#3. Gladiator

[pameluke]

ten movies I love

Rules: Without naming them, post a gif from ten of your favorite films, then tag ten people to do the same!

thank you @carlossreaders for the tag <3 | these are mostly comfort movies

[dilf-docs]

All Roads Lead To Rome

pedro pascal x younger!reader

summary: your boyfriend swears he isn't annoyed at your little surprise visit on the set of gladiator II; you might have to help him release his anger, one way... or another.

warnings: 18+ (minors dni), age gap (BARK BARK BARK), smut, p. in v., bit of exhibition kink cause they fuck on his trailer, he swears he's mad but he just wants head, oral (m. receiving), he also uses his armor and skirt while at it bc its hot and not bc i totally want that to happen to me or smth!!!, brat taming, orgasm denial, breeding and daddy kink lowkey, i'm so down bad for him so there's fluff!!! + pedro being whipped cause that's exactly what i want in my men, the cast makes cameos bc i love them!!! use of spanish (i'm latina so don't even try me), pedro wearing a skirt tehee

word count: 3,519 words

side note: i'm about as FERAL and horny as much as one could be!!! damn u pedro, making me walk out in the middle of class and walk on foot to the nearest theather for an early gladiator II screening (bc they're cheaper and i'm a jobless broke student lmao) that mind u it's my first solo trip to the movies but it's okay!!!! nobody interrupt me on my horny dilf hours amirite I TELL U that cinema was almost empty: just me, pedro and hey there's a spot if u wanna join mescal (look at my blog banner IYKYK) so yeah!!!! enjoy this porn lovechild that steemed from it; my pedro renaissance that'd been asleep since tlou dropped AWAKES (u don't get it, i literally watched narcos just for him) i'm so fr i need this man BIBLICALLY!!

"Lemme guess, that's her, right?"

Pedro looks up from his phone, slightly red and embarrassed. He would blame the color on the sun, and as an actor, fake his way out.

"No idea what you're talking about, Paul"

The young man chuckles.

"I mean, every break we get, you take your chair, sit the farthest and pull your phone with the most ridiculous grin I've ever seen. I'm afraid to tell you, friend, you aren't as slick as you think"

He leans back against the chair, covering his face with his large palm.

"At least I tried" he finds no point in lying anymore, "seems like I'm addicted, but if it wasn't for y/n, I wouldn't touch it"

"I'm curious, though" Paul scoots his chair closer, "who texts who? You or her?"

"Me" he answers, but then corrects himself quickly, a bit ashamed of how that makes him sound, "but it's mostly her first".

"Right" he doesn't sound convinced, rather curious and annoyed, something he's too old and tired for, "I don't believe you"

He's about to lock his phone, but the wallpaper (a selfie with you) would probably earn him another mock from Mescal.

"Too bad I don't need you to"

Before he can do so, the irish man yanks his phone away.

"Give it back!" he shouts, earning a few glances from the crew around them, "what are you, ten?"

"No, twenty-eight" they look like kids bickering. "No need to fight me, Mr. Pascal, they haven't taught us the new fighting choreography yet" he mocks, before the phone chimes; they both stop at the sound.

"What does this mean?" Paul asks. "Malta's nice" he reads out loud, "were you talking about possible future vacations? I might have to tag along"

He doesn't follow the man's joke, instead, looking at the message on your chat. Malta's nice, says the little cryptic message, and yes―it is cryptic, because you were just talking about missing each other and some other corny stuff he'd take to his grave. Not vacations, and certainly, not about the european island, which happens to also be the place were he's filming his latest movie.

"No, we weren't" he replies confused, "what do you think it means?"

"Well, obviously, you boys don't know anything" May pops up from behind, laughing.

"Were you eavesdropping?" he asks playfully, albeit, a little offended.

"No, you guys are just too loud" she replies nonchalant. "Besides, you aren't very good at hiding it, either"

"That's what I said!" Paul backs, laughing on his face.

"Stop being misterious and just drop it"

"It means" she pauses―laughing at her own little dramatic effect, "that you're getting a visit soon"

When you met Pedro, you were working in The Last Of Us. Nothing fancy, just part of the technical cast of the show: helping with the filming and stuff.

During those months, it was easy to find yourself falling for the main star (alongside Bella Ramsey), especially when you spent months behind a camera, capturing all of his perfect features; learning them by memory until you could draw them without seeing his face.

Yes, you had fallen for the older man, because it was as natural as breathing; easy as being alive―the fall so gentle and so easy, it was hard to know when the feelings started. You just woke up one day, feeling different.

You liked to act up―always had what you wanted, and times had changed (so it's not like he had to ask first): why not? Which is why during your last day of shooting you took some liquid courage on your veins and went up his way. It was at a little gathering the crew you've grown to call family organized, while wearing your favorite and tightest dress, that you approached him.

