#Edward speaking german

[riddle-me-fear]

Soooo Riddler, you speak multiple languages?

Also solltes du das ja verstehen. Falls ja dann sag mir doch auf Deutsch was du an Jonathan so schön und toll findest.

[translation at bottom]

Edward Nygma | The Riddler

Ahaha-hmm, natürlich verstehe ich dich. Glücklicherweise kann mein lieber Jonathan uns nicht verstehen, also kann ich deine Frage beantworten. Was ich an ihm so schön und toll finde, hmm...

Er kann wunderbar kochen; ich finde seine Speisen stets höchst deliziös, auch wenn es mir ein Rätsel ist, wie er richtig würzen kann ohne zu kosten, da ihm der Nikotin ja regelrecht den Geschmackssinn ruiniert hat. Auch wenn er manchmal richtig dumm sein kann, ist er doch sehr intelligent, und ich genieße unsere Diskussionen sehr. Ich finde es unglaublich herzig, wenn er sich aufregt, ahahaha!

Körperlich, ich meine, was gibt es nicht zu mögen? Ich fühle mich, wenn es um Männer geht, eher der älteren, erfahrenen Generation hingezogen. Und ja, trotz dass ich ihn oft unsanft ermahne, dass er mehr essen soll, finde ich seinen Körperbau doch sehr attraktiv.

Was er selbst nicht vor anderen zugeben möchte, ist dass er doch sehr sanft sein kann, wenn er will. Er wird zwar nicht zu einer komplett anderen Person wenn wir alleine sind, aber ist mir gegenüber, mittlerweile, um einiges authentischer geworden, und umgekehrt genauso.

Ach ja, ich denke unsere Aktivitäten im Schlafzimmer muss ich wohl kaum ansprechen. Ich möchte nur dazu sagen, dass er der Beste ist, den ich jemals hatte.

Ich denke aber das, was ich am meisten an ihm schätze, ist sein Verständnis. Er toleriert und akzeptiert... nun ja, alles an mir, auch wenn es nicht den Anschein hat. Er hilft mir meine Ängste zu bezwingen, was - ahahah! - doch regelrecht peinlich wäre, wenn jemand der sich so intensiv mit Angst beschäftigt, das nicht hinbekommen würde. Er würde es sich nie anmerken lassen, doch er ist ein sehr einfühlsamer Mensch... Er... Ich weiß nicht... Er macht mich einfach... glücklich.

Ed gazes lovingly at his partner next to him, getting lost in his eyes for a moment. Jon, on the other hand gives him a mildly annoyed look, as usual.

Jonathan Crane | The Scarecrow

Lemme guess. Ye'r naht gonna translate tha question, or ANYTHIN' ya just said.

Ed returns to his sassy attitude with a grin.

Edward Nygma | The Riddler

Nnnope!

Jonathan Crane | The Scarecrow

I fuckin' hate'chu so much.

Edward Nygma | The Riddler

Love you too, pumpkin. 💚

----

Translation:

Question: So Riddler, you speak multiple languages? Then you should be able to understand this. If yes, tell me in German what you think is so nice and great about Jonathan.

Edward's answer:

[I took the liberty to change the wording of a couple things to basically mean the same thing even if it's not the exact translation. As with most languages, how you say things in German isn't how you'd say it in English. Especially not how Edward would word things, anyway.]

Ahaha-hmm, of course I understand you. Fortunately, my dear Jonathan can't understand us, thus, I can answer your question. What I think is so nice and great about him, hmm...

He's a wonderful cook; I find that his meals are always highly delicious, even if it leaves me puzzled, how he's able to apply correct seasoning without tasting for himself, since the nicotine downright ruined his sense of taste. Even if he can sometimes be quite dumb, he is still very intelligent, and I very much enjoy our discussions. I find that it's incredibly adorable when he gets upset, ahahaha!

Physically, I mean, what's not to like? When it comes to men, I feel rather attracted to the older, more experienced generation. And yes, despite me often harshly admonishing him that he should eat more, I still find his body build quite attractive.

What he'd never admit himself in front of others, is that he certainly can be quite gentle, when he wants to. Now, he doesn't turn into a completely different person when we are alone, but he's since become much more authentic towards me, and vice versa.

Oh, and I think I'll hardly have to mention our activities in the bedroom. To that, I'd just like to add that he's the best I've ever had.

But I think that which I appreciate most about him is his understanding. He tolerates and accepts... well, everything about me, even if it doesn't seem apparent. He helps me with conquering my fears, which - ahahaha! - would be downright embarrassing if someone, who studies fear so intensively, wouldn't be able to manage that. He'd never let it show, but he's a very empathetic person. He... I don't know... He simply makes me... happy.

[prokopetz]

I'm spinning this off of the main thread about tracing the origin of the term "d66" because it's not strictly germane to the topic – none of these examples actually use the term "d66" to describe their dice-rolling methods – but I'm going to post it anyway as a matter of general interest: following a conversation with Tumblr user @notclevr, it appears that before tabletop wargames (and, nearly concurrently, tabletop RPGs) got their hands on the mechanic, the principal (though by no means exclusive) users of the old "roll a six-sided die twice, reading one die as the 'tens' place and the other die as the 'ones' place" trick may have been tabletop American baseball simulators.

The most notable example of the type – and the only well-known example still in publication today – is J Richard Seitz' APBA Baseball, first published in either 1950 or 1951 (accounts vary). In this game, a d66 roll is cross-referenced with a card representing the active player and a "board" representing the current situation on the field:

For example, with Carlton Fisk at bat, a d66 roll of 31 would yield a result of "8". Assuming for the sake of argument that the situation on the field is a runner on first and a grade C pitcher, consulting the "Runner on First Base" board, this corresponds to an outcome of "SINGLE—line drive to left; runner to third".

