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petercapaldi-press · 4 months ago

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INTERVIEW

Doctor Who Magazine

October 2014

"The Doctor sees himself as a cosmic, timeless philosopher, an explorer, adventurer, righter of wrongs, and hopeless piece of flotsam and jetsam. I think he has to be all of those things..."

Simple, stark, and back to basics. No frills, no scarf, no messing. Just 100% rebel Time Lord. The Twelfth Doctor is in the building...

Interview by Benjamin Cook

[transcript under the cut]

Peter Capaldi is cool. This time last year, bow ties were cool, and fezzes, or Stetsons, possibly bunk beds. But now it’s the Doctor himself. Cool and composed, still never cruel or cowardly, and just the right amount of scary. If you’re anxious about this new, unfamiliar Doctor bursting onto our screens this month in his first, feature-length adventure, don’t be. Firstly, he’s brilliant. Secondly, you’re not alone. Because beneath his cool, unflappable exterior, 56-year old Peter is anxious too.

“I’m terrified,” he admits. “I have been since the very first day. At the first readthrough, there were so many people, the room was packed, you’re being filmed from the moment you step through the door. You think, ‘Oh God, I’ve got to do something good with the part now.’ When I got to film it, I was very frightened. I still am. It’s actually getting a bit more frightening now, because the show is coming on shortly. You’re in a bubble when you’re making it, because it’s so all-consuming. You sort of forget that it’s going out into the world, people are going to have opinions about it, and it’s going to work or it’s not. Once all that enters your head, you get scared all over again. You know? It’s a big challenge, because it’s sort of not about acting chops; it’s about whether or not the people like you, and there’s no guarantee of that. But you can’t spend every day terrified or you’d never get anything done - it’s not much use to you, if you’re on edge – so you sort of have to just not look down. You have to try to get on with that scene, with those words, coming through that door, running after that monster. Concentrate on those elements, and not on the bigger picture. The Doctor is rarely that frightened.” A pause. “I think it’s good to be frightened.” He mulls this over, before adding: “But also it’s delightful.”

It's well documented that Peter is a fan of Doctor Who. You’ll have read the letter he wrote, as a teenager, to Radio Times, lamenting the death of original Master actor Roger Delgado and applauding a recent article on how to build a Dalek. (‘Who knows, the country could be invaded by an army of school Daleks,’ wrote 15-year-old Peter. ‘Ah, but we’d be safe, as we’d have Dr Who to protect us!’) You’ll know that he collected the Doctors’ autographs, wrote fan fiction, drew fan art, and once interviewed Bernard Lodge, the designer of the show’s original title sequence, for a Doctor Who fanzine. You might even know that Peter was involved in the early days of organized fandom, and penned numerous letters to the Doctor Who production office inquiring about how the show was made. One time, producer Barry Letts wrote back, sending Peter two shooting scripts for 1972 Pertwee serial The Mutants, “a trigger to my ambition to work somehow – I didn’t know how – in TV,” Peter has said.

Which makes it all the more satisfying that forty-something years later, on a blisteringly hot Saturday afternoon in July 2014, Peter is stood on the steps of St Paul’s Cathedral – the real one in London, not, as showrunner Steven Moffat teases, "an exact replica that we’ve built in Cardiff” – shooting the two-part finale of his first series as the Doctor. He still can’t quite believe it. “I’m amazed,” he tells DWM, “to find myself close to the end now. It’s all gone very quickly.”

Stood next to Peter, fellow Glaswegian Michelle Gomez is all Edwardian and chic – and probably up to no good – as the intriguingly-titled Gatekeeper of the Nethersphere. A passing London cabbie rolls down his window and yells, “It’s Doctor Who and Mary Poppins!”

Peter starts to sing. “Feed the birds, tuppence a bag…”

Off camera, five Cybermen lurk. They’re not joining in. (Cybermen can’t sing.) They were last spotted stomping around St Palu’s in the 1968 serial The Invasion, which Peter watched on its original airing. Of course he did. “It’s great to recreate it today,” he says. “Although, I think they had more Cybermen back then.”

“But we can CGI in extra ones,” points out Steven. “And will! Come on, it’s pretty impressive.” He’s right, it is. As the Cybermen march down the cathedral steps, Peter takes photos on his mobile phone. “It’s terrifying when they come straight at you,” marvels Steven. “They look quite funny on the stairs, but then - uh oh!”

For the past six months, Peter has divided his time between his home in London, and Cardiff, the spiritual home of twenty-first century Doctor Who. He saves the universe Mondays to Fridays, then returns to London at weekends to spend time with his wife and daughter. Peter and his wife have been married for 23 years. Remarkably, he has been reading DWM for even longer. “For as long as I can remember,” he says. See, he’s a proper fan. Right now, a few feet away from us, there are several hundred fellow fans, watching the filming from behind police cordons. “It’s nice for them to have something to see,” Peter says. “The best days are always those where we’re blowing up monsters in broad daylight.” He heads over to meet the fans between virtually every take – signing autographs, posing for photos. His dedication is relentless. This man cares.

What was it that first attracted Peter to Doctor Who? Growing up in the 1960s in Glasgow, BBC TV Centre must have seemed a world away…

“Well, yes, regional accents were few and far between on television,” he remembers. “That’s how shows were. That’s how drama and entertainment was presented. But it absolutely didn’t feel a world away. It’s odd now when you think about it, as most drama then was London-centric, but we didn’t think about that. It was full of monsters, and creatures, and mystery, and darkness, and fun, and magic. Anybody who enjoyed the show had a very intimate relationship with it, so it never occurred to me for a second where it was made. It didn’t feel as though we were watching different people, other than when they were supposed to be not human. People have often asked me, since I took up the role, what the attraction is, and I find almost any answer is wanting. You can break it down into constituent events or psychoanalytical nuggets, but in the end it’s a sort of myth to me; a curious mix of sci-fi, and the fairytale, and the mysterious. It’s quite a darkly magical thing, I think. I like to keep it a mystery.

Does it feel like the same show he’s working on now?

“To me it does, but I know that it isn’t. The show is clearly, on lots of levels, very different. It’s a very huge, commercial concern. It’s international in a way that it wasn’t before. That’s the show that we’re making. But at its heart it’s the same, because it’s made by people with a very deep and respectful affection for the show through all its incarnations. Also, it’s not about standing still. It’s constantly moving and looking forward. It must bring the past with it, without being slavish to it. Of course, sometimes we make a very specific reference to the past. Sometimes the past does assert itself very powerfully…”

Let me tell you about my first meeting with Peter. It’s 1 May 2014, and I’m in a Nottingham Castle vault. In Cardiff. This is perfectly normal. They’re shooting Episode 3, Mark Gatiss’ Robot of Sherwood. I first glimpse Peter standing beneath a Medieval tapestry, practicing the yo-yo. Ben Miller is here too, playing the Sheriff of Nottingham, but looking spookily like Anthony Ainley’s Master circa 1983. During a break in filming, I slink out of the castle, and onto the empty, darkened TARDIS set next door. Because I’m nosy, and I want to see what they’ve done with the place since the new Doctor arrived. He has left his mark. The console room now boasts bookshelves, a chalkboard, a small workshop… but it’s dark and I can’t really see, so I venture in a little further. It no longer feels like I’m in a Cardiff TV studio or that Robin Hood is next door, or that this isn’t actually the TARDIS. And that’s when I hear a voice. “Hello, you must be new.” It’s him! Not Peter Capaldi, but the Doctor. Looking a lot like Peter Capaldi. He’s sitting on a fold-up chair, in the shadows, where he was rehearsing his lines before DWM broke in. But he smiles warmly, and says he loves the magazine. “It relaxes me after a long day,” he explains. “I’m enjoying Doctor Who Magazine very much at the moment, and I’m glad that someone is documenting all of this stuff.”

Then the Doctor shows me around his TARDIS. “Essentially, it’s Matt [Smith]’s TARDIS, with a few additions,” he says. “You can’t see today, but it’s usually lit quite differently. Lots of orange. I think we might stick with this next year, too.” He’s talking about next year already! This man loves his job. “How could I not? It’s Doctor Who.” He talks enthusiastically of the fans he’s met since taking on the role (“They see the Doctor, not Peter Capaldi. That’s better, I think. The Doctor is much more interesting than I am”), and of how thrilled he is with this year’s crop of scripts, even those that are delivered at the eleventh hour (“I’d much prefer that than them arriving a week earlier and not being as brilliant”), and of how important it is with a show as huge as this that everyone who works on it cares as much as they do. His only regret about taking on the role, he confesses, is that he’s aware that one day he must give it up. “So I’m determined to enjoy every day as much as I can.”

Then he shows me his binder. This is the binder in which Peter keeps his scripts. It’s covered in photos from old episodes of Doctor Who. “It’s kind of like a school thing, really,” he explains. “I was looking for some stuff to decorate it. There’s a certain childlike thing… You surround yourself with images, and try to conjure a creative environment, even within the little plastic folder that I’ve bought from the stationary shop, that’s going to constantly remind you of things, put ideas in your head. I found these pictures on the internet.” There’s a photo of an out-of-costume Jon Pertwee and Liz Shaw actress Caroline John rehearsing a scene from 1970 serial Inferno (“He looks very dashing,” comments Peter, “and I like that, because I sort of don’t imagine any of the Doctors in their own clothes. It’s unusual to see him like that on the TARDIS set, and a reminder of how elegant he was in real life”); another of Pertwee and Delgado sharing a smile during the filming of 1971’s The Claws of Axos; one of a beaming Tom Baker in the mid-70s, at the height of his powers, surrounded by a sea of adoring children and curious old ladies; a photo of Baker during a visit to the Royal Edinburgh Hospital for Sick Children, enjoying a light-hearted moment with the nurses (“It looks like it was taken in the 30s,” says Peter, “which it can’t have been but it’s a picture of great warmth”); another of William Hartnell, in full Who regalia, signing a girl’s plaster cast during a visit to a children’s ward in the 60s…

“It’s a reminder,” says Peter, “that whatever people might think about William Hartnell, this was somebody who was going out to children’s hospitals on his days off, making sick kids feel a little bit better. It reminded me of that element of the show, that connection that kids and young people make to it.” It’s clear that Peter isn’t taking the responsibilities that come with playing the Doctor lightly. The photos adorning his binder are, he says, “fun little signals of the show’s past, for me, and a connection with childhood, I guess. I realise now, as I’m saying it to you, it’s an underlining of where Doctor Who was born for me. It was my childhood.”

When I next meet Peter, he’s shooting Episode 8, Mummy on the Orient Express. It’s the second week of June. Peter, Clara actress Jenna Coleman, and guest star Frank Skinner – another diehard Doctor Who fan – are on the fully-lit TARDIS. Frank is transfixed by the orange glow of the central console. “Stunning, isn’t it?”

“It’s like Alien under there,” nods director Paul Wilmshurst.

Frank isn’t even in this scene. He just wanted to be on the TARDIS set to watch Peter. “It’s like I’m watching Doctor Who live,” grins Frank, “but from a really, really good seat.”

Peter is worried that the Doctor is too solemn in this scene. “That’s a very serious face,” he says, watching himself back on the camera monitor. “There’s tension there. The Saturday night audience, they want it to be, ‘Yeah, hooray, now whoosh, let’s go,’ but that ain’t happening.”

“The Saturday night audience is a mixture of people,” Paul reminds him. “No, I like it.”

This weekend, Peter read the scripts for his first season finale. “It’s a stormer,” he tells me, then fixes me dead in the eyes and asks: “The Caves of Androzani. Why’s it so popular?”

Um. It looks amazing… The whole serial oozes class… It’s probably Peter Davison’s finest performance as the Doctor… It’s everything you could want from a Doctor’s swansong.

Peter looks satisfied, for now. “Interesting. Thank you.” He bounds off to film a scene. (Later, on board the Orient Express, I overhear a conversation between Peter and Frank. “Sharaz Jek,” Peter is saying. “Don’t you think he’s brilliant?” “Yes!” Frank replies. “Oh, I love Sharaz Jek!” I leave them to it.) Ten minutes later, Peter is back. “Ben, how long can Time Lords live for? Also, what’s the best Colin Baker story?”

Okay. Weill. Thousands of years. And I nominate The Trial of a Time Lord, controversially. (So sue me. Or send your letters of complaint to the editorial address.) But Trial aired in 1986, I point out, at a time when the BBC wasn’t all that supportive of Doctor Who.