It surprised you that he even recognized you, but that's who he was: warm, welcoming and caring.

To augment the surprise, turns out he had eyed you already, but was too shy to do anything. Yes, the worlds most famous Chilean man. It did stroke your ego, and maybe that's why you feel like most of the time, you've got the upper hand on your relationship, despite the years in between.

Still, you feel like the last message you just sent was a bit too blunt. Now you sit at the tiny airport, pondering your next move.

You know your boyfriend isn't exactly the type to scold or get mad―despite his strong figure, but going against the only thing he asked you might test him. Which is why you feel nervous, despite the happiness around you, everyone in the airport looking straight out of a picture perfect summer edition magazine.

And your theory is proven exactly right when you arrive impromptu at the Gladiator II set: making heads turn and guards almost kick you out, thinking you're a fan.

"You don't get it!" you protest, "he's my boyfriend".

"Sure", they laugh on your face. "you're not the first to say that".

"She's not lying" oh, how you love that gravely voice. But not today: not when he sounds like a parent scolding a naive child. Not when his eyes bore into you, slightly irritated.

So now he's dragging you among the set, right to were his trailer is.

"Aren't you going to introduce me?" you ask, puffing your cheeks out in annoyance. He keeps dragging you by the arm, without sparing a glance in your way. Who does he think he is? "I wanted to tell Paul he made me cry―twice. You know I don't play about Normal People and Aftersun"

"But you do seem to play about my orders" he grunts out, opening the door to his trailer. The sunlight reflects against the white, slightly bothering your eyes with its shine, contrary to your boyfriend's gloomy behaviour.

"Are you being serious right now? You're not my dad to scold me. I just wanted to surprise you" you stand still, refusing to get inside. Pedro knows your character tends to be stubborn, and thought he finds it hot to reel you up sometimes, there are other times where he can't just stand that juvenile spirit of rage you tend to have when things don't go the way you want them to. "What's gotten into you?"

"I could ask you the same" he mocks. "Get inside. Now"

"Rude" you scoff, but obey regardless, and he breathes out relieved you didn't do a scene like last time; he still can't show his face on that restaurant to this day.

"I thought you'd be happy to see me" you say a tad bit dissapointed, and Pascal feels the pissed off feelings clouding his brain start to dissipate.

"I do, amor" he sighs, "just hate to see you do things I tell you not to; waltzing in here like you own the place".

You don't see the mistake, though. What's wrong with wanting to do a little surprise? It's not like you were a stalker or something; just a very clingy girlfriend who happens to miss her boyfriend.

"So, you're not mad?" you venture, "tell me you're not embarrassed"

He looks at you, the fondness of his gaze betraying him.

"I'm not the one wearing a skirt while trying to sound intimidating" you joke while caressing the crook of his nose, knowing you always get on his good side. Being mad isn't something that lasts, "if anyone should be embarrassed, that's you"

"Are you saying I shouldn't wear one because I'm a man?" your boyfriend looks offended, "Have you forgotten the movie I'm starring in? People feared the skirt-wearing Roman army"

"Well, I'm not intimidated" you stand defiant, and something dark tints his brown eyes. You can feel the excitement begin pooling in your stomach.

"You're not?" he grips your wrists and yanks you to him, then holds your chin, tilting your head between his calloused fingers. "Well, cariño, you should be"

Your body slams against one of the trailers walls, and you have to suppress a whine.

"You must be punished for what you did today"

You give him a doe-eye look, pretending to be all innocent, as if you weren't enjoying the punishment.

"I don't know what you're talking about. I've been a good girl"

"You know exactly what I'm talking about" he clicks his tongue, "don't play dumb with me"

"I just came to visit you" you murmur, voice husky against his ear. He grunts, and with the proximity, his hard-on rasps against your bare legs, only partly covered by the flowy summer dress you're wearing, "is that so bad?"

"It is. Has sido mala, cariño" his hand travels down under your dress, carresing with his large palm the silhoutte of your ass. The rings on his fingers create a shock, cold metal against your warm sun-bathed skin. "Naughty girl"

"I promise I'll be good, papi" you purr, using that honeyed voice of yours that makes it hard: hard to say no and hard between his pants.

Pedro sits on a small couch he has inside the trailer, guiding you with his hand enveloped around yours, motioning you to follow with a care so soft, you'd doubt he's about to do to you what he is about to do to you. He pulls you across his lap, smiling (God, you love his smile) as your stomach presses against his tights.

"Don't worry" he breathes low, his voice barely above a whisper. "I'll make you a good girl. Tell me, aren't you?"

You swallow, "I am"

He moves the panties easily to the side, rubbing your pussy a little. He then spanks it softly, making you mewl at the sting.

Pedro continues to trace over it, "Are you sure about that?"