(This example is, strictly speaking, incorrect, as Carlton Fisk didn't have his major league debut until 1969 and I'm using the wrong lookup tables for any year in which he played, but you get the idea!)

Interestingly, APBA Baseball is not the first game to use this setup. It's heavily derived from Clifford Van Beek's National Pastime, a game whose patent was registered in 1925, though it wasn't actually published until 1930. Even at a glance, the similarities are substantial:

Indeed, though National Pastime's lookup tables are much simpler than APBA Baseball's, where they overlap they're often word for word identical. It's generally accepted that Seitz plagiarised National Pastime without credit when creating APBA Baseball (ironically, given his own famously combative stance toward alleged imitators!), though he was within his rights to do so, as National Pastime had fallen into the public domain by the time APBA Baseball was published.

We can go back even further, though. As far as I've been able to determine, the earliest known tabletop baseball simulator to use d66 lookup tables for resolving plays is Edward K McGill's Our National Ball Game, first published in 1886:

A copy of the game's 1887 US patent application can be downloaded here. This one uses an unusual 21-entry variant of the standard d66 lookup table in which the order of the rolled digits is insignificant, with doubles being half as likely as non-doubles rolls; it's unclear whether McGill was aware of this when he laid out the table. Unlike later incarnations of the genre, there are no individual player statistics, with all at-bats being resolved via the same table.

[twofaceforever]

GUYS GUYS I NEED EVERYONE TO SEE THIS

>be me

>be edward hyde

>check if the mf i just killed is still alive

>flash a random crowd

>steal balloons

>run away

Another proof the J&H Vienna production is the best one (even if i don’t speak a word of german)

[loudest-subtext-in-tv]

The Blind Banker and Iain M. Banks's Transition

Years ago I ordered the edition of the London A-Z I thought was most likely used in The Blind Banker just to see if the graffiti cypher actually matched. Well, it didn't. Not especially surprising, I suppose.

But two things nagged at me for a decade now:

One of the numbers in the cypher is "221." You know, like 221b. Did they only throw that in there for fun?

One of the books the murder victims had in common was Iain M. Banks's Transition, which made it a candidate for the cypher. When Sherlock pulls the book out of the box, he turns it to page 15, and the first word is "cigarette."

Out of all the other candidate books, that word has the most relevance to the show and Sherlock himself. But every time I got the urge to buy the first edition of Transition I would remind myself I wasted money on the London A-Z, and I'd manage to get on with life.

Well, the last time I rewatched The Blind Banker, I finally snapped. Sherlock said that stupid word and it lingered on the stupid screen, and I took a strong, stupid stand: I would not get on with life. I paid $36 to have a first edition shipped from the U.K... to my old address, where the London A-Z had been sent the last time. Stupid. I watched the tracking like an idiot, and on the delivery day, I put a letter on the door of my old address explaining my stupidity. The new tenant called me to let me know my stupidity was not terminal. I picked it up, safe and sound, and hoped it would be worth the trouble.

Baby, was it EVER!

Warning: This book, on a page referenced, has explicit sex. Like, fanfic-level explicit sex.

I turned to page 15, and the first word was indeed "cigarette." Correct edition, then, and they really did bother to use an accurate page and word for The Blind Banker:

I should explain the premise of this book. It doesn't matter a ton, but you're naturally going to wonder why these pages are so unusual.

It's science fiction, and agents called "Transitionaries" can move between infinite parallel realities to embody pre-existing people in order to change events. So when they land in a body they have that person's same neuroses, sexual preferences, etc.

Here's a few shots of the cypher for reference:

The first thing you're wondering is if the cypher spells out anything using Transition. The answer is no, not anything coherent. It says, "Edward like killed here speaking been sit of [BLANK]."

What's insane is the things on the referenced pages -- and especially what's on page 127, the one that's paired with the number 221.

This is what the script for The Blind Banker said about the book comparison scene:

So they wanted to throw in something saucy. Well, things are about to get saucy for those of us who are obsessive enough.

Let's start in on the cypher.

Page 112 is about a stock trader named Edward, talking about how some things are insanely overvalued. Oh, what a coincidence: The Blind Banker revolves around a stock trader named Edward (van Coon) stealing a jade hairpin worth £9 million.

Page 103 is next, but doesn't strike me as anything special so I'm only putting it here for posterity.

Bear in mind they had to create enough words for the Tong's instructions; they're obviously not going to find a book with nine different pages of coincidental overlaps with The Blind Banker and Sherlock as a show, especially not when they only had one series of material at the time to correlate to anything. The ones that match up are worth the wait, so bear with me.

Page 36 is also not super relevant, although The Blind Banker does feature kidnapping, attempted murder, etc. Let's keep going, because the next page is a doozy.

Page 70 is our first jackpot: The narrator lands in the body of a gay man in London, with dark curly hair and pale hands who speaks multiple languages -- including German, which Sherlock speaks in The Blind Banker.

🔥 Oh, and a handsome male assistant is attracted to him. 🔥

And that's all the warning we get to prepare us for page 127, the one that's linked with the number 221:

🔥 A couple going over the evidence to untangle some mystery, one of them fingering the other while they get a handjob. If you only read page 127 it comes across like anal fingering, so I'm including page 126 first which... well, it still makes explicit mention of her anus, what can you do. 🔥

Here's the preamble page, page 126:

And here's page 127 itself, just after:

This has, uh... incredible Sherlock energy to say the least. Particularly the one getting fingered.

Let's keep this rolling.

Page 19 is about someone who was into drugs using their knowledge of the criminal class and their facility with observation and manipulation to trade secrets and turn their life around:

The next page in the cypher is page 15, which is same page referenced in the death threats, i.e. the first page I covered.

Then we've got page 7, which is about how eclipses are insane coincidences where two things line up exactly. The Blind Banker is about matching pairs.

Finally, page 178 is simply a blank page between chapters.

And there you have it. Thank God I can quit wondering about this book every time I watch TBB.