“That must have been hard,” says Peter, “for the people who worked on it back then. Fortunately for us, that’s no longer the case. This show couldn’t be more supported.”

A few weeks later, back in London, I ask Peter about this day, and his questions about former Doctors. “It’s two things,” he explains. “This is an extraordinary part, with an extraordinary history to it, so I’m very conscious of arriving in this historical context. But also it’s very, very personal, because your own experience of the show informs it, so I was keen to make myself more familiar with Peter and Colin, because that’s when I sort of left the show behind. I was about 17, 18 years old midway through Tom Baker, and I started to drift away a bit. I don’t mean I didn’t watch it, but… I’m not as familiar with it. I wasn’t there as religiously on Saturday afternoons as I had been previously, and in those days there were no VCRs, no DVDs. If you missed it, you missed it. I wanted to learn about my ‘lost years’. I think it’s important to know and to understand what was going on in the show back then. Actually, Doctor Who Magazine has been a great help to me with that, so thank you. The great challenge of the show and this part is to keep it personal, while being respectful to its past.”

So how do you go about making the part of the Doctor your own? Where do you even begin?

“Well,” says Peter, “you begin with yourself. You begin with those elements of yourself that you feel would be at home in that role. There’s an old actors’ adage that you don’t become the role, the role becomes you. It’s trying to find those parts of you that will fit with the Doctor, and understand those bits that don’t come so naturally to you, that you have to fabricate. I kept looking for people in real life who I thought had elements of the Doctor about them and were inspirational in some ways. I composed a list of those.” He won’t reveal who’s on the list. All he’ll say is, “I was trying to stick in ideas about people who would be Doctor-ish and if I could expound on that or deploy any of their tics… I tried to generate a microclimate of Doctor Who creativity. Also, it’s recognising what’s been written. My Doctor is written slightly differently from some of the other Doctors, and the Doctor changes quite dramatically from episode to episode. Some demand more of your comedy chops, graver or more serious episodes demand a more sombre creature. All these variations have to live in the same body, in the same face. Putting all that together is tricky.” He shrugs. “I’m saying all this, it hasn’t gone out yet. I don’t know if it’s worked. It remains to be seen whether or not I’ve been successful.”

Which bits of his Doctor are most like Peter, I ask?

This stumps him at first. He thinks hard for a good 30 seconds, before saying: “Um. Well, I suppose there’s a sort of, uh… there’s a kind of division that happens in the eighteenth century between science and art. Previously science and art had belonged in the same box. Leonardo da Vinci could be a fabulous artist and a fabulous scientist. To me, the Doctor is an artist-slash-scientist. He’s incredibly bright. I don’t think my Doctor would welcome any of those definitions. He’d think they’re quite primitive, from his point of view.”

So how does this new Doctor see himself?

“Good question. I think as a cosmic, timeless philosopher, explorer, adventurer, righter of wrongs, and hopeless piece of flotsam and jetsam. I think he has to be all of those things. I didn’t want him to be in charge as much as perhaps we’ve seen him before. He’s someone who sees great beauty in things, but that can be in stars being born in the outer reaches of the galaxy, or in litter blowing across a supermarket car park at dawn. He finds all of these things beautiful, and I think he should constantly stop and see them. He wants to pursue beautiful things, but he gets shocked into adventures. I think he just wants to range around up there, back there, in the future, looking at it all, enjoying it all, and seeing it all, but he’s constantly drawn into areas of conflict.”

I point out that Peter’s Doctor has a bit of an edge to him – he can seem quite severe at times – but Peter insists, “It’s less him being hard on people; it’s more that he doesn’t understand quite how you talk to human beings. It’s less ‘I don’t suffer fools gladly’; more ‘Oh, they’re quite complex, these human beings. They need to be comforted from time to time.’ He becomes impatient with them. Some of the previous Doctors have been more sensitive to what their companions and other human beings need from him. My Doctor needs them to get up to speed with him. He can’t really be bothered hanging around and making life lovely for them, making them welcome. It doesn’t mean they’re not welcome. A lot of this is in the writing: Steven’s concept of how far you can take the Doctor. I never think my Doctor is unpleasant; he just isn’t great at dealing with humans. He doesn’t mean to be short with them. He just doesn’t quite get it sometimes.”

You’ll know this, but Peter has appeared in Doctor Who before. In 2008, he played Caecilius opposite David Tennant’s Doctor in The Fires of Pompeii. “When I was offered it, I was so excited, I couldn’t actually read the script,” he told DWM earlier this year. “I just wanted to phone my agent and say, ‘Yes!’ But I was persuaded that the professional thing to do would be to read it first. So I did, loved it, and off I went.”

Will we get an explanation for why the new Doctor has Caecilius’ face?

“It’s addressed,” smiles Peter. “Is it Caecilius’ face? Was that man really Caecilius?”

The tease! What else can he tell us about the Doctor’s journey this series. Did Steven tell Peter everything from the start?

“He gave me a very entertaining evening,” chuckles Peter, “when he went through the entire 12 episodes, basically acting them out for me. I said to him he should get a job as a performance artist. He did them all. All the characters. He’s like a chameleon. He told me what was going to happen in the show.”

Was there anything where you thought, ‘That sounds too bonkers’?

“Well, you just go, ‘Uh huh. Yeah. Okay. That sounds…. good luck with that.’ But then it comes to fruition, when you actually see it, it’s amazing. I have great faith in Steven and this amazing crew. I’m always amazed at how they pull it off. Of course, a lot of actors love to know what’s going to happen to their characters well in advance, because they think that allows them to pace their performances. I’ve never really been convinced of that. I operate on a need-to-know basis. If something dramatic’s going to happen, I’d rather that I discovered it when it was happening, not six months beforehand. The actual scripts don’t arrive till maybe a week before the readthrough, which will be a couple of days before we start shooting, and the surprises I like are the smaller ones; the little moments, the asides, the remarks, the experiences, the things that go on in the by-streets of the episodes. Those are the things that delight me.

“What I think sometimes happens with long-running shows,” he continues, “is that you get into a groove. You learn how to do the part in a certain way, and you just keep doing it. But you’ve got to constantly niggle it, probe it, find out those little moments, push it, see how far you can take it. At the same time, the audience switches on to see a certain thing. You’d be disappointed if Tom Baker didn’t at some point produce a jelly baby, or if Jon Pertwee didn’t give a politician or a soldier a withering look. I used to find this with The Thick of It [BBC Four/Two, 2005-2012]. I’d always say ‘Do we have to have Malcolm [Tucker, the aggressive and profane spin doctor that Peter played] come in doing a great, sweary tirade?' And they’d say, ‘Well, yeah, because that’s why people switch on.’ A director the other day told me that another director had suggested, ‘Let’s have a shot of the TARDIS materialising, but let’s not see it materialise,’ and everyone had looked at him in horror. What’s the point of having a show where it happens out of shot? Part of the fun is seeing the TARDIS materialise, the Doctor and Clara step out, and – where are they this time?”

How will he be watching the series when it airs on BBC One this August to November?

“The problem for me is, I’m a Doctor Who fan,” he laughs, “so I can’t not watch Doctor Who. Even if it weren’t me, I’d be watching it. I’d miss not watching it. But yes, that’s an interesting point – I don’t know what I’ll do, to be honest. It is quite difficult to watch yourself. The episodes that I’ve seen, I find that the sticking point of them all is me. That’s what I find the most troublesome, is watching me. But there are wonderful things that happen when suddenly it all comes together, and it becomes Doctor Who, and then you have to remind yourself… you know, when I forget that it’s me, that’s when I enjoy it. One of the key things I’m finding out about it now is that it’s created by all of the efforts of the people working on it, so watching these episodes with me playing the Doctor in them, has been extremely illuminating. They’ve shown me more about who my Doctor is than me sitting in a quiet study trying to figure it all out. So it’s a kind of self-feeding thing, if we’re going in the right direction – and I hope that we are.

“The funny thing is, we’re starting to have these conversations about next year and I’m like ‘There are some amazing things coming along there!’ Steven is telling me, and I’m like, ‘Wow! Yeah!’ So we’re already ahead of the curve on all this. We’ve some great ideas coming for 2015.”

So Peter will be back next year?

“Well, I’d like to be. It’s not up to me. I’ve had a wonderful time doing the show, anybody would, but having a wonderful time is no guarantee that they’re going to keep you there. I’ve loved it, so I’d be very, very happy to carry on, but we’ll have to see. We’re doing a Christmas one. As I say, we’ve discussed 2015. But there’ s no guarantee it’s certainly me. But I hope it is.”

Last summer, when it was announced that Peter had been cast as the Doctor, there was much excitement, some trepidation, and plenty of speculation about how he’d play the part. In March this year, a couple of months into shooting, something wonderful happened: a shaky mobile-phone recording of a touching encounter between Peter and a young fan appeared on YouTube, and went viral – over 180,000 views to date – and reminded us, as if we ever doubted it, that as well as being an excellent actor, Peter was as compassionate as the Doctor himself – without doubt the right man to take on the role.

“This little girl, her parents were concerned that she loved Matt so much and she would genuinely worry that he was gone,” recalls Peter, when I ask him about the video, “and what was going to happen, and how was that going to affect her?”

In the video, we see Peter get down on one knee and gently tell five-year-old Roxann: “Matt was really nice to me, and Jenna was too. They were both very welcoming to me when I came into the TARDIS. Matt said to me to look after Doctor Who, and he gave me his watch that he wears, and he said that in his own way he was happy that it was me who was coming in. So I will do my very best to be as much fun and as friendly as he is. So they say it’s okay for me to be the Doctor. I hope you think it’ll be okay for me to be the Doctor, too.”

‘Even though Roxann wouldn’t look at them or talk, which is due to her autism,’ explained Roxann’s mum in a blog post, ‘she took everything in that was being said to her by Peter. I cannot express how overjoyed and thankful I am.’

“All I could do was to try to show her that both Matt and Jenna had approved of me, and hopefully if they did – and Matt particularly – then she would feel that it might be okay,” Peter tells DWM.

“But you just sort of busk it, really, because you don’t know what people are going to ask you, and you don’t know what people are going to bring to a meeting with you. Certainly when they’re youngsters, they’re so enthusiastic about the show, you’d have to have a very cold heart not to try to make them feel good about it.

“It’s a fairly new experience for me,” he concludes. “it’s difficult, when you’re offered the role, to anticipate what’s going to happen to you. Matt and David have both been very helpful to me in trying to prepare me and talking to me about it, Russel T Davies [former showrunner] has been very supportive too, but I remember from being a fan myself how important the show was to me, so I simply try to be respectful of that, of their affection. I’ve read lots of interviews with all the Doctors, and they often refer to this sort syndrome: people project the Doctor onto you when they meet you, so they’re already smiling. They’re really pleased to see you. That’s a privilege that is rare among human beings, that you get this warm welcome, and you haven’t done anything to deserve that. I am simply playing this part for the time that I have it, and to look after the character of Doctor Who while I’ve got him. Part of that is to be kind, I guess. It’s a fairly privileged position to be in. You get the best of people. That’s wonderful. That’s what this show does you see. I think it’s what it’s always done. It brings out the best in people.

#peter capaldi #interview #doctor who #doctor who magazine #2014

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chaosgodoflove · 2 months ago

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Closed starter for @fifteenandcounting

Ruby took a deep breath as she stared up at the door in front of them. It was a seemingly normal venue, located in Cardiff. Over the doorway, it simply read the word "Fuel". And covering the windows and doors were various concert posters.

But one in particular stood out. An ethereally beautiful blonde man, staring out at the viewer, in the most alluring way. Even on the paper, his dark eyes drew you in. Under his picture, he was simply labeled as "Eros". Whether this was simply a stage name, after the God, or his real name, nobody knew. But it was attention grabbing, either way.

"That's him," Ruby said, pointing to the poster. "I saw him in London last week. The show seemed quite normal. But at the end, everyone had just... vanished. I don't know how. It all happened so quick. But I'm sure he's behind it. That's why I wanted you to come with me. If anyone can stop him, and save those people, it's you."

With that said, Ruby pushed the door open, leading the Doctor into the small music club, where the show was set to start in only a few minutes.

