 2007 David Tennant

"The Sound of Drums" - contemporary to release, June 2007 (immediately after "Utopia") David Tennant

"Blink" - 1969/2007 David Tennant

"Partners in Crime" - contemporary to release, April 2008 David Tennant

"The Sontaran Stratagem" - contemporary to release, April 2008 David Tennant

"The Poison Sky" - contemporary to release, May 2008 (immediately after "The Sontaran Stratagem") David Tennant

"Last of the Time Lords" - contemporary to release, June 2008 (sequential to "The Sound of Drums"), David Tennant

"The Stolen Earth" - contemporary to release, June 2008 David Tennant

"Journey's End" - contemporary to release, July 2008 (immediately after "The Stolen Earth") David Tennant

"The Lodger" - contemporary to release, June 2010 Matt Smith

"Night Terrors" - contemporary to release, September 2011 Matt Smith

"Closing Time" - contemporary to release, September 2011 Matt Smith

"Fear Her" - July 2012 David Tennant

"Dalek" - 2012 Christopher Eccleston

"Asylum of the Daleks" - contemporary to release, September 2012 Matt Smith

"The Power of Three" - contemporary to release, September 2012 Matt Smith

"The Rings of Akhaten" - contemporary to release, April 2013 Matt Smith

"Into the Dalek" - contemporary to release, August 2014 Peter Capaldi

"Listen" - contemporary to release, September 2014 Peter Capaldi

"Time Heist" - contemporary to release, September 2014 Peter Capaldi

"The Caretaker" - contemporary to release, September 2014 Peter Capaldi

"Flatline" - contemporary to release, October 2014 Peter Capaldi

"In the Forest of the Night" - contemporary to release, October 2014 Peter Capaldi

"Dark Water" - contemporary to release, November 2014 Peter Capaldi

"Death in Heaven" - contemporary to release, November 2014 Peter Capaldi

"Last Christmas" - contemporary to release, December 2014 Peter Capaldi

"Amy's Choice" - 2015 Matt Smith

"The Zygon Invasion" - contemporary to release, October 2015 Peter Capaldi

"The Zygon Inversion" - contemporary to release, November 2015 (immediately after "The Zygon Invasion") Peter Capaldi

"Face the Raven" - contemporary to release, November 2015 Peter Capaldi

"The Pilot" - contemporary to release, April 2017 Peter Capaldi

"Knock Knock" - contemporary to release, May 2017 Peter Capaldi

"Extremis" - contemporary to release, May 2017 Peter Capaldi

"The Pyramid at the End of the World" - contemporary to release, May 2017 Peter Capaldi

"The Woman Who Fell to Earth" - contemporary to release, October 2018 Jodie Whittaker

"Arachnids in the UK" - contemporary to release, October 2018 Jodie Whittaker

"It Takes You Away" - contemporary to release, November 2018 Jodie Whittaker

"Spyfall" - contemporary to release, January 2020 Jodie Whittaker

"Fugitive of the Judoon" - contemporary to release, January 2020 Jodie Whittaker

"Praxeus" - contemporary to release, February 2020 Jodie Whittaker

"The Hungry Earth" - 2020 Matt Smith

"Cold Blood" - 2020 (immediately after "The Hungry Earth") Matt Smith

"Revolution of the Daleks" - September 2020 Jodie Whittaker

"The Halloween Apocalypse" - contemporary to release, October 2021 Jodie Whittaker

"Once, Upon Time" - contemporary to release, sequential to "War of the Sontarans", November 2021 Jodie Whittaker

"Eve of the Daleks" contemporary to release, January 2022 Jodie Whittaker

"Kill the Moon" - 2049 Peter Capaldi

"The Waters of Mars" - 2059 David Tennant

"The Rebel Flesh" - 22nd century Matt Smith

"The Almost People" - 22nd century (immediately after "The Rebel Flesh") Matt Smith

"Under the Lake" - 2119 Peter Capaldi

"Before the Flood" - 2119 (immediately after "Under the Lake") Peter Capaldi

"Dinosaurs on a Spaceship" - 2367 Matt Smith

"The Beast Below" - some point after the 29th century Matt Smith

"Sleep No More" - 38th century Peter Capaldi

"Planet of the Ood" - 4126 David Tennant

"The Time of Angels" - 5000 Matt Smith

"Flesh and Stone" - 5000 (immediately after "The Time of Angels") Matt Smith

"The Girl in the Fireplace" - 5000-5100 David Tennant

"The Husbands of River Song" - 5343 Peter Capaldi

"Silence in the Library" - 5100 David Tennant

"Forest of the Dead" - 5100 (immediately after "Silence in the Library") David Tennant

"The Long Game" - 200,000 Christopher Eccleston

"Bad Wolf" - 200,100 Christopher Eccleston

"The Parting of the Ways" Immediately after "Bad Wolf", 200,100 Christopher Eccleston/David Tennant

"The End of the World" - 5 billion (plus 2005) Christopher Eccleston

"New Earth" - 5,000,000,023 David Tennant

"Gridlock" - 5,000,000,023 David Tennant

"Utopia" - 100 trillion David Tennant

"Smile" - it's in "the far future" Peter Capaldi

No indication of the date:

"The Impossible Planet", David Tennant (Broadcast June 2006)

"The Satan Pit", David Tennant (Broadcast June 2006)

"Voyage of the Damned", David Tennant (Broadcast December 2007)

"The Doctor's Daughter", David Tennant (Broadcast May 2008)

"Midnight", David Tennant (Broadcast June 2008)

"Planet of the Dead", David Tennant (Broadcast April 2009)

"The End of Time", David Tennant (Broadcast December 2009)

"A Christmas Carol", Matt Smith (Broadcast December 2010)

"The Doctor's Wife", Matt Smith (Broadcast May 2011)

"A Good Man Goes to War", Matt Smith (Broadcast June 2011)

"The Girl Who Waited", Matt Smith (Broadcast September 2011)

"The Wedding of River Song", Matt Smith (Broadcast October 2011)

"Journey to the Centre of the TARDIS", Matt Smith (Broadcast April 2013)

"Nightmare in Silver", Matt Smith (Broadcast May 2013)

"The Time of the Doctor", Matt Smith (Broadcast December 2013)

"Mummy on the Orient Express", Peter Capaldi (Broadcast October 2014)

"Heaven Sent", Peter Capaldi (Broadcast November 2015)

"Hell Bent", Peter Capaldi (Broadcast December 2015)

"Oxygen", Peter Capaldi (Broadcast May 2017)

"The Lie of the Land", Peter Capaldi (Broadcast June 2017)

"World Enough and Time", Peter Capaldi (Broadcast June 2017)

"The Doctor Falls", Peter Capaldi (Broadcast July 2017)

"The Ghost Monument", Jodie Whittaker (Broadcast 2018)

"The Tsuranga Conundrum", Jodie Whittaker (Broadcast November 2018)

"Kerblam!", Jodie Whittaker (Broadcast November 2018)

"The Battle of Ranskoor Av Kolos", Jodie Whittaker (Broadcast December 2018)

"Orphan 55", Jodie Whittaker (Broadcast January 2020)

"The Vanquishers" Jodie Whittaker (Broadcast December 2021)

"The Timeless Children" sequential to "The Ascension of the Cybermen", Jodie Whittaker (March 2020)

Key: red is Christopher Eccleston; orange is David Tennant; green is Matt Smith; Peter Capaldi is blue; Jodie Whittaker is purple

382 notes · View notes