[hero-israel]

This is a powerful essay written by Rabbi Meir Soloveichik in 2003. I think it... meets the moment. It's 13 pages and I hope you will read the whole thing, but some key excerpts below (and at the very bottom, some responses from other Jewish scholars who - of course! - gave different opinions).

In his classic Holocaust text, The Sunflower, Simon Wiesenthal recounts the following experience. As a concentration camp prisoner, the monotony of his work detail is suddenly broken when he is brought to the bedside of a dying Nazi. The German delineates the gruesome details of his career, describing how he participated in the murder and torture of hundreds of Jews. Exhibiting, or perhaps feigning, regret and remorse, he explains that he sought a Jew—any Jew—to whom to confess, and from whom to beseech forgiveness. Wiesenthal silently contemplates the wretched creature lying before him, and then, unable to comply but unable to condemn, walks out of the room. Tortured by his experience, wondering whether he did the right thing, Wiesenthal submitted this story as the subject of a symposium, including respondents of every religious stripe. An examination of the respective replies of Christians and Jews reveals a remarkable contrast. “When the first edition of The Sunflower was published,” writes Dennis Prager, “I was intrigued by the fact that all the Jewish respondents thought Simon Wiesenthal was right in not forgiving the repentant Nazi mass murderer, and that the Christians thought he was wrong.” Indeed, the Christian symposiasts did sound a more sympathetic note. “I can well understand Simon’s refusal [to forgive],” reflects Father Edward Flannery, “but I find it impossible to defend it.”......

....Among Orthodox Jews, there is an oft–used Hebrew phrase whose equivalent I have not found among Christians. The phrase is yemach shemo, which means, may his name be erased. It is used whenever a great enemy of the Jewish nation, of the past or present, is mentioned. For instance, one might very well say casually, in the course of conversation, “Thank God, my grandparents left Germany before Hitler, yemach shemo, came to power.” Or: “My parents were murdered by the Nazis, yemach shemam.” Can one imagine a Christian version of such a statement? Would anyone speak of the massacres wrought by “Pol Pot, may his name be erased”? Do any Christians speak in such a way? Has any seminary student ever attached a Latin equivalent of yemach shemo to the names “Pontius Pilate” or “Judas”? Surely not. Christians, I sense, would find the very notion repugnant, just as many Jews would gag upon reading the Catholic rosary: “O my Jesus . . . lead all souls to heaven, especially those most in need of thy mercy.”

.....There is a wonderful bit of Jewish lore concerning the giving of God’s Torah, in which God is depicted as a merchant, proffering His Law to every nation on the planet. Each one considers God’s wares, and each then finds a flaw. One refuses to refrain from theft; another, from murder. Finally, God chances upon the Jewish people, who gravely agree to shoulder the responsibility of a moral life. The message of this��midrash is that God’s covenant is one that anyone can join; God leaves it up to us.

Consider for a moment the extraordinary contrast. For Christians, God acted on humanity’s behalf, without its knowledge and without its consent. The crucifixion is a story of a loving God seeking humanity’s salvation, though it never requested it, though it scarcely deserved it. Jews, on the other hand, believe that God’s covenant was formed by the free consent of His people. The giving of the Torah is a story of God seeking to provide humanity with the opportunity to make moral decisions. To my knowledge, not a single Jewish source asserts that God deeply desires to save all humanity, nor that He loves every member of the human race. Rather, many a Jewish source maintains that God affords every human being the opportunity to choose his or her moral fate, and will then judge him or her, and choose whether to love him or her, on the basis of that decision. Christianity’s focus is on love and salvation; Judaism’s on decision and action.

The difference runs deeper. Both the Talmud and the New Testament have a great deal to say about the afterlife. Both ardently assert that it exists, and both assure the righteous that they will receive eternal reward and warn the wicked of the reality of damnation. Yet one striking distinction exists between these two affirmations of eternal life: only the Christian Testament deliberately and constantly links the promise of heaven with ethical exhortation, appealing to the hope of eternity as the incentive for righteous action. For Christians, every believer’s ultimate desire and goal must be to experience eternal salvation. Leading a righteous earthly existence is understood as a means towards attaining this goal. Jews, on the other hand, insist that performing sacred acts while alive on earth is our ultimate objective; heaven is merely where we receive our reward after our goal has been attained. The Talmud, in this regard, makes a statement that any Christian would find mind–boggling: “One hour obeying God’s commandments in this world is more glorious than an eternity in the World to Come.”

The contrast extends to differing ways of celebrating holidays. In speaking to Fr. Jim about our respective faiths, I told him about the phenomenon of “Yom Kippur Jews.” Many of my nonobservant coreligionists, I said, show up in synagogue only on the Day of Atonement and so experience a Judaism that focuses only on judgment and repentance. They never experience Judaism at its most joyous moments: Passover, Hanukkah, Purim. “I have the opposite problem,” said Jim. “Some people show up in church for Easter only—Christianity at its most joyous. And so they never think about judgment and repentance.”

Both rabbis and priests would appreciate regularly packed houses of worship; but the contrast between the central days of the Jewish and Christian calendars is instructive. Christians celebrate a day when, they believe, Jesus was given his place in heaven and so, at least potentially, was every member of humanity. Yom Kippur, in contrast, is not a day for celebration but for solemnity, a day for focusing not on salvation but on action. Jews recite, again and again, a long litany of sins that they might have committed; they pray for forgiveness, and conclude, time and again, with the sentence: “May it be Thy will, Lord our God, that I not sin again.” While the entire day is devoted to prayer, and to evaluation of past deeds, the concept of reward and punishment in the afterlife is not mentioned once. The only question of concern is whether, at the end of the day, God will consider us sufficiently repentant. Yom Kippur’s climax comes at sunset, during the neilah, or “closing” prayer. After begging once again for forgiveness, Jews the world over end the day with the recitation of “Our Father, Our King,” named thusly because of the first phrase in every sentence:

Our Father, our King, we have sinned before You. Our Father, our King, we have no king but You. Our Father, our King, return us in wholehearted repentance before You.