#i hope you don't mind #i'm starting it off as ruby #but i'll switch to eros afterwards #closed starter #fifteenandcounting

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srslyblvck · 6 months ago

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── LOVER BOY !! wolfstar

❛ 𝖻𝗎𝗒 𝖺 𝗆𝗂𝗅𝗅𝗂𝗈𝗇 𝗋𝗈𝗌𝖾𝗌 𝖺𝗇𝖽 𝗂’𝖽 𝗌𝗍𝗂𝗅𝗅 𝗀𝖾𝗍 𝗁𝖾𝗋 𝗆𝗈𝗋𝖾𓈒𓈒

ooo. chapter one !

ooo. series masterlist !

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀ THE LITTLE STREET IN Cardiff was picture-perfect, especially this time of year. Snowflakes dusted the cobblestones, twinkling lights dangled from eaves, and shop windows glowed with Christmas warmth. Tucked away from the bustle of the high street, it was a corner where individuality thrived. On one side stood Moonlit Ink, a small but reputable tattoo shop, its façade muted save for the intricately painted crescent moon sign. On the other, a new arrival had thrown the lane into a festive buzz: Fleur Sauvage, a flower boutique, freshly opened and impossible to miss with its warm yellow door and an explosion of seasonal arrangements spilling onto the pavement.

Inside the flower shop, Sirius Black was putting the finishing touches on a wreath of holly and ivy. His black leather gloves, lined with red stitching, were tossed carelessly onto the counter, revealing tattooed hands that danced over ribbons and greenery with surprising delicacy. He was wearing a loose button-down under a wool peacoat, the collar half-popped in a way that seemed to say, Yes, I woke up looking this good.

"Et voilà," Sirius murmured, stepping back and eyeing his handiwork. He grinned, satisfied, before glancing at his reflection in the glass door to adjust a stray strand of dark hair.

That was when he saw him.

Next door, standing in the doorway of Moonlit Ink, was a man Sirius hadn't noticed in his few whirlwind days of moving in. The man was tall, dressed in a soft sweater under a thick winter coat, his hands shoved into his pockets. He was pale, with tawny brown hair that curled slightly under his woolen beanie. He looked... Sirius searched for the word. Careworn? No, that wasn't it. Shy? Close. Kind. Definitely kind.

The man was watching Sirius with an expression that hovered between curiosity and suspicion. Sirius, naturally, decided this was an invitation.

"Salut!" Sirius called, his voice ringing out in the stillness. He crossed the snowy pavement in a few long strides, wreath swinging from one hand. "I am your new neighbour!" He gestured grandly toward the flower shop. "You must have noticed. It's hard to miss, no?"

The man blinked, clearly startled, but didn’t retreat. “Uh, yeah,” he said, voice quiet but pleasant, tinged with a Welsh lilt. “Hard to miss, indeed.”

"Well, you don’t sound thrilled," Sirius said with mock offense, clutching his chest as though wounded. His grin softened the tease. "You’re the tattoo artist, no? Moonlit Ink. Lovely name, by the way."

“That’s me,” the man admitted, his hand coming up to rub the back of his neck. “Remus Lupin.”

"Enchanté." Sirius thrust out his hand, which Remus shook after a moment’s hesitation. Sirius noted the warmth of his grip, the faint calluses. He liked that. “Sirius Black. And my shop is Fleur Sauvage. It means ‘Wild Flower.’ Very chic, very me.”

Remus gave a faint smile. “Seems to suit.”

Sirius leaned closer, lowering his voice conspiratorially. “So, tell me, how does one man the tattoo needles with such... sensitive hands?” He wiggled his fingers for emphasis, a mischievous glint in his grey eyes.

Remus flushed. “I, uh…” He trailed off, visibly flustered, and Sirius had to bite back a laugh. The reaction wasn’t unexpected, but the genuine sweetness of it took him slightly by surprise.

“I tease,” Sirius said, stepping back to give him space, though he made a mental note of how Remus’s blush crept to the tips of his ears. “I’ll be popping by soon enough for some work of my own. A man can never have too much ink, no?”

“You… you have tattoos?” Remus asked, glancing over Sirius’s arms, visible beneath his rolled-up sleeves. His tone was quiet, but Sirius swore he heard a note of interest.

Sirius smirked, tugging the collar of his shirt to reveal a swirl of black ink that snaked over his collarbone. “Many. Perhaps you’ll see them all. In time.”

Remus blinked, his lips parting as though to reply, but instead, he simply nodded. Before the moment could stretch into awkwardness, Sirius clapped his hands together.

“Well, I shan’t keep you standing in the cold. But you must come by soon, eh? I’ll make tea. Or mulled wine, if you prefer. And I’ll insist on a tattoo tour.” He winked and turned toward his shop, the wreath swinging jauntily as he went. “Happy Christmas, neighbour!”

Remus stood there a moment longer, watching as Sirius disappeared through the bright yellow door, the scent of pine and cinnamon trailing after him. A faint smile lingered on his lips as he turned back into his own shop, shaking his head at the absurdly charming whirlwind that had just entered his life.

#marauders #marauders era #marauders fandom #marauders harry potter #the marauder era #marauders fanfiction #marauders fanfic #sirius black x remus lupin #sirius and remus #remus loves sirius #sirius loves remus #remus x sirius #sirius orion black #remus john lupin #sirius black #remus lupin #wolfstar fanfiction

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invisibleicewands · 3 months ago

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Michael Sheen says 'I'm not getting paid for this' as he launches most ambitious project yet

Fair play to Michael Sheen, he doesn't half set himself some challenges. After a decades-long career in Hollywood and British films and TV the 56-year-old Port Talbot raised star has embarked on his latest project - resurrecting Wales' national theatre company .

The RADA alumni clearly gets a huge buzz from creating, collaborating and acting with likeminded people. And his launch of the Welsh National Theatre this week is his most recent chapter in a series of projects intended to uplift and assist both the Welsh culture and people.

Since becoming a 'not for profit' actor on the back of selling his house in the US and the UK to bankroll the 2019 Homeless World Cup, held in Cardiff, he's fronted a Channel 4 documentary in which he used £100,000 of his own money to write off £1m worth of debts for a group of people in south Wales. This follows his 2017 move of setting up the End High Cost Credit Alliance to help people find more affordable ways of borrowing money. This year he's also launching book A Home For Spark The Dragon which he co-wrote and will help to raise funds for homelessness charity, Shelter, when it is released on June 5.

Now he, and a group of creative talent from across Wales have focused the spotlight on theatre in Wales after the Arts Council of Wales pulled all the funding for National Theatre Wales, which officially came to an end in December of last year.

Describing the launch of the Welsh National Theatre as a "new dawn for theatre in Wales" he, as its artistic director, also reflects on what a "huge loss" it would be to never have a national theatre in Wales again, or at least for a long time. It came to a head and the inspiration train was boarded at the rehearsals for Nye - the critically accclaimed original play about Aneurin Bevan and the creation of the NHS Sheen lead for the National Theatre (UK-wide) and Wales Millennium Centre last year.

Sheen told WalesOnline: "I was in a rehearsal room with a bunch of Welsh actors talking inevitably about how it looked like we had lost our National Theatre in Wales. There was a lot of talk of why that might have happened, the rights and wrongs of it and what went wrong - and all that kind of stuff.

"But ultimately, we were faced with the possibility of not having a National Theatre in Wales. It was such a tortuous process for us to get to that point that we started with in the first place. There was a real fear that maybe that would be it. That we would never have one again or it would take a very long time for that to happen."

He adds that it would be a huge loss to Wales if the country, famous for its performative heritage of the Mabinogion, Hedd Wyn, RS Thomas, Richard Burton and everything we have poured into 100s of years of culture, lost its country-wide outlet for theatre, acting, writing and directing - but he never had a plan to dive in - until he did.

"Even though it was not in any way something that I was planning to do, at a certain point in talking about it, I realised - 'well, if I don’t step up, how do I expect anyone else to?' he added, going onto speak about the challenges and how he's not getting any salary gain from the project. "The circumstances were so challenging I think - that it needed someone who had their own resources, brought certain qualities to the role that would allow it to happen. I’m not getting paid, I am able to collaborate and partner up with various organisations because of my work as an actor and my profile, I can get certain doors to open, I can get people on board - it felt like that’s what it sort of what people needed, otherwise it was going to be impossible.

"I think there was a window of time before the opportunity would dry up. That’s the why now. What made me take it on is ultimately, I heard myself arguing for what it should be and I was talking about something that only really me could do at this moment of time."

Writers Gary Owen, Russell T Davies and Time Price, directors Francesca Goodridge and CEO Sharon Gilburd, are already involved and the WNT will be building a network of talent scouts, too, who will be keeping an eye on youth, amateur and professional theatre productions. Dubbed "The Welsh Net" it's a play on the term "Welsh Not" which stifled Welsh expression and language - but the Welsh Net will champion new talent, voices and creativity.

"Part of the success of any organisation, I think, is collaboration and allowing people to take on responsibility and to grow and thrive in those situations as well as having a very strong vision at the heart of it. I hope I’m establishing certain kinds of values and beliefs and a way of looking at things and aspirations, but the team - it’s only going to work if the team is able to thrive in that," said the star who's known globally for his roles in Twilight, Frost/Nixon and Good Omens.

One other desire for the new national theatre company is that it will give space for actors, writers and directors to remain in Wales and still take on ambitious projects of scale. "One of the difficulties I think is bringing directors through, and being able to give directors, up and coming directors, the chance not to just work in studio spaces but on main stages and get them working on that kind of scale and level," he said, adding that Wales produces a strong stream of actors but many of them, including himself, leave to pursue their careers elsewhere.. He continued: "I think with writers, again, we’ve always had fantastic writers but having an incentive to write bold, ambitious plays about our country, that you know is going to get a chance of a production rather than writing a play that you know has no chance of being produced as it’s going to be too expensive."

Talking about bold productions, one of Welsh National Theatre's first productions will be an original play from Gary Owen, Owain & Henry, which promises to be an "epic" new play that focuses on the 15th century rebellion against the English crown by the outlawed prince, Owain Glyndŵr.

"There’s not many people who can put that on - and if the Welsh National Theatre is not going to put that on then no one is," Sheen, who will play Owain, mused. When asked where Owain Glyndŵr would rank in the list of iconic roles he has played, he said: "It’s not just the opportunity to play that role - but to have started a company that puts that production on and tell that story on the sort of scale that we’re looking at here, at the Millennium Centre, and to know that there’s an audience out there who might be finding out about this story for the first time... that’s going to start a conversation, so I’m really excited."

#Michael Sheen #Welsh National Theatre #theatre

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johnnycrass · 5 months ago

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The other idea I have for the room is to give it some kind of woodland-y vaguely medieval mural, then go full on with the blue ceiling, especially since i have one wall that nothing is hung on no pictures or shelves - that wall would display the best parts of the mural. i was also thinking of doing a portal like a window on my empty wall, or sectioning things off in squares and rectangles to give it fake molding then doing floral accents around the doors and windows. i signed the lease for a year so i can do whatever the hell i want. a whole scene across 4 walls would be A LOT of work -_- and a woodland scene is inevitably very green, which is a color thats only featured a little bit in this room. but i don't know whens the next time in my life i would even have a space where i could do something like that. i kind of just want to live in Cardiff Castle or Villa Palladio Jaipur or Dover Castle. or a handful of french cathedrals with starry ceilings

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stephensmithuk · 11 months ago

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The Hound of the Baskervilles: Baskerville Hall

CW injury discussion, discussion of violent crime including torture, whaling and capital punishment:

There were three classes of travel on British railways at this point, althought second-class travel was on its way out:

Paddington station, designed by Isambard Kingdom Brunel and today and a Grade I listed building, still has a big platform where it is possible to see someone directly onto a train without going through a ticket barrier. This is Platform 1 with access to the taxi rank and Elizabeth line station. It is also home to the GWR warm memorial and Paddington Bear statue, with a shop dedicated to the ursine Peruvian immigrant in the retail area at the south-eastern side.

The Museum of the College of Surgeons is now called the Hunterian Museum and is located near Holborn tube station. Admission is free, but they recommend advanced booking. It is closed on Sundays and Mondays.

It would be rather harder on a modern train to conduct a conversation as the vehicle was pulling out due to the elimination of most rolling stock with "droplights" i.e. manually lowerable windows, usually so you could open the door. The High Speed Trains which had at their end doors, them were withdrawn in 2019, the surviving "Castle Class" examples had their doors replaced with sliding ones and the Mark 3 carriages used on the Night Rivieria sleeper service now have them set to automatic locking during train movement. This was due to an enthusiast who stuck his head out of a window on a train with similar provision, resulting in a fatal encounter with a signal gantry.