"N-no" you shiver in delight, resolve dissolving as quick as it came. "I'm naughty"

"It's good to be aware" he murmurs, "Dilo otra vez"

"I'm a naughty girl"

He lifts your head by your hair. "Tell me what you did"

"Disobeyed your orders, coming to the set" you whisper. He lets go of your hair, his hands traveling down again, slowly teasingly rubbing your pussy while he humms.

"You were a little brat, amor"

You whimpered and mewled in delight. "I was a very naughty brat"

He pushed his fingers inside you, plunging his fingers into your pussy.

"Look at you. You're soaking wet" he pumped his fingers in you, making you moan, "Is that why you came to see me? Couldn't wait any longer for daddy to be inside of you?"

You bucked a little, making him stop. He drags his fingers out, causing you to beg for him to go back.

"Answer my question you greedy thing" He leaned closer to your ear. "Did you need my cock this much?"

You whimper, "I do! Missed you so much"

He pushed his fingers back into you, provoking a moan out of you.

"You're always so needy for me" your core tenses, making you shiver. "How badly do you want me? Tell me"

You whimpered "Badly, papi"

"Say it" his face contorts in satisfaction at your pathethic display; crying little mess, "Who's cock, fingers and mouth make you feel good?"

You can't think at this point, your brain fuzzy and pussy hot, leaking. You kiss his lips, moaning against them, "you!"

"Just me, yes? Nobody else can make you feel this good?"

"No one!"

You involuntarily roll your hips to aid you in pleasure, yet Pedro stops you just before you can reach your orgasm.

"Little brat." he tuts, making you groan. "Did you think I'd let you? You were naughty today, baby"

You huff in annoyance, used to having your way.

"That's your punishment"

"But I'll behave" you mewl against his ear, "I promise"

“Good, because I'm planning on fucking your brains out” his hot breathe whispers in your ear seductively, trying his best not to slur the words at the drunken haze that your arousal provokes in him, "but you have to help me first"

You get on your knees, looking at the garment he's wearing. The skirt and general costume makes this all the more hot, mouth watering at the sight. You raise the skirt, glancing at the briefs; just seeing his dick strained against the fabric makes you wet in anticipation.

He sees the pleasure bore into your orbs, and before you do any dirty idea of yours, he's already warning:

"You have to take this off, what if we-"

"Alright" you cut him off, "but the skirt stays"

"Sigue, pues" he growls, voice low yet demanding, following you in your little game.

As you pull the briefs down, his erection springs out enthusiastically, slapping up against his lower abdomen. You shifted your gaze up to meet his, his eyelids heavy and his proud smirk driving you absolutely wild.

"That's right" he chokes out, "show me how much you missed it"

You give him a proud lick, and Pedro hisses at the moment his preseminal fluid goes in between your hungry lips.

Your tongue darts to the head of his cock, running over it several times before bobbing your head down, taking most of him in your mouth. He keeps praising as you pump the base of his cock with your hand. Your head bobs, yet you peek up to hear Pascal's little sounds and facial expression, a motivation so intimate in the way his brows furrow and eyes roll, mouth agape at your movements while his lip suck on those pretty lips of his. It makes you keep going. With every bob you take as much of him in your mouth as you can, before slowly moving your way back up to the tip, increasing your suction the closer to his head you got. A throaty moan escapes the man above you when you now focus on the final lick, making him closer to coming, all while maintaining eye contact the entire way through.

"Don't do that" he rasps, yanking you by the hair again, as of punishment, but he knows you enjoy it, "you promised you'd be good"

You can't answer, so instead, you reach the head of his cock again, and now his eyes roll back, mumbling profanities that sound like heaven.

"Do you want them to hear us, brat? Qué necia eres" he manages to chastise while moaning.

You feel his dick stuck in your throat, and the way he's about to come; you think that after some time dating, you know him well enough.

You're about to leave with your mouth when he stops you.

"No" your eyes open in shock, "what? Did you think your punishment is over?" Pedro laughs, "don't look at me like that. Like you have never done it before"

He keeps you in place by the hair, the rings prickling against your scalp. You feel his muscles tense up, and before you can think anything else thick and hot shots of cum invade your mouth, making it sticky and warm.

"Don't pretend you don't like it" his voice goes dark, husky. "Swallow it all. Te han enseñado a no desperdiciar nada, ¿verdad? Show me your good manners, then"

When you pull out, your throat feels raspy.

"You gotta reward me" you cough out.

"I promised, didn't I?" his fingers trace your face delicately, with adoration.

"It's all about duty, General Acacius" you purr, and the dick springs out again. Hard.

"Princess..." he warns.

"For the glory of Rome" you joke and laugh, then cough, as your throat is still sore.

"Have you been reading my script?" as you avoid to answer, he just chuckles, "ay, nena"

"C'mere" he motions, and you sit on his lap again. Pedro lifts your dress, exploring the curve of your ass. There's anticipation as he hooks his finger around the waistband of your panties, pulling them down to access your core.