We ask God for mercy and for forgiveness, attributes of God that Judaism holds dear. But then our thoughts turn to the utterly evil and unrepentant. Towards the end of this prayer, one anguished, pain–filled sentence stands out: “Our Father, our King, avenge, before our eyes, the spilled blood of your servants.” After a day devoted to prayer, synagogues everywhere are filled with the cry of fasting, weary, exhausted Jews. They have spent the past twenty–five hours meditating upon their sins and asking for forgiveness. Now, they suddenly turn their attention to those who gave no thought to forgiveness, no thought to God, no thought to the dignity of the Jewish people. After focusing on their own actions, Jews turn to those of others, and their parched throats mouth this message: “Father, do not forgive them, for they know well what they do.”

Some responses: https://hakirah.org/ShurinArchive/DOC0188.PDF

[artthatgivesmefeelings]

Jaroslav Cermak (Czech, 1831-1878) Montenegrin Women in a Harem, 1877 National Gallery Prague Slavery gave rise to the figure of the Odalisque, that is the beautiful, white slave girl, a figure of quintessential beauty. In the late 18th century Johann Friedrich Blumenbach, the father of physical anthropology, the father of scientific anthropology, an 18th century German scholar, assigned the name Caucasian to the people living in western Europe, to the River Ob in Russia to northern Africa, and to India. He called the people in Europe, over to India, well into Russia and North Africa, Caucasians because they were the most beautiful in the world. Blumenbach enjoyed a scholarly reputation that gave his designation enormous heft and it got picked up very quickly. Immanuel Kant stated that the Caucasians, the Georgians, the Circassians, sell their children, particularly their girls to the Turks, the Arabs, and the Persians, for reasons of eugenics, that is, to beautify the race. Before the Atlantic slave trade to the western hemisphere shaped our ideas about what slave trades are all about, there was slave trade from this part of the world, that goes back to before the reaches of time. Herodotus writing in the fifth century BC, writing about the enumeration of taxes and tributes paid to the Persian kingdom, collected from the lands it had controlled and the lands even far away in the distance. He said that the voluntary contribution was taken from the Colchians, that is the Georgians, and the neighboring tribes between them and the Caucasus, and it consisted of and still consists of (that is in the 5th century BC) every fourth year 100 boys and 100 girls. This was before Herodotus could even see the beginnings of it. Herodotus also mentioned the tribute from the southern most part of the edges of the Persian world and that was for the people called Ethiopians, what they owed was gold and ivory, people were not mentioned. So, the Black Sea Slave trade was the slave trade in the western world until the 15th century when the Ottomans captured Constantinople and cut the Black Sea off from western Europe. At that point, 15th century, the Atlantic slave trade becomes the western slave trade. Daniel Edward Clarke, our Cambridge don, also located Circassian beauty, in the enslaved. “The Cicassians frequently sell their children to strangers, particularly to Persians and Turkish Seraglios.” He speaks of one particular Circassian female who was 14, who was conscious of her great beauty, who feared her parents would sell her according to the custom of the country. The beautiful young slave girl became a figure, and she had a name; Odalisque. She combines the powerful notions of beauty, sex, and slavery. Ingres, Jerome, Powers and Matisse specialized in Odalisque paintings. The figure of the Odalisque faded from memory as the Black Sea slave trade ended in the late 19th century, and the Atlantic slave trade overshadowed that from the Black Sea. Today, the word slavery invariably leads to people of African descent. Americans seldom associate the word Odalisque with with slavery in the Americas. Today many American painters use Odalisque figures, Michalene Thomas for instance who has done a series of what she calls American Odalisque. But the phrase and the figure of the Odalisque has lost its association with slavery. And now in American art history and in contemporary American art, Odalisque simply refers to a beautiful woman, usually unclothed. If you want to learn more, listen to professor Nell Painter of Princeton University in the YT lecture “Why White People are Called Caucasian.”

[whencyclopedia]

Fall of the Western Roman Empire

To many historians, the fall of the Western Roman Empire in the 5th century CE has always been viewed as the end of the ancient world and the onset of the Middle Ages, often improperly called the Dark Ages, despite Petrarch's assertion. Since much of the west had already fallen by the middle of the 5th century CE, when a writer speaks of the fall of the empire, he or she generally refers to the fall of the city of Rome. Although historians generally agree on the year of the fall, 476 CE, and its consequences for western civilization, they often disagree on its causes. English historian Edward Gibbon, who wrote in the late 18th century CE, points to the rise of Christianity and its effect on the Roman psyche while others believe the decline and fall were due, in part, to the influx of 'barbarians' from the north and west.

Whatever the cause, whether it was religion, external attack, or the internal decay of the city itself, the debate continues to the present day; however, one significant point must be established before a discussion of the roots of the fall can continue: the decline and fall were only in the west. The eastern half - that which would eventually be called the Byzantine Empire - would continue for several centuries, and, in many ways, it retained a unique Roman identity.

External Causes

One of the most widely accepted causes - the influx of a barbarian tribes - is discounted by some who feel that mighty Rome, the eternal city, could not have so easily fallen victim to a culture that possessed little or nothing in the way of a political, social or economic foundation. They believe the fall of Rome simply came because the barbarians took advantage of difficulties already existing in Rome - problems that included a decaying city (both physically and morally), little to no tax revenue, overpopulation, poor leadership, and, most importantly, inadequate defense. To some the fall was inevitable.