The route taken is today electrified as far as Bristol (to Cardiff in fact) and is operated by the Class 802 Intercity Express train, although these mostly divert off that route at Reading. These are bi-mode units, capable of running both off 25kV overhead wire and on their underfloor diesel engines, both at 125mph like their High Speed Train predecessors, although much of SW England does not allow them to go near that speed. The main difference between the similar Class 800 is that they have larger diesel tanks for extended operations away from the wires; Devon does not have electrified railways.

The IETs come in five-car (802/0) and nine-car (802/1) on GWR. Not sure of these are 800s or 802s, but you can see why they are dubbed "Cucumbers" by enthusiasts when they are not complaining about the seats, which are a bit hard.

Spaniels were originally bred to be "gun dogs" to flush out animals and retrieve the corpses for the hunter. There are a wide variety of breeds, including the smaller ones like the King Charles Spaniel, which mainly serve as companion or lap dogs.

Dartmoor is home to the Dartmoor Intrusion, a large section of granite bedrock formed around 300 million years ago. London is on a clay bedrock, which is much younger:

Granite quarrying was widely done on Dartmoor, including by prisoners doing hard labour sentences. Today, it is no longer done as the area is now a national park, but you can get reclaimed granite from the area.

Nearly every station bar the smallest one would have a resident stationmaster and porters; these days, staffing is a lot less common in many areas and the station building may see other uses.

A wagonette is a four-wheeled carriage with longitudinal seats i.e the passengers sit on the sides facing each other. They are common on the Channel Island of Sark, where cars are banned.

Cobs are large ponies used mainly for driving carts or recreational riding:

The UK does not have an equivalent of the Posse Comitatus Act that the United States does to restrict the use of the military for law enforcement. While the use of them to deal with riots largely ended with the creation of civilian police forces, they can be still called on for "Military Aid to the Civil Authorities".

Not counting their use in Northern Ireland as part of Operation Banner from 1969 to 2007. This typically involves things like:

Civil engineering after disasters, like repairing flood defences;

Search and rescue;

Bomb disposal, such as when someone finds a German bomb during construction work;

Counter-terrorism, which mainly consists of standing around possible targets with their rifles or in 2012, sticking short-range SAMs on tower block roofs to protect the Olympics and Paralympics from aerial attack. The SAS would famously be used to end a siege at the Iranian Embassy in 1980, but this sort of thing would now be done by armed police officers today.

Selden's commutation of his death sentence due to questions over his sanity wouldn't have been uncommon, 534 of the 988 death sentences handed down were commuted between 1868 and 1899. 1889 saw 15 executions, all for murder:

****

HMP Dartmoor, on land leased from the Duchy from Cornwall, is located in a pretty remote location. It is six miles over open countryside before you reach the next town at Tavistock (which had two railway stations, both closed in the 1960s) and around ten before you'd reach Plymouth, with a further 4 1/2 before you could get to the coast. Also, you'd be doing this in a distinctive uniform with black arrows on, not exactly suited for the conditions.

This is not to say that people didn't try to escape and indeed succeed - 24 American POWs would do so during the prison's first incarnation.

It would be easier to do so when outside the prison on a work party rather than it, like Frank Mitchell, a gangster who in 1966 asked a guard if he could feed some ponies. He in fact walked to a nearby road, got into a waiting car driven by associates of the Kray twins and was driven to London. The escape (which involved soldiers in the manhunt) was a major political embarrassment, especially when Mitchell managed to get letters published in two newspapers asking for a parole date:

However, Mitchell becaming an increasing liability for the Krays; he then disappeared, generally believed to have killed and dumped at sea. They and an associate called Freddie Foreman, known as "Brown Bread [dead] Fred" for his ability to dispose of bodies, were tried for this murder and others at the Old Bailey; they were acquitted of this particular charge. Foreman admitted to the crime in 1996 and again in 2000; the CPS decided "double jeopardy" meant they could not bring new charges.

Because of its remoteness, Dartmoor ended up becoming a place for the worst of the worst in the British prison system. Mitchell, known as the "Mad Axeman". had a string of violent offences to his name, including an escape from Broadmoor that had seen him hold a married couple hostage with an an axe. He would not be the only London gangster of the period to spend time there:

It also held more "political prisoners", like Éamon de Valera. During the First World War, with other prisoners moved elsewhere, it became a Home Office Work Centre for conscientious objectors who agreed to do non-combatant work; the locks were removed, they could wear their own clothes and could even move around freely locally, although they were not very popular there.

The place was bleak too; no flushing toilets (so you had to spend each morning "slopping out", being cold and damp. Tampered-with porridge led to a riot in 1932:

A further riot in 1990 was part of a string of copycat riots in prisons following one at Strangeways in Manchester; D Wing was wrecked by fire and a prisoner was found dead in a burnt-out cell; this may have been an accident or murder.

In the aftermath, an inquiry was held by Lord Justic Woolf. A summary of the findings of the 600-page report can be found here:

Notably he recommended major improvements to Dartmoor if it was to continue operating.

In 2001, Dartmoor became a Category C prison for non-violent offenders, although concerns remained about its condition. Discussions about closure began in the 2010s with consideration being given to ending the lease and closing it down in 2023.

This did not happen, but other events are now looking like closing it anyway. Concerns over radon gas levels have now seen all the prisoners relocated as of time of writing; it may not reopen.

****

Electric lighting was of course becoming more common. Candlepower was a measurement for the intensity of a light, 1 candlepower being defined as the light from a spermaceti candle. Spermaceti is a wax found in the heads of sperm whales; it was mistakenly thought that spermaceti was whale semen because it looked like that when fresh. This was a major reason they were hunted, like in Moby Dick - today they remain at "Vulnerable" status.

The SI (metric, basically) unit is called the candela - one candlepower is 0.981 candela. The lumen is another measure, used for lightbulbs.

A billiard-room is where one plays billiards. It was also acceptable to smoke there. Women played billiards too; Queen Victoria was a fan, but I am not sure of the etiquette on mixed games. Especially if evening dress was involved, it would be seen as saucy by today's standards and positively scandalous in 1889!

#letters from watson #sherlock holmes #history #factoids #acd canon #the hound of the baskervilles #houn

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witchofthemidlands · 2 years ago

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HAPPY 60TH ANNIVERSARY DOCTOR WHO

My love for Doctor Who & the Whoniverse, the impact it has had on me & how it has shaped me as a person- An Unhinged Essay by witchofthemidlands

I can definitely say in all honesty that Doctor Who has changed my life, it is my favourite television series of all time. There’s nothing quite like Doctor Who & it's spin offs & there’s not enough words in any language to describe just how much I love this show. It has had such an impact on me. Both of my parents are Whovians, my dad has seen it since Patrick Troughton & my mum started watching it when Jon Pertwee was the Doctor, we have Doctor Who coasters & for a long time, my dad even had a framed card collection of the Doctors 1-8 & aliens just around the downstairs bathroom (imagine going to the bathroom & having pictures of all eight Doctors, Davros, a Dalek, The Master, a Cybermen, an Ice Warrior & more staring down upon you 😂)

Through my love for Doctor Who, I have met two of my best friends in the world, my friend from college & my fantastic housemate from uni. It birthed this channel when I became hyper-fixated on series 10, It has helped me through depression, anxiety & has taught me to accept myself. It has also shown me so many beautiful places, I’ve been to three Doctor Who exhibitions, walked down to Durdle Door & I’ve been to Cardiff five times. I was in Cardiff last weekend & saw the place they filmed scenes from Eye of the Gorgon for the first time & it was BEAUTIFUL 🤩 I am so grateful for the existence of Doctor Who, I would not be the same person without it. I’d like to now share a couple of anecdotes from my personal life about the way in which I came to discover this fantastic show.

My first exposure to Doctor Who, was not in fact, to Doctor Who itself. The year was 2007, I was seven years old & I was just at home, after school, watching CBBC when a beautiful program called The Sarah Jane Adventures started to play. It was the episode Warriors of Kudlak & was it the incredible & wonderful Sarah Jane Smith? The fantastic & lovely Maria Jackson, the brilliant & hilarious Clyde Langer? The socially awkward Luke Smith? I’m not sure what it was about this show that made me become instantly attached but I did & from that day on I watched series one of The Sarah Jane Adventures RELIGIOUSLY. I watched it over & over again. Sarah Jane Smith was my hero & I loved her so much, she was clever, fun, looked amazing & I can just remember thinking she was so cool, I just really loved that character, I still do even now, I will always love Sarah Jane. I watched series one of that show until my parents, got sick of seeing it & decided that it was time that I started watching the show that started it all, Doctor Who.

The exact date I started watching Doctor Who was the 5th of April 2008. I was eight years old & my parents had decided that I would be watching the new season of Doctor Who with them. I did not know what to expect, I was used to Sarah Jane. I’d heard of this Doctor of course but I had no idea what I was in store for but all I can say was that eight year old me's mind was BLOWN & I’ve never looked back. I’ve watched Doctor Who ever since. I saw my first Doctor, the Tenth Doctor played by David Tennant & my first companion, Donna Noble played by Catherine Tate & I just loved them. Their energy, their humour, they were fantastic. The scene where they find each other again at the window is just brilliant. There was so much in that episode, every time I rewatch it I keep thinking to myself, no wonder I became the Whovian i am today after witnessing that masterpiece & IT ONLY GOT BETTER FROM THERE!

Of course, I do have to take a moment to talk about my favourite scene in Partners in Crime which is where Wilfred Mott waves Donna & The Doctor off at the end of the episode. Wilfred Mott reminds me of my own grandad in the way he was so kind, how he supported his granddaughter & was just a really beautiful soul. That moment where Wilfred is cheering is so euphoric, it is pure happiness & is what made me fall in love with Doctor Who. It is one of my favourite moments in the entire Whoniverse.

I would have to say that my favourite scene in the Whoniverse of all time is in my favourite episodes of Doctor Who, The Stolen Earth & Journey's End. Nothing has ever quite captured the joy of Doctor Who for me like that scene where The Doctor, Donna Noble, Metacrisis Tenth Doctor, Rose Tyler, Captain Jack Harkness, Mickey Smith, Sarah Jane Smith, Martha Jones & Jackie Tyler (well, not really 😂) are flying the Tardis, bringing the Earth home, Song of Freedom is playing & on Earth Luke Smith is holding onto K9 & cheering, Gwen Cooper & Ianto Jones are holding on for dear life, Wilfred Mott & Sylvia Noble are watching their house shake & Francine Jones, smartest of them all, has got under the table. & then in the most beautiful, happy moment, everyone on the Tardis is embracing at the end of it. Nothing will ever quite match the joy I felt watching that for the first time & the emotions it makes me feel now.

I got my first exposure to Classic Who when I was nine years old & it had been announced that David Tennant would be stepping down as the Tenth Doctor & Matt Smith would be taking his place. Now, I’d seen the transition between Nine & Ten, I knew other people had played the Doctor & I loved Christopher Ecclestone as the Doctor but I just remember being very negative about the Tenth Doctor regenerating & I went through a phase where I didn’t want to watch Doctor Who & went back to just exclusively watching The Sarah Jane Adventures, of course now, I welcome new regenerations, I’m so excited to see what Ncuti Gatwa brings to the table because I loved him as Eric Effiong but back when I was a kid, regeneration was just not something I was keen on at all.

Now my nana had watched it since William Hartnell was the Doctor, my dad had watched the Doctor since he was Two & my mum, since he was Three so they were determined to show me that other versions of the Doctor have been fantastic in the past & they decided on this random Saturday night that I should be exposed to Doctor Who The Movie.

I loved that film, I really did. I haven’t seen it in a long time & I always think that I must have dreamt up some elements of the plot but NO, the plot of that film is something else, it really is. It’s camp, it’s funny, it has the best Tardis interior ever, it’s absolutely balls to the wall unhinged but IT HAS HEART, Paul McGann is THE Doctor & the fact he didn’t get a season after this I don’t know because he was brilliant. Honestly The Night of the Doctor changed me fundamentally as a person when that aired. If the rumours are true about the Eight Doctor coming back for a show, I am going to be the most annoying person on this site. I am going to lose my mind.