"Fuck" you squirm at his touch, grinding your freed cunt against his hard cock. He grabs you by the hip, adjusting you right on his lap.

"You taste so good" he kisses down your throat, ending at the chest were your tits peak.

"Want them?" you offer, pulling your dress down. He kisses them, gently nipping at your perked up nipples.

A wave of pleasure courses through you, and with whines and moans, you show how desperate you are, the hunger making the meal taste better. After all those weeks missing him, you just want him to fuck you senseless.

His lips are rosy and swollen against yours, mouths clashing; starved of the yearned contact. Truth is, no matter how much you know how to touch yourself, it'll never be the same as having his hard cock tear through your tight folds.

Pedro easily aligns his leaking cock with your uncovered pussy, all while mantaining the kiss. He pushes down on you, your dripping cunt taking all of his rock-hard cock, fingers holding onto the soft brown grey sprinkled locs.

"Pedro" you cry out his name, full of ecstasy as the stretch burns so sweetly. His low grunts only fuel your desire.

You trace with your eyes his body, now bare without the upper part of the costume: his pecs and abs, flexing with every pump. With now free hands, your fingers travel to softly caress his stomach, even if your tits are jiggling and the pace is rather frenetic.

"I missed you so much" you pout.

"Missed how you look" you clash your lips onto his, the adoration translating through the smile you press against, a trail of saliva that symbolizes how interwined you are, "you always look so fucking good"

"I missed you too" he whispers out, getting tired.

He's reminded of his old age, forgetting about it as soon as you two kiss, because you bring out a stamina he thinks he doesn't have anymore; almost animalistic. His bones creak and adding the tiring filming day under the hot sun, he feels his body start to give up, the orgams closer and closer.

He blushes, feeling like a stupid school boy with a crush. What did he even do to deserve you? Never thought a pretty young wild thing like you would even spare a glance on his way, but now you're taking all of his cock inside with such greed yet loom into his eyes with a love he's only dreamed of.

You're real, and his.

As soon as those words leave your mouth your orgasm spills over him, some of it dripping onto the skirt, making him curse. You can't stop, still meeting his thrusts halfway, despite your trembling body after reaching your high.

"Mierda" he groans against your mouth,

You feel yourself collapsing on top of him, the weight of the jet lag catching up.

"Getting tired, baby?" he coos. "Shit, and I thought I was old"

"You are" you reply back; you can never not have the last word. And he lets you, because, God, doesn't he love you? He pretends to look offended by it, but the way your eyes shine tell him you didn't mean it that way. "You and your white hairs" tracing over his moustache, a soft hand combing through his locks, "These wrinkles... don't you know how much I love them? how much I love you?"

"And you have no idea how much I love you" he squeezes his eyes shut, feeling it coming through. "God, wanna make you mine. Sólo mía" his pace slows. It's coming, and yes, you will take it all. "Wanna make you a baby, mami. Want you to take it all like the good girl you are"

When he comes, filling you with burning hot cum until you feel like you might burst, you're numb. But there's a feeling so content that pools warmth in your chest, that you can't say anything else, resting your head against his bare chest, both covered in sticky sweat.

"No sé cómo voy a explicar esto" he speaks through ragged breathes, and you can only smirk, "a squirted and cummed roman skirt".

"That isn't my problem" he scoffs, and you feel your head rise against the movement, earning a laugh out of you, "I'm not part of the movie"

"You'd sure think so, with the way you walked in here"

You roll your eyes, face hidden against his chest, "can you let that go?"

"You're right" he pulls you closer to him, hand enveloping you behind your bare back. The quiet doesn't bother you as you lie closer to his chest, his heartbeat the only thing you need to be at peace, "I think punishment time is over. Think you've learned your lesson"

"Then, how about we go out? I've heard Malta's beaches are pretty"

"Relájate, cariño. Seems you've gotten your energy back" he quips, then kisses your forehead. "We need to wait for everyone to get out"

"That embarrased you are of me?" you joke.

"No" he can already imagine his fellow cast members making fun of him, starting with Paul and Joseph when they see you and Connie who will totally notice the fun sticky stains on the costume, "but embarrased of the explanation I'll have to give"

[icallhimjoey]

mummy's boys - deleted scene from gladiator 2

[missadangel]

General Acacius - Gladiator II

Okay, some asked me to draw him, and I worked on this for about three days (literally my eyes see him only wherever I look lol). I really enjoyed drawing this beautiful man!

thank you so much for all the asks and support so far, love you all!