Unlike the fall of earlier empires such as the Assyrian and Persian, Rome did not succumb to either war or revolution. On the last day of the empire, a barbarian member of the Germanic tribe Siri and former commander in the Roman army entered the city unopposed. The one-time military and financial power of the Mediterranean was unable to resist. Odovacar easily dethroned the sixteen-year-old emperor Romulus Augustalus, a person he viewed as posing no threat. Romulus had recently been named emperor by his father, the Roman commander Orestes, who had overthrown the western emperor Julius Nepos. With his entrance into the city, Odovacar became the head of the only part that remained of the once great west: the peninsula of Italy. By the time he entered the city, the Roman control of Britain, Spain, Gaul, and North Africa had already been lost, in the latter three cases to the Goths and Vandals. Odovacar immediately contacted the eastern emperor Zeno and informed him that he would not accept that title of emperor. Zeno could do little but accept this decision. In fact, to ensure there would be no confusion, Odovacar returned to Constantinople the imperial vestments, diadem, and purple cloak of the emperor.

Continue reading...

[celluloidsecrets]

Meeting the cast of THE RINGS OF POWER 🧝🏻‍♀️ Part 2

Part 1

The next day I went to the hotel where the interviews took place. One of the cool things about those press junkets is that you walk into hotels you normally wouldn't set foot in because one night costs 400€ lol.

I had struggle with my laptop, which gave me anxiety, I couldn't connect to wifi so there was no way to get the questions for the interviews out, and in the end, I had to take photos of them and read them from my phone. This made me nervous and stressed, but anyway.

I had 1:1 interviews, so just me and the talents, which I don't take for granted. And my first interview slot was with the Lord of the Rings themselves, Charlie Vickers and Charles Edwards. 🩷

I was in the room first, TRoP posters and two empty chairs in front of me, and ngl, I was sooooo nervous! Then they came in, we shook hands, they were very polite and when we sat down and the cameraman was still fumbling with the mic, Charles took a sip of his coffee and complained about it XD „Oh god, so milky again“. It was very British 😂 Charlie was giggling. I loved them from the spot.

(A girl from the PR said to me "Charles looks like a real Elf, doesn't he?" and yes, he absolutely does!)

You know, the interviews with both of them got very famous during the whole press tour, but this was the beginning of the tour, soooo I didn't know exactly what to expect :D

The interview went well, they were super nice and funny and I was so happy afterwards. I'm extremely self-critical and sometimes when I'm nervous and have to do interviews in English I flounder or stutter, but nothing of that happened. Because both Charlies made me feel very secure, if that makes any sense.

The next interview was with Ben Walker and Trystan Gravelle.

Real talk: I had a huge crush on Ben Walker years ago since I had seen him in In the Heart of the Sea. 🙈 I even wanted to watch his Broadway show, but it was canceled before I got to NY XD

I love his portrayal of Gil Galad, I'm a sucker for Elves in general, so yeah, I was very nervous, too.

This time I was the one coming into the room, while they were already there. Ben just poured himself some water and greeted me in German. Btw he drops German words sometimes in various interviews, which is very funny.

I had 15 minutes with them (5 more than with the two Charlies) and the atmosphere was very relaxed. Trystan Gravelle is completely different from his role. He is funny and dorky and speaks very fast with his Welsh accent. Ben takes his role very seriously, he talks full of respect about the work on this show.

I asked them what they think of all the hate season 1 got. And Ben said that he loves it, because „indifference is the worst“. They also understood that people are critical when they love something so much like LotR.

The last interview was with JD Payne and Charlotte Brandström. Sophia and Orwein were there, too, but the interview was very late and I couldn't attend it. But I saw Sophia sitting on a couch in the hotel lobby where she got her makeup refreshed and I smiled at her and this was my moment with Disa XD

I was like high from this experience weeks afterwards. I'm still filled with a warm feeling when I think about it. And I hope that the cast is coming to Germany again for season 3 and that I will be able to talk to them again. I'd love to meet Morfydd!

[sams-butt-dem0n]

The Booth

A/N: From a request I received about a week ago. The song I used is "Glue Song" by Beabadoobee.

--

• You had been at the recording studio all day, working on something Edward had drafted for you and wanted you to work on it for him. • As you jotted down the lyrics flooding your mind, you couldn't help but think about your beloved husband, Carlisle Cullen. • The two of you had met in 1917, you were a nurse at the hospital for American soldiers during the First World War and he was a surgeon. Unfortunately, during one of the mobile treatments you were doing, the Germans attacked the temporary hospital and it left you near death on the side of the road, surrounded by ash and rubble. • Carlisle found you within an hour, barely hanging on to life, and he didn't think twice about turning you due to the unmatchable amount of love he felt for you. • Since then, you have been attached by the hip, inseparable.

• After a few scratches and scribbles, you were pleased with the song you had so far. You decided you were going to play it through and make the necessary changes if there were any. • "I've never known someone like you," you sing. "Tangled and lovestruck by you, from the glue." • Carlisle decided he was going to pay you a surprise visit and give you the attention you had been so deprived of lately. He entered the building, the receptionist giving him the usual friendly nod and pointing him in the direction of the booth you were in today. • He could hear your voice echoing through his ears as he approached the door. Thinking it would be rude to interrupt, he stayed and listened for a while. • "I'm not lying when I say I've been stuck by the glue onto you," you continue, a smile spreading across Carlisle's face as he silently slips through the door without you noticing. "I've been stuck by glue. Right onto you. I've been stuck by glue." • He waits for you to strum out the last few chords before he speaks. "That was beautiful, my love" • You jump a little, causing him to chuckle. "Jesus, Carlisle. How you sneak around like that I have no idea." You stand up and wrap your arms around his neck, staring into his eyes lovingly. • "I can promise you that sneaking around is the last thing I would do," he grins, placing a soft kiss on your lips.