Now I genuinely think the reason I have such love for the Seventh Doctor is because my first real impression of this Doctor & Classic Who was Seven getting shot by a gang outside his Tardis 😭 which is I think why in my teens when I went into my local HMV the first Classic Who DVD's I picked up were Third & Seventh Doctor era serials. The Seventh Doctor is a brilliant, Machiavellian scheming little gremlin & I love him more than anything & I just fell in love with Classic Who, I really did because I’d seen the Third Doctor appear in a flashback in The Sarah Jane Adventures, he was also my mum’s first Doctor & I knew I had to see a full episode of his & he was a wonderful, the first time I saw a serial of his properly, he reminded me of Twelve.

Another story I would like to share is a Doctor Who related moment that brought me & my uni housemate to our knees at 2 O’clock in the morning on 27th of January 2020 when I was twenty year old.

I was just getting ready for bed, casually scrolling through tumblr when I saw a post. Now, I will admit I’d sort of taken a short break from Doctor Who in its 12th season after Spyfall because I was busy with uni so I wasn’t exactly up to date but Fugitive of the Judoon had just aired & I was reading that apparently one of my favourite Doctor Who characters of all time, Captain Jack Harkness had returned to the show now this is the first lgbtq+ character both me & my uni housemate had ever seen on tv, Captain Jack Harkness & Torchwood helped both me & my housemate accept our identities & taught us to not be afraid of who we are & that there’s nothing wrong with us. Captain Jack Harkness & Torchwood were the first positive representation we’d been given in our youth. I knew my friend was doing the bins at the time so I just opened the window & screamed down to him CAPTAIN JACK'S BACK ON DOCTOR WHO!

Both me & my uni friend are still apologising to our other housemate to this day for what conspired next. My friend dropped the bags, ran back inside the house & got the episode going. We recruited another friend of his that loved Doctor Who & the three of us sat & watched Fugitive of the Judoon together & oh my god when Captain Jack showed up, the three of us at half past two in the morning were screaming like it was a sports match, we were cheering, throwing things around the living room, hugging & all in all, losing our minds. Yes, we did wake up our non-Whovian housemate who was not happy but it is a core memory for me & really showed to me just how Doctor Who had brought me & my friends together.

On another note, I will always be so grateful to Torchwood because of that, no it wasn’t perfect & no neither was Doctor Who in terms of representation but it mattered to me, it mattered to my friend, it was important for us to see Captain Jack Harkness kiss a man (alien) on our screens when we were growing up, for Ianto Jones & Captain Jack Harkness's relationship to exist, for me to see Gwen Cooper kiss a alien presenting as a woman & to also see Toshiko Sato also kiss an alien presenting as a woman.

When it comes to favourite Whoniverse characters, I love every Doctor there is no version of the Doctor that I don’t love. I’d have to say that the Tenth Doctor is my favourite version of the Doctor & that Donna Noble is my favourite companion because of their significance to me but all in all if I had to choose, I’d say my favourite Doctor is The Ninth & the Tenth, the transitions between the two are so seamless. The fantastic Christopher Ecclestone & brilliant David Tennant will always be my favourite versions of the Doctor. The same way that Catherine Tate as Donna Noble, Billie Piper as Rose Tyler & Freema Agyeman as Martha Jones are my favourite companions. I have a definite soft spot for Rose Tyler because she was my nana's favourite as well, Martha Jones because she’s so brave, clever & beautiful and of course, Donna Noble because she is brilliant.

I have to mention the spin offs because it’s The Sarah Jane Adventures that began my adventures as a Whovian, other than Sarah Jane Smith herself my favourite character was always Maria Jackson. That girl meant the world to me when I was seven, I loved her, oh I loved her so much she was fantastic, kind, clever, amazing & I was DEVASTATED when she & her brilliant dad, the best tv dad to tv dad ever, Mr. Alan Jackson, went to America at the start of series 2. I’ve always liked to imagine that Maria turned out to be a lesbian like I did because I, very much like Maria was also ✨attached✨ to Sarah Jane Smith.

Clyde Langer, Clyde Langer is getting his own paragraph because of how much he means to me. I think I’d had to say that Clyde is my favourite over all because apart from Invasion of the Bane, Clyde was there from the start to the end of The Sarah Jane Adventures & I loved him, he was the funniest character around the stuff he came out with was comedy gold, he was resourceful, sweet & one of the most incredible characters in the entire Whoniverse. He may be my favourite male character in the entirety of the Whoniverse.

Seeing Daniel Anthony as Clyde Langer again in Tales of the Tardis has made the 60th for me, out of everything we’ve been given for the 60th anniversary of Doctor Who, David Tennant & Catherine Tate, new Murray Gold music & RTD back as showrunner, everything I’ve ever wanted & more and yet none of that means as much to me as seeing Clyde Langer again did.

Talking of Whoniverse spin off characters that have my heart in a choke hold I have to talk about my favourite CLASS character. I have to talk to you all about Ram Singh, my SON, my lad who can do no wrong. The sweet boy who loved his girlfriend so much, who suffered more tragedies & pain than any other character in the entire Whoniverse other than the Doctor did in only eight episodes. My guy lost his leg, watched his girlfriend get butchered in front of him, watched another woman get torn apart by an alien in front of him, watched his loving, wonderful dad (who was also one of the tv dads of all time) get killed by an alien & then had to watch his friend kill his new girlfriend who had just professed her love to him. I just love him, I really do, he started off rather mean but he grew as a person over the course of the series.

Now I love EVERYONE in the Torchwood Three team equally, they are fantastic characters who mean the world to me but there’s always that one character who just has something about them that makes me love them the most & that character is Dr. Owen Harper.

I mean this when I say this with my whole chest that Burn Gorman is one of the best actors in the Whoniverse. I mean, I came to Torchwood when I was fourteen for Captain Jack Harkness because I loved him so much & I was so happy to FINALLY get to watch his show but as it turns out, Owen Harper became my favourite character even over Jack who I love more than anything because Owen was just so good. The Dead Man Walking / A Day in the Death storyline is potentially a showcase of the best acting in the Whoniverse. Owen Harper is brilliant, he’s sarcastic, funny, morally questionable here & there, the reason I got into Big Finish, a genuinely good person who did care even if he pretended not to, whose story tore my heart out thew it into oncoming traffic & stamped on it like a herd of wildebeests to the power of mufasa dying in the lion king because oh my GOD the character that Owen Harper was but ABOVE ALL OWEN HARPER IS & ALWAYS WILL BE my favourite ratman. He’s the reason that I met one of the kindest most brilliant people on this site, my mutual, my friend who is so wonderful & WHO UNDERSTANDS the level of feral I reach for Owen Harper & the fact they scrapped his action figure is both of our villain origin stories. @kirstyth you are fantastic, I am so grateful that we started talking, you have shown me some incredible Owen audios & I am on my way to respond to your message now because I haven't done that & I am so sorry but I just wanted to say that I am so grateful that the Whoniverse introduced me to you.

Out of the Classics I would have to say that Sylvester McCoy as the Seventh Doctor & Paul McGann as the Eighth Doctor own my heart because they were my first Classic Doctors but in this past year I have grown to love the Second Doctor so much, oh he’s just wonderful & so is his companion, Jamie McCrimmon, I mean I’ve only known of this character for a year & I was crying my eyes out during Tales of the Tardis so I can’t even imagine how my dad was feeling watching that when he’d actually seen The War Games when it aired & talking of companions, Ace, Ace McShane, my love. I was still mostly in the closet when I was sixteen & first encountered her but it is undeniable now how much I was attracted to her & I STILL AM! She’s absolutely gorgeous 😍

Of course Elisabeth Sladen as Sarah Jane Smith is my favourite Classic Who companion because she was my first Whoniverse character I ever saw, she was my hero when I was a young kid & quite potentially the reason why I am the deranged lesbian that I am today. I still remember that morning, I was eating breakfast & rewatching The Lost Boy for the millionth time when my mum came in & told me that Elisabeth Sladen had passed away. My mum was devastated too because Sarah Jane Smith was her first companion she ever saw, she’d grown up with her like I had & she’d meant so much to both of us. We were both crying through Clyde & Jo's segment of Tales in the Tardis when they mentioned her. I still haven’t watched Farewell, Sarah Jane Smith in full yet, one day I will.

I can’t finish this essay without thanking Doctor Who for introducing to me to a fellow TimePetals shipper because it is & will always be my favourite Whoniverse ship, the loveliest most wonderful mutual a person could ask for @sallysellsseashellssundays You are brilliant, I am so grateful that Doctor Who brought us together. I love talking to you about Doctor Who & the Whoniverse, it’s one of the highlight of my weeks seeing your messages, they really are fantastic, absolutely fantastic, they are supportive & so kind about my own writing & they are currently writing a fantastic TimePetals fan fiction which has got to be one of the best fanfics I have read in a long time, it’s a masterpiece, they are a genius & one of the greatest writers I know, the way they write the characters & craft the stories are inspired, it’s like watching actual episodes of the show.

Thank you, Doctor Who, I am so grateful that Partners in Crime was the first Doctor Who episode I ever saw & for that (and many other reasons) series 4 will always be my favourite season of Doctor Who, The Tenth Doctor & Donna Noble will always be my favourite Doctor & companion because they were the first & I can’t even begin to explain what it means to me that David Tennant & Catherine Tate are reprising their characters in THREE DAYS TIME 🤩

With all my love to The Sarah Jane Adventures, Doctor Who & Torchwood. I love you so much, thank you for making my life better.

#sarah jane smith #tenth doctor #donna noble #rose tyler #martha jones #clyde langer #maria jackson #ninth doctor #eighth doctor #seventh doctor #owen harper #ram singh #doctor who #the sarah jane adventures #torchwood #bbc class #whoniverse

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erasmashups · 8 months ago

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this is a side blog! dedicated to writing out the lyrics of each eras surprise song mashup (maybe a little analysis + sharing of audios/video) send me asks if you have any issues or q's!!

my main is @wannaloveyoubutidont

current icons are from @directiolfiepacks

Mashups Masterlist:

Buenos Aires, Argentina (Nov 11, '23) – 'Is It Over Now?/Out of the Woods'

Melbourne, Australia (Feb 17) 'Getaway Car/August/The Other Side of the Door'

Melbourne, Australia (Feb 18) 'Come Back…Be Here/Daylight'

Sydney, Australia (Feb 23) 'White Horse/Coney Island' (ft: Sabrina Carpenter)

Sydney, Australia (Feb 24) 'Should've Said No/You're Not Sorry' 'New Year's Day/Peace'

Sydney, Australia (Feb 25) 'Is It Over Now?/I Wish You Would' 'Haunted/Exile'

Sydney, Australia (Feb 26) 'Would've Could've Should've/Ivy' 'Forever & Always/Maroon'

Singapore, SG (Mar 2) 'Mine/Starlight' 'I Don't Wanna Live Forever/Dress'

Singapore, SG (Mar 3) 'Long Story Short/The Story of Us' 'Clean/Evermore'

Singapore, SG (Mar 4) 'Foolish One/Tell Me Why' 'This Love/Call It What You Want'

Singapore, SG (Mar 7) 'Death By A Thousand Cuts/Babe' 'Fifteen/You're On Your Own, Kid'

Singapore, SG (Mar 8) 'Sparks Fly/Gold Rush' 'False God/"Slut!"'