[c2-eh]

does it mean they watched it together? 😇

[alexturntable]

Paul Mescal crashes Charles Leclerc, Carlos Sainz interview at Gladiator II premiere

[thosewickedlovelies]

A guide to writing fics set in museums / with a museum worker character

Hey hi hello it’s your local museum worker here, offering you some insight and tips to writing museum-related fics! This is primarily organized as a list of different jobs you could have in a museum and what their duties entail. This post might also be useful to you if you’re considering working in museums and want to know What Goes On In There. Let’s go!

For simplicity/fic-writing purposes, I would divide museums into 2 very rough groups: large national or city museums that Have Money (think the Smithsonian or British Museums, or the Chicago Field Museum or the Royal Armouries Museum in Leeds); and smaller local museums. These could be local industry and culture/history-of-our town museums, historic houses, or  really niche subject museums run by One Person With A Passion.

Big national museums have a fuckton of staff and money (museums can never have enough money. But these places are very well-off compared to somewhere small that might always be hustling and writing grant applications). If you work here you’re likely to have a specific role in a particular department, and you probably won’t do much outside this role (ex., if you work in collections management, you probably won’t also design exhibits)

The smaller the museum, the more varied your workload will be/the more likely you are to be doing a little bit of everything. You’re probably organizing collections storage, manning the front desk, and desperately running fundraising efforts, all at once. 

To this end, smaller museums are more likely to be closed one or two days a week- you’ll be there, probably cleaning displays or managing storage, but visitors won’t be.

A lot of (most?) universities also have museums, so a college town setting is also doable. But the same big vs small museum disparity is still possible! At Penn State University, for example, the Palmer Art Museum is its own (recently redone iirc) building in the center of campus with a lovely plaza out front, while the Matson Museum of Anthropology is uhhhhh a couple classrooms in the Anthropology Department (which they’re currently rebuilding tbf, so we’ll see what they’ve done with it in 2025).

Types of Jobs

Curator

The one museum job that everyone can name. Nominally the person in charge. Probably laments that their job is way more admin than fun hands-on stuff now.

Actually this is the role I have the least knowledge of, but I think that’s partially because this job might vary the most from place to place? Structural organization can vary a lot between institutions, but I think the higher up you get in any field, the more your job tends to consist of meetings/overseeing, designating, and ~liaising~

A list of things a curator might do:

Planning or approving events and fundraisers, schmoozing with donors and members at said events, approving or designing a schedule of exhibits, publish outreach/advertising or research materials, oversee hiring, approve new object acquisitions (or de-acquisitions), generally make sure that the museum is working within the scope of its mission and if necessary, change or refine their mission

The curator might not necessarily control a museum’s funds; in this case they’ll liaise with the people who do, likely a Board of Executives or Board of Trustees. Once they get the money from these people, though, they could potentially redistribute it as they see fit.

 If you work in a fuckoff museum like the BM, you could also be the curator of a specific department, arranged by overarching subject, geographic area, time period, or even object type (eg Curator of Archaeobotany, Curator of Korean Collections, curator of coins from the medieval period). These categories can be more or less specific depending on what kind of holdings your museum has. I think these types of curators would still be able to do interesting things, as they aren’t the ones who Oversee The Whole Place.

You can also be an assistant or associate curator, like being an assistant manager.

Education/Engagement

These are the people who design fun extra activities (esp for kids) in the galleries or relevant events/workshops/lectures the public can attend. They might be called Engagement/Education Officer or Events Manager or anything similar

Again, the bigger the museum you work at, the more specific your role is likely to be. You might focus on web content/outreach and social media, manage the ‘friends/members of the museum’ program, or engage with shareholders, etc

Or you might do things like develop content and events to engage adult audiences. Workshops or lectures connected to new exhibits, after-hours visits. These people are also probably the ones with an eye on accessibility- you’ve probably seen advertisements for museums’ early or late hours for older visitors, or ‘quiet hours’ for people who might be overstimulated by normal museum hubbub, or tactile workshops designed for visually impaired folks.

I think most places would try to have someone specific for kids activities at the very least. They’ll be designing little activities or dress-up stations for the galleries, kiddie mascots or scavenger hunt trail kind of things, as well as, potentially, activities for any digital elements in the museum. They probably also coordinate school visits and act as a tour guide for classes, and will lead the kids in specific workshops or lessons in classrooms attached to the museum.

As a note on technology- some people would probably say that integrating digital elements into exhibits is the ~next big thing~, that museums have to get with the times in this regard, but opinions vary. Big science and technology museums are the most likely to have the most digital and techy elements in their exhibits, so if this is your setting, your character could also be a generic “tech person”. I would go so far as to say the smaller/more local the museum, the less technology you’re likely to have, but smaller museums are able to get grants, some of them potentially for specifically this type of thing, so it’s totally possibly that they have a few tablets with integrated activities, or some other Digital/Screen Thing.

Engagement Officers are probably the most likely people to be drafted for out-of-hours events, so that’s a potentially fun thing for your character to do. Some museums, particularly bigger ones, have event spaces attached that anybody can rent out, for weddings, galas, markets, etc, so they might also take care of these bookings as well.