[dearstvckyx]

𝐜𝐨𝐧𝐜𝐞𝐫𝐭

𝐬𝐢𝐧𝐠𝐞𝐫 𝐡𝐮𝐠𝐡𝐞𝐬

𝐥𝐮𝐧𝐚 𝐡𝐮𝐠𝐡𝐞𝐬 𝐱 𝐧𝐢𝐜𝐨 𝐡𝐬𝐢𝐜𝐡𝐢𝐞𝐫

𝐬𝐢𝐧𝐠𝐞𝐫 𝐡𝐮𝐠𝐡𝐞𝐬 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭 ➜ 𝐡𝐞𝐫𝐞

Location: Michigan

Liked by nicohischier and 20,648,429 others

thelunahughes michigan i fucking love you so much 🥹🩷

tagged theweeknd 5sos lukehemmings ashtonirwin calumhood michaelclifford thevamps bradleywillsimpson connorball jamesmcvey tristanevans dixiedamelio

view all 10,583,294 comments

_connorbedard: talented af

⟶ thelunahughes: thank you connor 💖

luca.fantilli: BABY LUNA

⟶ thelunahughes: the cutest ���

bradleywillsimpson: you were great!!

⟶ thelunahughes: thank youu 🥰

ashtonirwin: AMAZING

⟶ thelunahughes: told you boys they were gonna be loud!!

edwards.73: sent your brothers so many vids and pics im 99.9% sure im blocked

⟶ thelunahughes: still can’t believe you boys came to EVERY show 🥰😭

⟶ dylanduke25: well your brothers couldn’t make it so we stepped up

⟶ thelunahughes: appreciate it dyl 🩷

nicohischier: mein hübsches Mädchen ❤️

⟶ thelunahughes: mein hübscher Kerl 💗

_quinnhughes: you’re welcome btw for the baby photo 😒

⟶ thelunahughes: thank you quinny love youuu 💘

⟶ _quinnhughes: yeah yeah i love you to

Translation (i don’t speak german so these are translated from different websites):

mein hübsches Mädchen - my pretty girl

mein hübscher Kerl - my handsome guy

[bookshelfdreams]

Hey I like a lot of the takes you have regarding the pirate show so I wanted to ask for your opinion on smth that's been bothering me for a while:

I have a deep seated dislike for Hamilton. Twinkifying the fucking founding fathers, romanticizing slave abusers and overall villainizing the wrong people while others (Hamilton at the front naturally) gets sung at. Speaking of singing - I really hate it. Shipping (i want to repeat) the founding fathers, the blatant white washing bla bla bla. Anyway those are all known problems and better people have said it smarter before and that isn't really my point

It's the fact that a friend of mine recently brought up that Ofmd pretty much is the same and I shouldn't scream so loud in my glass house. Inaccurate historically speaking, the blatant ignoring of the slave owning that the real Stede and Edward did and so on and so forth. Minus the singing perhaps if we ignore Frenchies and Izzys

So. Does it make me a hypocrite to like ofmd so much but despise the mere mention of Hamilton? It's a thing I'm really stressed about lately and that kind of ruined my joy about finally getting season 2. I would love to hear your opinion. or that of your followers for that matter.

Thank you 😊

oh thank YOU because I do feel that this is an interesting thing to examine and we do not talk about it enough.

I have never seen Hamilton, or listened to the songs (except some snippets). I have never been involved in the fandom. I really, really can't speak to what the musical itself did wrong and right. But I will say this: There was a reason it got as popular and received the critical acclaim that it did. I can't speak to how it addresses the systemic injustice baked into the USA from the very beginning, and I do have a suspicion that it glosses over a lot of uncomfortable truths. But I also feel it is important that we divorce the source material from the fandom it spawns because ultimately, Miranda isn't responsible for Hatsune Miku Binder Jefferson, or the whole hivliving debacle.

Just as David Jenkins isn't responsible for the handwaving of slavery in fanworks, or the great Izzy Hands Debate, or whitewashing in fanart, or shitty, racist headcanons of the characters of colour, or whatever deranged scandal is yet to come to light. This is true for all fandoms; criticizing fandom dynamics is a very different conversation from criticizing the canon.

Let's focus on the canon here, though, because defending the fandom is pointless, and not something I want to do. Curate your experience.

The first thing to say is: If you like ofmd but don't like Hamilton, that's not hypocritical at all, that's first and foremost a matter of taste. Things are good when we like them and bad when we don't. We don't have to find objective reasons for it.

If the fact that the historical Stede Bonnet was a slaveowner, and the historical Blackbeard also participated in the slave trade, are dealbreakers for someone, that's valid. People have every right to be uncomfortable with that. The conversation could end at this point, if we want it to (I don't because I love to hear myself talk).

If we look at the historical figures a little closer the first stark difference is the cultural context in which they exist. The founding fathers seem to be extremely mythologized in the american consciousness but also, are understood to be real historical people. The founding myth is fundamental to the way in which the USA perceives itself (that is, as a beacon of freedom and democracy), and it's pretty hard to reconcile that with the bloodshed and human misery it was founded on. It's uncomfortable; and it's not just an American problem. Every western nation/former colonial power has quite literal corpses in their closets they'd rather not talk about (just so you don't think I'm getting on a high horse about the famed Erinnerungskultur here; go ask a german person about Lothar von Trotha and what he did to the Nama and Herero to receive a blank stare). The difference is, that the founding fathers are too prominent and too important to just not talk about, so instead, they are sanitized to a degree that can be straight up historical revisionism.

That's not Miranda's fault. Nor is it the fault of any one particular piece of historical fiction, biography, documentary, or what have you. But it is the context in which Hamilton exists and, from what I understand, a culture to which it contributes. Especially since it's based on a biography of the real Alexander Hamilton, and (again, to my understanding) claims to tell a more or less accurate story.