Singapore, SG (Mar 9) 'Tim McGraw/Cowboy Like Me' 'Mirrorball/Epiphany'

Paris, France (May 10) 'Is It Over Now?/Out Of The Woods'

Paris, France (May 12) 'The Alchemy/Treacherous' 'Begin Again/Paris'

Stockholm, Sweden (May 17) 'I Think He Knows/Gorgeous'

Stockholm, Sweden (May 18) 'Say Don't Go/Welcome To New York/Clean'

Stockholm, Sweden (May 19) 'Message In A Bottle/How You Get The Girl/New Romantics'

Lisbon, Portugal (May 24) 'Come Back…Be Here/The Way I Loved You/The Other Side of the Door' 'Fresh Out The Slammer/High Infidelity'

Lisbon, Portugal (May 25) 'The Tortured Poets Department/Now That We Don't Talk' 'You're On Your Own, Kid/Long Live'

Madrid, Spain (May 29) 'Sparks Fly/I Can Fix Him (No Really I Can)' 'I Look In People's Windows/Snow on the Beach'

Madrid, Spain (May 30) 'Our Song/Jump Then Fall'

Lyon, France (June 2) 'The Prophecy/Long Story Short' 'Fifteen/You're On Your Own, Kid'

Lyon, France (June 3) 'Glitch/Everything Has Changed'

Edinburgh, UK (June 7) 'Would've, Could've, Should've/I Know Places' ''Tis The Damn Season/Daylight'

Edinburgh, UK (June 8) 'The Bolter/Getaway Car' 'All Of The Girls You Loved Before/Crazier'

Edinburgh, UK (June 9) 'It's Nice To Have A Friend/Dorothea' 'Haunted/Exile'

Liverpool, UK (June 13) 'I Can See You/Mine' 'Cornelia Street/Maroon'

Liverpool, UK (June 14) 'This Is What You Came For/Gold Rush' 'The Great War/You're Losing Me'

Liverpool, UK (June 15) 'Carolina/No Body, No Crime' 'The Manuscript/Red'

Cardiff, UK (June 18) 'I Forgot That You Existed/This Is Why We Can't Have Nice Things' 'I Hate It Here/the lakes'

London, UK (June 21) 'Hits Different/Death By A Thousand Cuts' 'The Black Dog/Come Back…Be Here/Maroon'

London, UK (June 22) 'thanK you aIMee/Mean'

London, UK (June 23) 'Out of the Woods/Is It Over Now?/Clean'

Dublin, Ireland (June 28) 'State of Grace/You're On Your Own, Kid' 'Sweet Nothing/Hoax'

Dublin, Ireland (June 29) 'The Albatross/Dancing With Our Hands Tied' 'This Love/Ours'

Dublin, Ireland (June 30) 'Clara Bow/The Lucky One'

Amsterdam, Netherlands (July 4) 'Guilty As Sin?/Untouchable' 'The Archer/Question…?'

Amsterdam, Netherlands (July 5) 'imgonnagetyouback/Dress' 'You Are In Love/Cowboy Like Me'

Amsterdam, Netherlands (July 6) 'Sweeter Than Fiction/Holy Ground' 'Mary's Song (Oh My My My)/So High School/Everything Has Changed'

Zürich, Switzerland (July 9) 'Right Where You Left Me/All You Had To Do Was Stay' 'Last Kiss/Sad Beautiful Tragic'

Zürich, Switzerland (July 10) 'Closure/A Perfectly Good Heart' 'Robin/Never Grow Up'

Milan, Italy (July 13) 'The 1/Wonderland' 'I Almost Do/The Moment I Knew'

Milan, Italy (July 14) 'Mr. Perfectly Fine/Red' 'Getaway Car/Out of the Woods'

Gelsenkirchen, Germany (July 17) 'Superstar/Invisible String' '"Slut!"/False God'

Gelsenkirchen, Germany (July 18) 'Speak Now/Hey Stephen' 'This Is Me Trying/Labyrinth'

Gelsenkirchen, Germany (July 19) 'Paper Rings/Stay Stay Stay' 'it's time to go/Better Man'

Hamburg, Germany (July 23) 'Teardrops On My Guitar/The Last Time' 'We Were Happy/Happiness'

Hamburg, Germany (July 24) 'The Last Great American Dynasty/Run' 'Nothing New/Dear Reader'

Munich, Germany (July 27) 'Fresh Out The Slammer/You Are In Love' 'Ivy/Call It What You Want'

Munich, Germany (July 28) 'I Don't Wanna Live Forever/imgonnagetyouback' 'loml/Don't You'

Warsaw, Poland (Aug 1) 'Mirrorball/Clara Bow' 'Suburban Legends/New Year's Day'

Warsaw, Poland (Aug 2) 'I Can Fix Him (No Really I Can)/I Can See You' 'Red/Maroon'

Warsaw, Poland (Aug 3) 'Today Was A Fairytale/I Think He Knows' 'The Black Dog/Exile'

London, UK (Aug 15) 'Everything Has Changed/End Game/Thinking Out Loud' (ft: Ed Sheeran) 'King Of My Heart/The Alchemy'

London, UK (Aug 16) 'Dear John/Sad Beautiful Tragic'

London, UK (Aug 17) 'My Boy Only Breaks His Favourite Toys/Coney Island'

London, UK (Aug 19) 'Long Live/Change' 'The Archer/You're On Your Own, Kid'

London, UK (Aug 20) 'Death By A Thousand Cuts/Getaway Car' (ft: Jack Antonoff)

Miami, FL (Night 1 - Oct 18) 'Tim McGraw/Timeless' 'this is me trying/Daylight'

Miami, FL (Night 2 - Oct 19) 'Should've Said No/I Did Something Bad' 'loml/White Horse'

Miami, FL (Night 3 - Oct 20) 'Out Of The Woods/All You Had To Do Was Stay' 'mirrorball/Guilty As Sin?'

New Orleans, LA (Night 1 - Oct 25) 'Our Song/Call It What You Want' 'The Black Dog/Haunted'

New Orleans, LA (Night 2 - Oct 26) 'Espresso/Is It Over Now?/Please Please Please' (ft: Sabrina Carpenter) 'Hits Different/Welcome to New York'

New Orleans, LA (Night 3 - Oct 27) 'Afterglow/Dress' 'How You Get The Girl/Clean'

Indianapolis, IN (Night 1 - Nov 1) 'The Albatross/Holy Ground' 'Cold As You/exile'

Indianapolis, IN (Night 2 - Nov 2) 'The Prophecy/This Love' 'Maroon/cowboy like me'

Indianapolis, IN (Night 3 - Nov 3) 'Cornelia Street/The Bolter' 'Death By Thousand Cuts/The Great War'

Toronto, Canada (Night 1 - Nov 14) 'My Boy Only Breaks His Favorite Toys/This Is Why We Can't Have Nice Things' 'False God/'tis the damn season'

Toronto, Canada (Night 2 - Nov 15) 'I Don't Wanna Live Forever/Mine' 'evermore/Peter'

Toronto, Canada (Night 3 - Nov 16) 'Us (with Gracie Abrams)/Out of the Woods' 'You're On Your Own, Kid/Long Story Short'

Toronto, Canada (Night 4 - Nov 21) 'Mr. Perfectly Fine/Better Than Revenge' 'State of Grace/Labyrinth'

Toronto, Canada (Night 5 - Nov 22) 'Ours/The Last Great American Dynasty' 'Cassandra/Mad Woman/I Did Something Bad'

Toronto, Canada (Night 6 - Nov 23) 'Sparks Fly/Message In A Bottle' 'You're Losing Me/How Did It End?'

Vancouver, Canada (Night 1 - Dec 6) 'Haunted/Wonderland' 'Never Grow Up/The Best Day'

Vancouver, Canada (Night 2 - Dec 7) 'I Love You, I'm Sorry/Last Kiss (ft: Gracie Abrams)' 'The Tortured Poets Department/Maroon'

Vancouver, Canada (Night 3 - Dec 8) 'A Place In This World/New Romantics' 'Long Live/New Year's Day/The Manuscript'

#taylor swift #the eras tour #surprise songs #surprise song mashups #taylor swift blog #taylor swift lyrics

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theerastoursurprisesongs · 1 year ago

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The Eras Tour Surprise Song 2024

Surprise songs in Tokyo, Japan

Night 1

• Guitar: Dear Reader

• Piano: Holy Ground

Night 2

• Guitar: Eyes Open

• Piano: Electric Touch

Night 3

• Guitar: Superman

• Piano: The Outside

Night 4

• Guitar: Come With The Rain

• Piano: You’re on Your Own, Kid

Surprise Songs in Melbourne, Australia

Night 1

• Guitar: Red

- announces "The Bolter"

• Piano: You're Losing Me

Night 2

• Guitar: Getaway Car × august × The Other Side of the Door

• Piano: this is me trying

Night 3

• Guitar: Come Back...Be Here × Daylight

• Piano: Teardrops On My Guitar

Surprise Songs in Sydney, Australia

Night 1

• Guitar: How You Get the Girl

- The Albatross

• Piano: White Horse × Coney Island with Sabrina Carpenter

Night 2

• Guitar: Should've Said No × You’re Not Sorry

• Piano: New Year’s Day × peace

Night 3

• Guitar: Is It Over Now? × I Wish You Would

• Piano: Haunted × exile

Night 4

• Guitar: Would've, Could've, Should've × ivy

• Piano: Forever & Always × Maroon

Surprise Songs in Singapore

Night 1

• Guitar: Mine × Starlight

• Piano: I Don’t Wanna Live Forever × Dress

Night 2

• Guitar: long story short × The Story Of Us

- announces "The Black Dog"

• Piano: Clean × evermore

Night 3

• Guitar: Foolish One × Tell Me Why

• Piano: This Love × Call It What You Want

Night 4

• Guitar: Death By A Thousand Cuts × Babe

• Piano: Fifteen × You’re on Your Own, Kid

Night 5

• Guitar: Sparks Fly × gold rush

• Piano: False God × "Slut!"

Night 6

• Guitar: Tim McGraw × cowboy like me

• Piano: mirrorball × epiphany

Surprise Songs in Paris, France

Night 1

• Guitar: Paris

• Piano: lolm

- Added TTPD on setlist

Night 2

• Guitar: Is It Over Now? × Out of the Woods

• Piano: My Boy Only Breaks His Favorite Toys

Night 3

• Guitar: Hey Stephen

• Piano: Maroon

Night 4

• Guitar: The Alchemy × Treacherous

• Piano: Begin Again × Paris

Surprise Songs in Stockholm, Sweden

Night 1

• Guitar: I Think He Knows × Gorgeous

• Piano: Peter

Night 2

• Guitar: Guilty as Sin?

• Piano: Say Don't Go × Welcome To New York × Clean

Night 3

• Guitar: Message In A Bottle × How You Get The Girl × New Romantics

• Piano: How Did It End?

Surprise Songs in Lisbon, Portugal

Night 1

• Guitar:

• Piano: Fresh Out The Slammer × High Infidelity

Night 2

• Guitar: The Tortured Poets Department × Now That We Don't Talk

• Piano: Your On Your Own Kid × Long Live

Surprise Songs in Madrid, Spain

Night 1

• Guitar: Sparks Fly × I Can Fix Him (No Really I Can)

• Piano: I Look in People's Windows × Snow On The Beach

Night 2

• Guitar: Our Song × Jump Then Fall

• Piano: King Of My Heart

Surprise Songs in Lyon, France

Night 1

• Guitar: The Prophecy × long story short

• Piano: Fifteen × You’re on Your Own, Kid

Night 2

• Guitar: Glitch × Everything Has Changed

• Piano: Chloe or Sam or Sophia or Marcus

Surprise Songs in Edinburgh, Scotland

Night 1

• Guitar: Would've, Could've, Should've × I Know Places

• Piano: 'tis the damn season × Daylight

Night 2

• Guitar: The Bolter × Getaway Car

• Piano: All Of The Girls You Loved Before × Crazier

Night 3

• Guitar: It's Nice To Have A Friend × dorothea

• Piano: Haunted × exile

Surprise Songs in Liverpool, England

Night 1

• Guitar: I Can See You × Mine

• Piano: Cornelia Street × Maroon

Night 2

• Guitar: This Is What You Came For × gold rush

• Piano: The Great War × You're Losing Me

Night 3

• Guitar: Carolina × no body, no crime

• Piano: The Manuscript × Red

Surprise Songs in Cardiff, Wales

Night 1

• Guitar: I Forgot That You Existed × This Is Why We Can’t Have Nice Things

• Piano: I Hate It Here × the lakes

Surprise Songs in London, England

Night 1

• Guitar: Hits Different × Death By A Thousand Cuts

• Piano: The Black Dog × Come Back...Be Here × Maroon

Night 2

• Guitar: thanK you aIMee × Mean

• Piano: Castles Crumbling with Hayley Williams

Night 3

• Guitar: us with Gracie Abrams on the piano

• Piano: Out Of The Woods × Is It Over Now? × Clean

Surprise Songs in Dublin, Ireland

Night 1

• Guitar: State Of Grace × You’re on Your Own, Kid

• Piano: Sweet Nothing × hoax

Night 2

• Guitar: The Albatross × Dancing With Our Hands Tied

• Piano: This Love × Ours

Night 3

• Guitar: Clara Bow × The Lucky One

• Piano: You’re on Your Own, Kid

Surprise Songs in Amsterdam, Netherlands

Night 1

• Guitar: Guilty as Sin? × Untouchable

• Piano: The Archer × Question...?