Exhibit Design

This role has a lot of nebulous terms: exhibit coordinator, design constructor, exhibit programmer- but these are the people who design the exhibits. They’ll come up with a theme or narrative, a design scheme, choose the objects, write the text. They’ll probably come up with some marketing material as well, that matches the design scheme, or they’ll liaise with the marketing people who will.

These people might not be as familiar with the collections as the collections management folk (below), depending on how strictly divided your roles are, so they’ll likely consult with the collections people on choosing objects for a particular exhibit or theme (they say that good exhibit design builds an exhibit from the objects up, but I digress).

These people will also direct and participate in the install and deinstall (the actual terms) of exhibits- putting the objects on the right plinths/stands and arranging everything just so in the cases. Genuinely there’s a lot of psychology behind exhibit design- colors, lighting, the way you might design an exhibit to be navigated vs the path people will actually take through the gallery, people’s sight lines and where their eyes go first, how the display of any given object affects people’s perception of the importance of that object. Fascinating stuff, many books on the subject. 

There are also a lot of accessibility concerns to be considered here- how bright is the gallery, how large is your display text, at what height is the central eyeline of your cases?

Museums often loan objects to and from each other’s collections, so if you’re building an exhibit and you’d really like to include X type of object but your museum doesn’t have any, you can borrow some from another museum (this isn’t necessarily a guarantee- museums are allowed to say no to these requests, but I think manners would dictate that they should have a good reason)

Museums sometimes tour whole exhibitions as well- the objects, the text placards, maybe even the stands for super special or fragile items- and exhibit coordinator people are the ones who would handle those arrangements.

Potentially good opportunities for angst stories here- wow things come to life at your museum, you fall in love with a statue but oh no it’s only at your museum for three months

Collections Care

People who work in Collections Management have the most direct contact with the museum objects themselves. You probably work here if you prefer objects to people. When a museum gets new material, these are the people involved. They might not always initiate acquisitions, and the final approval is probably down to the relevant curator, but 98% of the time they’d be consulted (I hope).

A mind-boggling statistic is that most museums only have like 10% of their collections on display at any given time. Yeah. Forreal lol. But collections folk will know where the other 90% is and what’s in it (particularly the longer they’ve been there). 

There’s usually a head Collections Manager. Other workers might be a Collection Assistant/Associate, Collections Officer (we like calling people Officers for some reason), Registrar, or some variant of these depending on the specific flavor of your duties. 

Main job duties can be divided amongst documentation and database work, organization and storage of objects, and lite conservation. Just how much/how technical the conservation work depends on your own training, but also on the size/funding of your museum. The more money, the more likely your museum is to have its own lab with people specifically trained as conservators. More on them later. 

Here’s what happens when a museum gets new stuff!:

Ideally, it goes to a ‘quarantine zone’ first. This is a separate space or room where the objects can relax for a few weeks to a few months (ultimate best practice is actually a year, but, you know. that’s a long time) to ensure that they’re not harboring anything icky (bugs, mold, etc) that will infect the rest of the collections. It’s ideally super-sealed and climate-controlled, but the primary feature should be that it’s away from the main collections store.

Collections folk do the paperwork. They’ll give each individual object a unique number (following their preexisting system that will allow it to be identified distinct from all the other objects in the collection). They’ll create a ‘collections record’ for the object- documentation containing any and all information about the object. This includes the accession paperwork (everything that says ‘we legally own this now’); provenance info (all previous owners and everywhere else the object has been in its life); measurements and description (in painful detail); and conservation history and concerns (ie ‘there’s a crack in the side so pick up with care’, ‘this was repaired in the 70s so that glue is gonna fall apart any day now’).

(I'll say as a fic writer that this would be an great time to wax poetic over a beautiful statue or painting; you can’t write “This golden crown deserved to be worn by a great king, or maybe by that broody Roman general in the painting in Gallery B” in the collections paperwork, but you can think it.)

For fiction’s sake, your collections records could be either paper or digital, but in an ideal world a museum would have both setups, for security’s sake. So you’d fill out some long forms and/or input all the information to the digital collections management system (‘the CMS’, or referred to by your specific software’s name, as there are many out there). The CMS is not a static archive, but rather a living register that’s updated every time an object is interacted with. The object records also include where an object is at any given time (‘normally in Case E in the Fancypants Gallery, currently in Conservation Lab A for repairs’).