Pirates, on the other hand, are perceived completely differently. They are mythologized, but not for ideological reasons, not as state-building propaganda. Pirates are more like folk heroes; cultural icons (near) completely divorced from whatever historical figure once lived. They are "real" in the sense that they are based on real people, but engaging with them, from the start, has a layer of removal from reality that engaging with figures like the founding fathers hasn't. Blackbeard is from a saga. George Washington is from history.

ofmd, specifically, makes clear at every turn that what we are told is a fictional story that has very little to do with any real events. It's openly anachronistic, it has absurd internal logic. Life-threatening injuries are walked off. There's actual magic. Dinghies are treated like spawn points in a video game. Everything, from the costumes to the vernacular to the story beats, tells the audience that none of this is real.

You wouldn't accuse, idk, A Knight's Tale, or Mel Brooks's Men In Tights of whitewashing history. I feel like ofmd plays in a similar league; it's a comedy very vaguely based on history, and it makes sure the audience knows we are not about to be told anything true. If you watch ofmd, you know this isn't about the real, historical Stede Bonnet or Edward Teach.

So. Let's examine the actual story, yes? The story that is told here is anticolonialist, antiracist, and challenges oppressive power structures as much as is possible for a production like this. It addresses these things and condemns them, both explicitly and in its underlying message. (I'm not gonna explain all of this, enough ink has been spilled about it by people smarter than me)

I do not know what Hamilton is about at its core. I know Our Flag Means Death is about authenticity in the face of the whole world telling you there's something wrong with you. It's about resisting dehumanization and reclaiming your personhood. It's about love, in a radical, system-destroying way, about breaking the cycle of abuse, about healing, and finding joy.

Yes, the real historical figures it's based on were all horrible people. Again, if that's a dealbreaker, that's fine. I'm not trying to convince anyone who is deeply uncomfortable with that fact; it's perfectly understandable.

However, for me, personally, the story as a whole is so far removed from reality, and so firm in its message, that I feel this is forgivable.

(Oh, and a lat aside, I also feel like likening ofmd to Hamilton seldom seems to come from a place of genuine criticism. Often it seems to be more along the lines of "Hamilton is cringe, and if I say ofmd=Hamilton ppl will be too embarrassed to defend it" which yk. feels kinda disingenuous to me.)

[riddle-me-fear]

My dear Riddler and Scarecrow

Scarecrow's accent reminds me of Swiss German; people that speak German usually don't understand it and get annoyed. That being said.

Verstoht öpert do schwiizerdütsch? Gschriibe isch s eifacher als gsprocha, aber es isch anschiinend schwer für Lüt wo nur dütsch chönd das z verstoh. Wenn du Riddler das verstohsch frog Scarecrow was er dänkt das dä satz heisst: "ich bii de meister vo dä angscht"

Edward Nygma | The Riddler

Oh dear lord. Well, I do love a challenge, so I'll humor you for a moment. Can't be harder than code...

"Do you understand Swiss German? Written is simpler than spoken, but apparently it's hard for people..." uhm... "people who are only able to speak German. If you as the Riddler understand this, ask Scarecrow what he thinks this sentence means--"

Jonathan Crane | The Scarecrow

No. Nope. Absolutely not.

Edward Nygma | The Riddler

"Ich bii de Meister vo dä Angscht." I do hope I didn't butcher the pronunciation.

Jonathan Crane | The Scarecrow

...

Edward Nygma | The Riddler

Come oooon Joooon, just give it a try. Doesn't have to be correct, I mean, I highly doubt you're going to guess what it actually means--

Jonathan Crane | The Scarecrow

Fer fuck's sake, will you shut up? I'm tryin' ta think...

Edward Nygma | The Riddler

Alriiight, alriiight, take your time.

Jonathan Crane | The Scarecrow

... Uuuh... can you say tha line again?

Edward Nygma | The Riddler

"Ich bii de Meister vo dä Angscht."

Jonathan Crane | The Scarecrow

Oouf ok... I dunno German at all, or Swiss German, fo' that madda. But uhm... There wus this wanna-be Rogue, a while back, think that was befo' yer time, Ed.

Edward Nygma | The Riddler

Oooh, gather 'round, children! It's storytime with grandpa Crane!

Jonathan Crane | The Scarecrow

You shut that mouth o' grampa Crane's gonna get his gramma's old sewing kit, and sew it shut. ... That's whut I thought. Nah where wus I? Right, tha guy. He wus German an' I heard that bats actually talked German back at'im. Think it wus uuh... "Eekh bin da fluttermousemann" or somethin' like that, "I am the Batman", right. So I think tha first two words mean "I am" ...and then "the" ...uhm... that's gotta mean "master", right? Or is that too obvious...? I can see ya fuckin' grinnin', Ed.

Edward Nygma | The Riddler

Nono, please, you're doing great, do continue.

Jonathan Crane | The Scarecrow

Ffffhh... "fo da"... "for the"? And "angsht"... Well it's pretty close ta "angst", so maybe somethin' along tha lines of "unease" or "anxiety"...

Edward Nygma | The Riddler

And now put it all togetheeeer.

Jonathan Crane | The Scarecrow

Hhh right, whut did I say? "I am the master for the..." nah that's gotta be wrong... "I am the master OF the..." Oh, it's fear, isn't it. Is it s'pposed ta be I'm tha master of fear?

Edward slowly claps in the background, returning to his spot next to Jonathan, after he's been pacing around the room while Jon was trying to translate the sentence.

"Braaavo, Jon, well dooone. You know, I have to take that one back; you're in fact NOT as dumb as you look!

Jonathan Crane | The Scarecrow

Up yours, Nygma.

Edward Nygma | The Riddler

Oh-hoh! Is that an offer? My "Meister vo dä Angscht"?

Jonathan Crane | The Scarecrow

Ya really have ta take every single oppartunity ta flirt with me, dont'cha.

Jon grins upward at Edward, who has crawled onto the sofa and on top of Jonathan's lap, smiling cheekily down at him.

Edward Nygma | The Riddler

Would it be me, if I didn't?

Jonathan Crane | The Scarecrow

S'ppose it wouldn't...