Night 2

• Guitar: imgonnagetyouback × Dress

• Piano: You Are In Love × cowboy like me

Night 3

• Guitar: Sweeter Than Fiction × Holy Ground

• Piano: Mary's Song (Oh My My My) × So High School × Everything Has Changed

Surprise Songs in Zürich, Switzerland

Night 1

• Guitar: right where you left me × All You Had To Do Was Stay

• Piano: Last Kiss × Sad Beautiful Tragic

Night 2

• Guitar: closure × A Perfectly Good Heart

• Piano: Robin × Never Grow Up

Surprise Songs in Milan, Italy

Night 1

• Guitar: the 1 × Wonderland

• Piano: I Almost Do × The Moment I Knew

Night 2

• Guitar: Mr. Perfectly Fine × Red

• Piano: Getaway Car × Out Of The Woods

Surprise Songs in Gelsenkirchen, Germany

Night 1

• Guitar: Superstar × invisible string

• Piano: "Slut!" × False God

Night 2

• Guitar: Speak Now × Hey Stephen

• Piano: this is me trying × Labyrinth

Night 3

• Guitar: Paper Rings × Stay Stay Stay

• Piano: it's time to go × Better Man

Surprise Songs in Hamburg, Germany

Night 1

• Guitar: Teardrops On My Guitar × The Last Time

• Piano: We Were Happy × happiness

Night 2

• Guitar: the last great american dynasty × Run

• Piano: Nothing New × Dear Reader

Surprise Songs in Munich, Germany

Night 1

• Guitar: Fresh Out The Slammer × You Are In Love

• Piano: ivy × Call It What You Want

Night 2

• Guitar: I Don't Wanna Live Forever × imgonnagetyouback

• Piano: loml × Don't You

Surprise Songs in Warsaw, Poland

Night 1

• Guitar: mirrorball × Clara Bow

• Piano: Suburban Legends × New Year's Day

Night 2

• Guitar: I Can Fix Him (No Really I Can) × I Can See You

• Piano: Red × Maroon

Night 3

• Guitar: Today Was A Fairytale × I Think He Knows

• Piano: The Black Dog × exile

Surprise Songs in London, England

Night 4

• Guitar: Everything Has Changed × End Game × Thinking out Loud with Ed Sheeran

• Piano: King Of My Heart × The Alchemy

Night 5

• Guitar: London Boy

• Piano: Dear John × Sad Beautiful Tragic

Night 6

• Guitar: I Did Something Bad

• Piano: My Boy Only Breaks His Favorite Toys × coney island

Night 7

• Guitar: Long Live × Change

• Piano: The Archer × You're On Your Own, Kid

Night 8

• Guitar: Death By A Thousand Cuts × Getaway Car with Jack Antonoff

• Piano: So Long London

Surprise Songs in Miami, Florida

Night 1

• Guitar: Tim McGraw × Timeless

• Piano: this is me trying × Daylight

Night 2

• Guitar: Should've Said No × I Did Something Bad

• Piano: lolm × White Horse

Night 3

• Guitar: Out of the Woods × All You Had To Do Was Stay

• Piano: mirrorball × Guilty as Sin?

Surprise Songs in New Orleans, Louisiana

Night 1

• Guitar: Our Song × Call It What You Want

• Piano: The Black Dog × Haunted

Night 2

• Guitar: Espresso × Is It Over Now? × Please Please Please with Sabrina Carpenter

• Piano: Hits Different × Welcome To New York

Night 3

• Guitar: Afterglow × Dress

• Piano: How You Get The Girl × Clean

Surprise Songs in Indianapolis, Indiana

Night 1

• Guitar: The Albatross × Holy Ground

• Piano: Cold As You × exile

Night 2

• Guitar: The Prophecy × This Love

• Piano: Maroon × cowboy like me

Night 3

• Guitar: Cornelia Street × The Bolter

• Piano: Death By A Thousand Cuts × The Great War

Surprise Songs in Toronto, Ontario

Night 1

• Guitar: My Boy Only Breaks His Favorite Toys × This Is Why We Can't Have Nice Things

• Piano: False God × 'tis the damn season

Night 2

• Guitar: I Don't Wanna Live Forever × Mine

• Piano: evermore × Peter

Night 3

• Guitar: us. × Out of The Woods with Gracie Abrams

• Piano: You're On Your Own, Kid × long story short

Night 4

• Guitar: Mr. Perfectly Fine × Better Than Revenge

• Piano: State Of Grace × Labyrinth

Night 5

• Guitar: Ours × the last great american dynasty

• Piano: Cassandra × mad woman × I Did Something Bad

Night 6

• Guitar: Sparks Fly × Message In A Bottle

• Piano: You're Losing Me × How Did It End?

Surprise Songs in Vancouver, British Columbia

Night 1

• Guitar: Haunted × Wonderland

• Piano: Never Grow Up × The Best Day

Night 2

• Guitar: I Love You, I'm Sorry × Last Kiss (with Gracie Abrams)

• Piano: The Tortured Poets Department × Maroon

Night 3

• Guitar: A Place in this World × New Romantics

• Piano: Long Live × New Year's Day × Manuscript

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jjallblindscardiff · 1 month ago

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Blinds Cardiff: Transform Your Home with Stylish Window Coverings

But when it comes to enhancing the beauty and utility of your home, window treatments are usually the last thing on the list. Yet, in the right hands, they can completely transform a space: from style to offering privacy, insulation, and light control. If you're looking for blinds Cardiff, then you're at the right place. This city has different reliable suppliers that can even provide customized products suited for every taste and budget.

We'll explore in this guide the reasons that make blinds such as a much better choice for homeowners in Cardiff, types available, things to consider before buying, and the best local providers.

Why Choose Blinds for Your Cardiff Home?

They are worthwhile and can be forgoing at curtains. Cardiff homes are subject to the various changes in weather and therefore different architecture designs that blinds can offer several benefits:

Light Control

During summer, Cardiff experiences long hours of daylight whereas winter evenings are invariably dark. With blinds, you can control the amount of light entering a room. That is why they are great for creating your own ambience.

Privacy

Living in a city like Cardiff means most people have their neighbours and passers-by just a few metres away from doorsteps. Blinds provide great coverage from the prying eyes of neighbours and passers by without compromising on aesthetic.

Energy Efficiency

It is where they are when the blinds prohibit the indoor temperatures by preventing the heat loss through the windows. Specifically, thermal blinds work excellently for keeping the home warm during winter in Cardiff.

Style and Customisation

The blinds encompass styles suitable for any interior design whether one lives in a classic Victorian terrace in Roath or a modern flat built in Cardiff Bay. Many of the blinds companies in Cardiff have made to measure services for that perfect fit.

Popular Types of Blinds in Cardiff

Here are some of the popular choices available from blinds Cardiff suppliers:

Roller Blinds

Simple yet sleek, and reasonably priced, roller blinds are one of the most common options around. The answer for kitchens, bathrooms, and minimalist interiors, Cardiff homeowners rely on these types for their simplicity and for the main range of fabric types.

Venetian Blinds

You can tilt arbitrarily any way in controlling both light and privacy with Venetian blinds of wood, acrylic, or PVC. These have become common choices in almost every office and modern house in Cardiff.

Vertical Blinds

Vertical blinds are practical for large windows and sliding doors. They are popular with many Cardiff businesses and homes with patio doors.

Roman Blinds

They're the best for that elegant soft finish in a fabric-based way; they give a soft, elegant touch. Roman blinds give the living room and bedroom a more luxurious feel. Most of Cardiff boutiques offer homemade Roman blinds in a variety of textures and colors.

Perfect Fit Blinds

They clip directly onto the frame of the window without the need for drilling for conservatories and windows including UPVC. Cardiff residents appreciate that they provide a very neat finish and function.

Things to Consider Before Buying Blinds in Cardiff

However, color and price are not the only things when you shop for blinds in Cardiff. Here are a few of the crucial elements:

Room Usage

Is it a bedroom, a living area, a kitchen, or a bathroom? Blackout blinds are the best for bedrooms, and in bathrooms moisture-resistant blinds would be the must.

Window Dimensions And Shapes

If you have bay windows, skylights, or any uniquely shaped frame, then the best choice would definitely be custom made or made to measure blinds- and this is common in older Cardiff homes.

Child Safety

If you have small children at home, go for either cordless blinds or the ones having child safety features to avoid accidents.

Maintenance Aspects

Faux wood or metal Venetian blinds remain easier to clean and maintain than fabric types..

Top Local Providers of Blinds in Cardiff

You can gain expert guidance, speedy delivery, and even house visits for measure and installation with a local supplier for this service. In the near future, you should count on a recommendation or two from some of the trusted names in the Blinds Cardiff market:

Cardiff Blinds & Shutters

The longtime local company offers roller and vertical blinds and beautiful shutters. It has a free home consultation and provides bespoke solutions.

Apollo Blinds Cardiff

As part of a national franchise with local service, they provide a broad range of curtains, custom blinds, with professional installation across the city of Cardiff.

Hillarys Blinds

Its local consultants in Cardiff perform high-quality craftsmanship, free measurements, and offer various styles.

Style Studio Cardiff

This company specializes in contemporary and luxury blinds. Should the desire be for designer-inspired interiors, they offer both exclusive fabrics and motorization options.

Why Supporting Local Cardiff Blind Companies Matters

By choosing a local blinds supplier in Cardiff, we not only support the viability of small business, but there arise other perks from the choice:

Faster appointment:

The locals can measure and install faster.

Personalized:

You're more likely to get individualized service with specific recommendations.

Better aftercare feedback:

If something does go wrong, help is available nearby.

Eco-Friendly Blind Options in Cardiff

In Cardiff, sustainability is being adopted by an increasing number of residents, thus making eco-friendly blinds ever more appealing to homeowners. Several local suppliers now provide:

Recycled fabric blinds

Bamboo or FSC-certified wooden blinds

Energy saving thermal blinds

Keep your house stylish, efficient and environmentally friendly with these choices.

Blinds for Cardiff Businesses

Cardiff commercial properties-from Pontcanna cafes to city centre offices-are good candidates for quality blind fittings. Some of the benefits:

Branding:

Custom blinds can use your logo or brand colours.

Security:

Blinds can protect your expensive equipment or classified documents from prying eyes.

Temperature control:

Very important to keep customers cool in retail and hospitality settings.

As a Cardiff business owner, look for quality-grade blind options and installation by professionals.

Conclusion: The Smart Choice for Every Cardiff Home

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citylocksmithscardiff · 1 month ago

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atwwoodendoorsuk · 9 months ago

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sociologyonthemove · 1 year ago

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The Close Proximity of Cardiff’s Class and Culture Contrast by Sadie Mullis

It is 11.34am when I approach the four-way junction at the top of Albany Road. My attention is immediately drawn to the flashing blue lights coming from a parked ambulance on my left. The driver is sat on his phone in the front seat, seemingly unfazed by what could be unfolding in the back. It is just another day at the office for him, after all. It is a Sunday in April, and the sun is restrained by the grey clouds, occasionally peeking through to tease us with the hope of summertime in Cardiff. At least it’s not raining. A group of four lads surge past me, breathing heavily but still able to gossip. Clearly in the middle of their ‘Sunday long run’, which will inevitably end with a pint at the pub. The aggressive beeping of the traffic lights brings me back to reality, and I cross the road. Hearing this prompted my human sensory perception and reminded me why so many researchers choose to use ‘listening walks’ (Gallagher and Prior, 2017). I walk down the left-hand side of the street, as I normally would, on a mission or with a particular goal in mind. But this walk is different. I feel mixed emotions; more present, but also more conscious of my surroundings. Eager to explore and note the close proximity of class and culture differences present.