Once the objects are done in quarantine, they’ll go to storage. If they’re being displayed immediately, they’ll probably go to some interim storage space/shelf with other objects for the same exhibit and in that case only get a temporary setting. Every object will get labeled with their object number (directly on them, with a special pen that’s safe for this. Or if it’s really tiny, like a coin or jewelry, then their own tiny box will get the label). Small or fragile items, or items grouped together, will go in their own boxes (made of acid- and lignin-free cardboard or polyethylene plastic, like Rubbermaid totes; lined with polyethylene foam and then acid-free tissue paper). Stable ceramic vessels might sit directly on lined shelving, particularly if they’re very large or heavy, like many stone objects.

Listen, every type of object has a particular way(s) of storing that’s best for them, you’re gonna have to look that up yourself or consult someone if you need that level of detail

Ideally, before being stored away, objects are also photographed. This could be part of the Collection Officer’s duty, and/or your museum could have a photographer on staff. (say it with me:) This is more likely if your museum is really huge and/or has a backlog of unphotographed collections and has hired someone specifically, even if temporarily, to improve its collections documentation.

I would say a collections person, or anyone with a museum studies degree, should have some minimum amount of conservation knowledge that includes basic storage standards for different object materials, how to spot potential preservation problems (like if your bronze axe head is actively oxidizing or if that green spot looks the same as it always has since starting and pausing decaying), and maybe how to give objects a basic clean or deal with certain types of problems. But the nitty-gritty science is more the realm of Conservators, someone with a degree that ends in -Sci or who’s done some other certification course.

The general collections store should always be dark, slightly too cool for prolonged human comfort, and labeled to high heaven. Objects will most likely be grouped by material- ceramics/pottery, metals, precious metals and stones (jewelry or beads), stone, glass, wood, bone/ivory/other organic material like feathers or teeth or anything that can be decorative, textiles, paintings. A museum often has some paper material/documents, usually part of or related to a group of objects they acquired, but generally paper and photographic material is the realm of archives and archivists. Yet again, the bigger/more well-funded the museum, the more likely it to have a separate archive department, so your character could also work as an archivist in a museum.

Another thing the collections care folk probably do is ship objects. Remember how I said that  museums loan objects and exhibitions to each other? The stuff’s gotta travel somehow! If things are being shipped internationally, they’ll go in big wooden crates, with specifically dimensioned partitions inside. Then it will be lined with our favorite foam and tissue paper, cut so the objects sit snugly inside. I haven’t personally worked anywhere with a possibility of local shipments, so I can’t say where the threshold might be as to when a museum would just pay an employee to drive the objects over vs ship them with a shipping company. But the preparations would be similar, minus the big wooden crate but with extra-careful packing (and paperwork and insurance etc)

Conservation

Conservators are the people who work in labs with fancy equipment. Not every museum will have a formal conservator or a lab of any kind; sometimes the collections care person fills this role, or if something urgently needs care beyond the abilities of the museum’s equipment, they might send it away to a lab elsewhere, the same way you can send your old VHS home videos to a professional archive to be digitized.

If an object is actively deteriorating in a way that could harm itself or other objects (as opposed to like, at risk of fading bc the lighting is wrong, which is a straightforward fix related to the environment), that’s when a conservator would intervene.

Some methods/machinery by which you can analyze objects:

Ultraviolet (UV) and infrared (IR) light - Different materials absorb and react to light differently, which you can use to identify them. Useful for seeing things like the different layers of paintings

Stereo-microscopy (microscopes, of varying strengths)

At magnifications of x5-x100 you can see things like tool marks from an object’s manufacture, traces from wear, deposits, and coatings

At x50-x500, with a thin sliver of a sample, you can see (and hopefully identify) fibers, layers, particles, metallographic structures 

You can get information from objects without taking samples, but samples are usually worth the information. 

energy dispersive x-ray fluorescence spectrometry (EDXRF) - EDXRF allows you to identify the elemental composition of the surface layer of an object. So it might tell you what a tool is made of, and also the composition of the objects it was used on, if they left traces

scanning electron microscopy (SEM) - an SEM uses a focused beam of electrons to produce a magnified, high-resolution image of the surface of an object

X-radiography, both film and digital - X-rayy are beneficial for objects that might be covered by dirt or corrosion and can show you details of an object’s construction or hidden structural weaknesses

I’m not a conservator, so if you want more hard science-based info, ask one of them lol

Listen to me. If you take nothing else away from this post, let it be this:

 Once an object is in a museum, it is never seeing natural daylight again. Sunlight is the ultimate enemy of every object’s lifespan. If you need to see an object in the sun or moon light for ~magical spell reasons~, you will straight up be stealing that object to smuggle it outside.

Okay. That being said, you do hear (and could probably google) stories about museum employees stealing things from their museums on purpose to prove a point about security or insurance to their higher-ups, so like. Depending on your type of museum, it might not be impossible to steal from lmao. (Don’t tell anyone I said that.)