You see both of them leaning in for a kiss, and inches before their lips meet, Ed eyes the camera through which you had been watching them. He smiles, and his hand closes in on the lens, covering the view until the screen fades to black.

-----

✨ V's comments below✨

I used to watch a lot of documentaries in swiizerdütsch with german subtitles a while back. Love the way the language sounds, some austrian accents sound similar, actually. I like to watch things in various different languages from foreign countries in general, because what we have in Austria is uuuhm... Let's just say it's not it. Especially because I'm trans and there's ZERO pro-trans anything in our mainstream media, everyone is antagonizing queer people generally (like on TV, in the news and stuff, the shit that the older generations consumes). So I had to get some positivity elsewhere. Now I'm more connected and found some small communities, luckily. I specifically remember a documentary about mental health in Switzerland, and it showed some people living in a psychiatric hospital, and it was sooo damn wholesome. One of them was a trans teenager who gave insight on their situation and how they cope and everything. Was really cool and uplifting for me to see, with all the negativity and misinformation about the lgbtq+ community here.

Also, the "Ich bin der Fledermausmann" thing actually happened in an old batman tv show I watched some time ago. I tried to find the episode again, but I can't even remember which series it was 😭 I lost my absolute shit though when I heard bats say that, it was so funny to me.

[dross-the-fish]

Motley crew accents?

Quincey-English, posh London accent. Larry-Sounds somewhere between British and his mother's natural American accent. Watson-English, posh London. Jekyll/Hyde -Posh English when he's Henry (not his natural) Scottish when he's Edward (This is his natural accent) Adam- Kind of ambiguous, Germanic but with French influences. Generally a subtle accent as his English is very good. Theo- Irish accent Selma-Predominately Texan but has shades of Spanish, especially as she gets agitated. Erik-French. Very very heavily French though not unaffected by his 20 odd years in Persia speaking Farsi.

[mjrtaurus]

Modern Au Newgate had to speak with Crocodile's teacher once because he did his "My Hero" report on Gustave.

Gustave Courbet the French painter? No.

Gustave Ludwig Hertz the German experimental physicist and Nobel Prize winner? Also no.

Gustave Wood the vocalist in the British punk band Young Guns. Uh-uh.

Gustave the crocodile, the over 18 foot long 2,000 pound menace from Burundi who preyed on wildebeests and hippos, cannibalized his fellow crocodilians, and ate over 300 people.

Apparently that wasn't "hero material"

Edward having to sit with the teacher and be like “Look, he’s never been as invested in his school work as he has been with this. He’s experiencing the joy of learning. He loves this crocodile more than life itself, it and Lolong both. Please let him have this one, if only for the amount of citations and time he’s invested into it. Gustave probably killed and ate a lot of potential man-eaters too, didn’t he? Probably saved a lot of livestock in the area, right? He even tied that ecological and agricultural impact into the talking points in the paper right here, see?”

He’s trying so hard for his son. Marco is excelling but poor Crocodile is flagging. He can’t set his mind to his schooling because there’s nothing engaging about it. He’s learning from it, yes, the test scores are proof enough of it. He just can’t get the busy work done. They’re working on it. They’ve got a diagnosis and everything but they’re still trying to find health insurance that’ll cover the medications he needs.

Please, he’s doing his best.

[lil-gae-disaster]

I suppose there IS a LITTLE comedy to be had in regards to the whole...*gestures vaguely towards Edward and his parents* situation

because he worked REALLY hard to make sure his kids knew absolutely NOTHING about them so...

Cathy and Joseph have no idea they're part German. The only reason they know they're part Italian is because Beatrice is Italian.

So, just this fact alone makes the Valley Forge saga all the more comical when Freddie starts speaking in German and Joseph is completely lost, just angrily trying to guess what he's saying and staring in frustration to try and "learn" the language (a language which he had no clue his father was secretly fluent in but never spoke it around the manor).

EDWARD KNOWS GERMAN?! I didn't know that lmao

Anyway, since Freddie also isn't aware about Edwards fluency in german (he guessed since Edward was a Nobleman he'd have to know at least basic french), he'd very probably mutter some insults under his breath during the boys visit in the Hayes manor, thinking that Edward didn't understand him.

I also just remembered that, recklessly, Freddie often uses terms of endearment like for example "mein Geliebter" (lit. My beloved), "Mein lieber" (lit. My dear), etc. for Jonathan when they're among people (only whispered ofc)

[6starsart]

Volume 8 2/2

1.

Kate's behavior can only infuriate you

2.

No, to become even more beautiful! How do you even talk to Louise?!

3.

Lou: But the flowers are pretty. can I get one?

Ricky: Hä? As a face you are not allowed to speak…

Lou: Yourself! (Meaning: you are doing it yourself)

4.

Shaun, Lou, Ricky… we will also have to say goodbye to each other?

5.

Without your shadow you don’t need those ribbons anymore.

6.

My ribbon… Rumy…

7.

you two are still missing! (Talking about Lou and Ricky)

8.

The shadows… who or what are they actually?!

9.

perhaps the star bearers just can't make coffee?

10

The. Everyone has their eyes on me… I won’t show weakness.

First off THANK YOU RONJA!!!!! again I always appreciate seeing these and the work you do to show them <3 !!!!

I think 3, 5 and 8 are the most interesting panels..

Number 3 because I LOVVEE how Louise just calls Ricky out. Just being like "Yeah well you're speaking too.." LIKE GET HIS ASS GIRL BAHAHA

NUMBER 5 BECAUSE RUM... MY SWEET GIRL... SAVE HER... Edward (is that edward? i cant remember) sounds so much more evil with his "Without your shadow you don’t need those ribbons anymore." line like OH MY GOD.. MAN SHE'S ALREADY HAVING A HARD TIME CHILL

And number 8 is just me preferring the German translation better tbh,,