People are all around, some walking at a leisurely pace matching mine, others clearly with an end destination in mind. I notice I am one of the only young girls around, which makes me slightly more vigilant than usual. A middle-aged woman in a khaki tracksuit exits Savers on my left, toilet roll in hand. On my right, an elderly couple board the bus, both wearing smart attire. On reflection this is the first contrast which emphasises the sociological focus of my walk. Classes and cultures can be significantly different yet be in such a close proximity to one another. The clothing these individuals chose to wear on Albany Road in some ways provide a visible process of distinction between these classes (Bourdieu, 1984). What might their typical Sunday look like? And would it differ considerably? I find myself wondering. My stomach rumbles, an automatic response to the smell of Indian cuisine emanating from Pooja Sweets & Savouries. The window of the independent store is filled with spring rolls and samosas, bhajis and pastries, offering a cultural alternative to the mass produced but perhaps unimaginative Tesco meal deal that is available only a few metres down the road. I stop to look through the window at the impressive array of treats. Regular consumers perhaps wouldn’t think twice about this mix of cultural options on the street (Macklin, 2007). I pass by a slightly run down looking dry cleaners and dodge the shards of broken glass on the street. Litter and what I assume (and hope) to be a spilt chocolate milkshake surround the overflowing bins, seagulls lurking around hoping for any leftovers. I dodge three drains on the pavement. An Eastern European looking man, whom I presume to be the owner, unlocks the door of Pookie Delicacy. He mutters on the phone in a language I am unfamiliar with. He embodies the ‘assimilationist hero’ (Rhys-Taylor, 2013). I become aware of a chill in the air when a gust of wind emerges, regretting the thin sweater I chose to wear. My attention is drawn to the large, yellow poster presented inside one of the many Iceland chain stores that can be accessed around Cardiff. ‘HUGE HALF PRICE REDUCTIONS!’, it seemingly screamed. The advertising team had earnt their wages; it certainly caught my attention (Lange et al. 2016). I move beyond the first of many charity shops, before dodging a group of male teens all dressed in black, sporting large chains around some of their necks. I cough, trying not to inhale the sickeningly sweet strawberry second hand vape smoke that clouds behind two of them.

I near the halfway point of the first part of my walk down Albany Road, passing the infamous Andrew Buchanan pub. The smell of cigarette smoke immediately transports me back to summer evenings abroad (Verbeek and van Campen, 2013). I am filled with excitement at the thought of my post exam period getaway. This excitement is quickly surpassed by reality as the two elderly males standing outside, clutching half empty pints of Guinness, stare at me walking by. I move on towards the post office, and flinch at the flock of pigeons at my feet. They are always here; I don’t know why I am surprised. The clunk of a bicycle changing gear can be heard over my right shoulder, and the line of cars waiting for that green light surge past. On my left I notice the break in shops, replaced by lines of terraced houses visible far into the horizon. I open the maps app on my phone, and discover that these slightly run down, sandwiched houses lead onto those surrounding Roath Recreational Ground which boast large gardens and grand front porches. One may wonder where the boundary is that signals the difference between residents, and whether this is individually subjective to them (Barth, 1969). Speaking of boundaries, the prominent metal gate to my right creates a distinct physical one. It separates Albany Road Primary School from the potential dangers of a busy road and popular street.

Despite being aware of my dawdling, I remember I am to try and embrace Walter Benjamin’s concept of ‘flâneur’ throughout the duration of my walk (Bates and Rhys-Taylor, 2017), so I continue at a leisurely pace. Walkers are the practitioners of the city, after all (Solnit, 2001). I take a left turning onto Wellfield Road. The time is now 11.46. Loud music erupts from a trailer parked outside a slightly run down but grand old building labelled ‘Rainbow Bargains’. Its advertising boasts an impressive array of different e-cigarette and disposable vape flavours. The combination of catchy tunes and colourful flashing lights glamourising the unhealthy habit. I stroll on, the sound of the music dulling behind me. The area already seems less crowded and quieter. Perhaps because the road is one way, halving the number of cars, I note. A fresh fruit and vegetable stall is closed beside me. It is positioned next to an in-bloom cherry blossom tree which sways lightly in the breeze. I stop and stand for a moment. Behind me is a noisy street, packed with everything a consumer could want. Its occupants ranging in age and culture, most seemingly in a rush. In front of me is much more picturesque. The selection of shops is perhaps more limited, but much less cramped. Couples sit leisurely outside of cafes and coffee shops. The average age is higher, and predominantly white.

“Oooh, they’ve got loads of iced buns”, a man exclaims to his female acquaintance as we cross paths next to Parsons bakery. They are both dressed in athletic wear, like a few others around, takeaway coffees in hand. I presume they have been for a run around the nearby lake, now seeking their reward. Dainty outside tables and chairs are all occupied by laughing customers, clearly comfortable with their surroundings despite being sat next to a road and on a pavement. They have claimed and chosen this area, manifesting their sense of elective belonging (Savage et al. 2005). I can’t help but wonder if a mere half a mile behind them they would feel so at ease. Whereas most of the food outlets on Albany Road were takeaway, Wellfield Road boasts many restaurants with waiters lurking eagerly to serve. Flats above the shops have intricate balconies and I imagine residents relaxing with a drink in the summertime. I continue at my unhurried speed and acknowledge the luxury of wandering I am able to experience (Shortell, 2015). The wind has dropped slightly, and the sun is straining to get through the clouds. I feel at ease. But this ease is quickly replaced with guilt as I pass a homeless man outside of Tesco Express, unable to offer any loose change. Unknowingly, he is an obstacle in a regular shopper’s guilt-free experience (Rhys-Taylor, 2017). This physical juxtaposition of poverty and wealth emphasizes just how flawed society is. A seemingly wealthy and more exclusive area still homes those with nothing.

An independent boutique store, homing exclusive garments that clearly only appeal to both the middle class and middle-aged woman, neighbours another bakery. The church on the other side of the road looks quiet, despite it being a Sunday. Rubbish bags pile up its fence, which also holds a Slimming World banner. The sound of a child’s scooter trails the tarmac. The four-way crossing I need to use is surrounded by road works and barriers. I don’t change my tracks and chance that I can cross the road further down, following the narrow path obstructed by large red boulders. I cannot! Turning back around humbly, I follow a woman who had made the same mistake. She acknowledges a man waiting so she had room to pass by with a genuine thanks. I retrace my steps back to the crossing and wait for the familiar beeping of the green man. I overhear a friendly looking elderly woman with a young child on a bike, tassels swinging from the handlebars, wonder if they too can cross by the roadworks. An elderly gentleman overhears and politely explains that they in fact cannot. A car horn blasts: maybe they too are frustrated with the building works. I cross the road and we all go our separate ways, and I think about how in the space of a minute I had witnessed two exchanges compared to the none on Albany Road. Could it be that these people had subconsciously recognised one another as members of the area’s collective group identity (Cohen, 1985) and consequently been friendly?

I progress off Wellfield Road and approach the vicinity of Roath Recreational Ground. Building works veer me away from my planned route yet again, so I am forced to take the path adjacent to the grass area. The dump trucks and piles of materials are deserted, workers nowhere to be seen. To my left, tall, grand houses occupy the space, front gardens perfectly groomed and full of greenery. They all boast front room views of the park and pleasure gardens. A man sporting a fluorescent yellow quarter zip exits the front gate of one of these houses and proceeds to cross the road and start jogging around the park, presenting a real-life example of how the middle class choose their place of residence in order to fit their habitus (Jackson and Benson, 2014). The building works tapering, I decide to head onto the grass area, embodying both rural and urban identities (Moles, 2008). My feet sink into the wet and muddy forage underfoot, and I quickly hop back to the path. A harsh reminder of the copious amounts of rainfall Cardiff has experienced lately. The blue sky can be deceiving. Clearly, as some people are wearing shorts, others woolly hats and puffer coats. The time is now 12.04 and the sun is out. I hear a dog barking, followed by laughter. An aeroplane echoes faintly overhead. More runners overtake me, both male and female, some in groups trying to chat, others solo and focused. With running being a highly gendered practise in general, I feel a sense of relief that women feel comfortable enough to run in this area (Cook and Larsen, 2022). The end of my route nearing, I wander into Roath Pleasure Gardens. There is no litter to be seen. The river flows unassumingly, it’s many uses often overlooked by the average eye (Bates and Moles, 2023). Wet pawprints dot along the dry path and an elderly couple soak up the sun on one of the benches. An idyllic scene set in front of me, I reflect how in the space of an hour I have experienced vast cultural and class differences provided by the city of Cardiff.

Methodological Note

I used a literary sociology approach to my walk through Cardiff, in order to demonstrate and capture the creative and imaginative spirit of the walk itself (Back, 2007). Small details the regular walker would perhaps miss were of high importance to me in order to sustain the bigger picture and sociological focus of my walk. These small details can be used to both make connections and recognise differences, which is necessary in order for me to explore the class and culture contrasts presented. I recorded my sensory experiences in the form of taking rough notes and pictures of my surroundings, which helped to prompt my memory when it came to writing this essay. I recorded my thoughts and feelings along with the physical sights presented throughout my walk, which emphasised some of the social structures I had predicted. Walking as a method has become hugely popular with researchers as it enables them to personify the transient, embodied and multi sensual aspects of walking (Bates and Rhys-Taylor, 2017). Further, listening walks have become appealing as they can be used to understand peoples in situ experiences of different sound environments (Gallagher and Prior, 2017), which in turn helps to feed the researchers sociological imagination (Mills, 1959).

The aim of my walk was to explore the class and culture differences present in the short distance between Albany Road and Roath Pleasure Gardens. A key piece of literature relating to the focus of this walking essay was Jackson and Benson’s (2014) article based on the middle classes and how they often perceive people as ‘others’, despite inhabiting the same neighbourhood. Separate group identities are formed which thrive off of the recognition of similarities between members and the distinction of differences between others (Cohen, 1895). Using the combination of my senses enabled me to pick up on some of the distinctions invisible to the regular walkers untrained eye, and I found embracing the sensory walk to be an efficient technique. The use of our senses, particularly smell, play a significant role in the transmission of culture through different areas (Seremetakis, 1996). In addition, the art of really listening can unlock hidden and deeper meanings (Back, 2007). The fusion of being familiar with the area and being alone also contributed to the success of my walk and gathering of ideas to compile this essay. Despite my physicality being opposite to that of the traditional ‘flâneur’ occupier, I was able to embody this concept which was a welcome break from the usual pressures of everyday life (Bates and Rhys-Taylor, 2017). The act and freedom of wandering, with no time constraints or particular goal in mind, can therefore be viewed as a privilege when compared to the pressures and stresses of my third-year student reality.

References

Back, L. 2007. The Art of Listening. Oxford: Berg.

Barth, F. 1969. Ethnic groups and boundaries. Boston, MA: Little Brown and Co.

Bates, C. and Rhys-Taylor, A. 2017. Walking through social research. New York; London: Routledge.

Bates, C. and Moles, K. 2023. Living with Water: Everyday Encounters and Liquid Connections. Manchester: Manchester University Press.

Bourdieu, P. 1984. Distinction: a social critique of the judgement of taste. London: Routledge & Kegan Paul.

Cohen, A. 1985. The symbolic construction of community. London: Routledge.

Cook, S. and Larsen, J. 2022. Geographies of running cultures and practices. Geography Compass 16(10).

Gallagher, M. and Prior, J. 2017. Listening Walks: A Method of Multiplicity. In: Bates, C. and Rhys-Taylor, A. eds. Walking through social research. New York: Routledge, pp. 163-177.

Jackson, E. and Benson, M. 2014. Neither ‘Deepest, Darkest Peckham’ nor ‘Run-of-the-Mill’ East Dulwich: The Middle Classes and their ‘Others’ in an Inner-London Neighbourhood. International Journal of Urban and Regional Research38(4), p. 1195-1210.

Lange, F., Rosengren, S. and Blom, A. 2016. Store-window creativity’s impact on shopper behaviour. Journal of Business Research 69(3), pp. 1014-1021.

Macklin, G. 2007. Very Deeply Dyed in Black: Sir Oswald Mosley and the Postwar Reconstruction of British Fascism. London; New York: I. B. Tauris.

Mills, C. 1959. The sociological imagination. New York: Oxford University Press.

Moles, K. 2008. ‘A Walk in Thirdspace: Place, Methods and Walking’. Sociological Research Online 13(4), pp. 31-39.

Rhys-Taylor, A. 2013. The essences of multiculture: a sensory exploration of an inner-city street market. Identities 20(4), pp. 393-406.

Rhys-Taylor, A. 2017. Westfield Stratford City: A walk through millennial urbanism. In: Bates, C. and Rhys-Taylor, A. eds. Walking through social research. New York: Routledge, pp. 105-128

Savage, M., Bagnall, G. and Longhurst, B. 2005. Globalisation and belonging. London: SAGE.

Seremetakis, C.N. 1996. The senses still. Chicago: University of Chicago Press

Shortell, T. 2015. Walking in Cities: Quotidian Mobility as Urban Theory, Method, and Practice. Philadelphia: Temple University Press

Solnit, R. 2001. Wanderlust: a history of walking. London: Verso

Verbeek, C. and van Campen, C. 2013. Inhaling Memories: Smell and Taste Memories in Art, Science, and Practice. The Senses and Society 8(2), pp. 133-148.

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