Possibly the most useful advice for you to keep in mind when writing your conservator or collections care characters would be that touching objects hurts them. It might not hurt them now, it might not even hurt them in ten years, but every time you handle an object, there’s a risk that you’ll damage it. Not on purpose, obviously, but to err is human. The simplest, most effective advice my conservation professor ever gave us was “don’t handle an object if you don’t have to.” That means don’t move an object without a plan and a place to put it, first examination should always be visual, not tactile, etc. Unfortunately, that means that your character cannot walk around lovingly handling and caressing their favorite objects (unless this is a Night at the Museum situation where the objects are caressing them back, ykwim)

Museum Technician

These people probably have a lot of different names, but basically, technicians are the background muscle of the museum. They do the technical construction of bigger pieces of exhibition material, up to and including the exhibition cases themselves. 

So they wouldn’t deal with the small mount that the object rests on, but they might build the big plinth that the mount sits on. They’ll help move things around the building, particularly big heavy things, hang big framed works, assist with exhibit installs, and generally do most things which might involve power tools/equipment or heavy lifting

I worked in a big museum that hired a third party company to supply their technicians; I interviewed at another place that hired their own. If you’re a small museum, you might just have a freelance person that comes in once or twice a week to help move things.

Other

Other miscellaneous roles one could have in a museum: researcher (for exhibits and/or collections), gift shop or cafe worker, security guard, room attendant, translator, archaeologist, consultant

Honestly, TL;DR? Just have your character be a consultant of some kind. “Oh no, I don’t work here, I’m Y’s friend. They called me in to provide some expertise on X subject that they’re doing an exhibit on.” This could work for literally any subject- history/archaeology/anthropology, art, transportation, science and technology, anything you might find pictures of in an archive, idk. This could get you into an office or meeting room of some kind in the ‘employee only’ space of the museum, or potentially all the way into the collections store if you’re giving them information they were missing about some objects. Otherwise you’d probably (hopefully) need a key or some other kind of security clearance to get into the collections store.

Whew, that was a ride, huh? I hope this guide was useful to someone! I’m always open to answering questions if you think I forgot something or if anyone wants more details <3

[august-diehl]

JOAQUIN PHOENIX as Commodus in Gladiator (2000) | dir. Ridley Scott

for @his-valyrian

[2jihiir0]

“Kneel, little dove, or else I shall break thy wings…”

🏛️⚔️✨

I had to get this out of my system after seeing the new gladiator II pictures !!!!!

[hotch-girl]

GLADIATOR (2000)

DIR. RIDLEY SCOTT

[a-noodle-doodle]

i have no reasonable explanation for this

[loverducky]

emperor!stsg x gn gladiator!reader; 0.4k words

you feel their eyes on you as you fight.

your sword clangs against your opponents', once, twice, three times before you dance backwards, narrowly avoiding a stab aimed at your stomach.

the two of you retreat from one another, circling and assessing each other in turn. he takes his paces with a slight limp, its source a thin cut across the meat of his calf. he's an older fighter, one with a few victories - and a few more losses - under his belt. he's a good entertainer, though, and so the crowd has called for mercy each time he's fallen to his knees.

mercy, granted each time by the gods that watch you now.

you, a new fighter in these games. not the newest, of course, but new enough to have skin yet unmarred with scar tissue, able to fight without phantom pains crowding your mind and making you slow. you're experienced enough in combat, though, to know your advantages.

your opponent is wounded; you are not. he fights like a soldier; you do not. however, your greatest advantage is thus:

your opponent is known, and you are not.

your name, your voice, your strategies - all have been carefully guarded. your anonymity makes you interesting, to the crowd and emperors alike, and interesting gladiators are the ones who survive.

you keep yourself low to the ground as you break the circle and charge towards him. your opponent braces, his eyes on your sword, his blade raised in defense.

with a sharp inhale, you part your lips - the sound that leaves them is not one that could ever be considered human. it’s the guttural scream of a wounded animal, and the soldier in front of you flinches but for a moment.

it’s all you need. the distance closed, your sword flashes through the air. the heavy thud of metal on dirt is followed by slow, soft drops of fresh crimson; you kick your opponents’ sword away as he clutches at his hand. the collective around you holds their breath, and it's only now that you dare to meet their gazes.

emperor gojo’s eyes are bright, blue as the endless sky above you and wide with excitement that you’d almost call boyish.

emperor getou’s eyes, on the other hand, smolder like volcanic ash, dark and narrow and curious.

his fist outstretches. the crowd roars. and you’re walking towards the barracks before the body hits the floor.

[cryobabiess]

Acacius is for people with daddy issues, Lucius/Hano is for normies, and Caracalla/Geta are for people on the FBI watchlist

[icallhimjoey]

"When we arrived and saw the set built there, I remember just being completely floored at the fact that the built ancient Rome."

[messrmoonyy]

May on set of Gladiator 2 with Pedro 😭😭🤍

[strawbbzombwie]

He looks so deranged and I love him for that<3