#El Jean Productions

[flashfuckingflesh]

Down the Path of Darkness is EVIL. "The Long Dark Trail" reviewed! (Cleopatra Entertainment / Blu-ray)

“The Long Dark Trail” on Blu-ray at Amazon.com Set in the idyllic boondocks of Northwestern Pennsylvania, two young brothers plan to escape the abusive grasp of an alcoholic father in search for a better life.  Without a plan and nowhere to go, they go around the small town to collect money from the odd jobs the brothers worked in preparation for their abscond.  While doing so, they come upon…

[harmoniouseclipse]

The way I'm literally going insane rn

[monkey-wrench-series]

MONKEY WRENCH EP 3 - US & THEM

Episode 3 of Monkey Wrench is now live on Youtube!

Written & Directed by Joshua & Ashley Palmer

Voice Cast;

Shrike Sanchez - Jacob Barrens

Beebs - Jean-francois Donaldson

Scratch - @zitoisneato

Agari - @gooseworx

El Bandito - SrPelo

Duende - Vargskelethor Joel

Animation Crew + Socials

Music by @ockeroid

Sound design by dBPony

Spanish language Consultant: @zetaalpha10

Haven't watched the show yet? Check out;

Episode 1

Episode 2

Huge thanks to Tom Fulp of Newgrounds, my boy Lythero, my other boy Swoozie, the @farfetchedshow crew, @lackadaisycats , Glitch productions and of course our patrons for your endless encouragement and support.

Fingers crossed this one does well enough for us to start Ep4!

[elsweetheart]

no but like. dealer!ellie would be so loving and understanding with a really sensitive (crybaby) gf. like she’s at a party making great business and she gets a text from u saying that you miss her and you’re not feeling well and she drops everything to visit and make u feel better

:(((((

i’ll be your honey, if you’ll be sweet

🎀 dealer!ellie being a cutie, fem!reader being a crybaby, mentions of not feeling well, mentions of weed and alcohol. title is taken from mazzy star— give you my lovin

♡ ♡ ♡

Business was booming, as they said.

Another party at another frat house, where the guys knew nothing about the regular price of weed — and Ellie wasn’t above not pricing her stuff up to take advantage. Her stuff was good, she thought. They should be paying this much.

“How much you made so far?” Jesse yelled over the music to her, having made his way back over from doing shots. He was actually the one who got Ellie in, having friends from the house — that and the fact that no guy throwing a party was going to turn down a cool and discrete dealer with notoriously good product to keep the good vibes going.

“No idea, they keep handing me wads of cash — all I know is they’re way over paying me.” She chuckled, wiping her warm hands down her jeans. “Not complainin’.”

She’d usually be at these kind of ordeals with you on her arm, getting to watch over you having fun and dancing whilst she did her business. It made the evening go by faster, and the routine of the two of you going to grab greasy food from the nearest takeout joint was always something to look forward to. She pulled her phone out her pocket to text you, seeing you’d already left her a message.

‘how long until u come home?’

She glanced up, but she didn’t have to look to know that the party still in full swing with no signs of stopping.

‘Not for a while baby, you ok?’

Ellie watched the three bubbles on iMessage appear as you type, then disappear, then reappear, then disappear before you finally replied.

‘mhm’

A call came through on your end, Ellie walking out onto the porch with her cracked screen pressed to her ear, wandering away from all the noise for a moment to check on you.

“Hello?” You croaked, voice small and quiet.

“Tell me what’s wrong, babe.”

She wasn’t expecting you to start crying, not so soon anyways. Her stomach swirled in anxiety at the sound of you upset and her brows furrowed as she picked at her nail, waiting for you to tell her. “Why’re you crying?” Her voice was soft and sympathetic.

“S’nothin’ Els, just d’nt feel well and I tried everything but nothings making it better— n’I just miss you and I’m sorry cos I don’t wanna worry you whilst you’re out but—”

“Woah, hey hey hey.” She pacified you gently, trying to hide her concern. “Don’t stress. M’leaving now, gonna be with you soon okay?” She adjusted her backpack on her shoulders, leaning over to the window to see if she could flag Jesse down. The raven haired boy was too busy losing at beer pong so she turned away, spotting a back gate to leave out of.

“You don’t have to leave, I don’t want you to lose money.” You sniffled miserably, the sadness in your voice making her own frown deepen as she pushed open the creaky back gate onto the street, locating her car.

“Got plenty of money tonight babe. Hold tight okay? I’ll be with you soon.”

You were in her bed in her dorm when she arrived back, curled into a ball with a look of sleepy distress on your face. She shut the door behind her, slowly approaching you.

“Hey babe.” She whispered, her slender fingers pushing your hair back around your ear before placing the back of her hand on your forehead. Her hand was cold and it was soothing, blinking up at her in the dimly lit room.

“Think m’sick.” Your bottom lip wobbled and she shushed you gently, not wanting you to make yourself worse by crying. She perched down on the bed beside you, cold hand now stroking up your shirt (her shirt.) and rubbing circles on your back.

“Yeah, you’re burning up a little. Can you tell me what’s hurting?” She lilted, squinting a little in the low light to try and gauge how your face was looking.

“My head, and my throat too… and everything.” You groaned tearfully, rolling over to stuff your face into the bedsheets. She shuffled a little closer, hating seeing you in distress.

“Have you had any water?” Her hand moved up to stroke your hair, massaging your head slightly.

“Mm—mm.” You moaned into the sheets and she nodded, fetching your bottle.

“I’m gonna help you sit up, alright babe? C’mon, y’gotta help me out a little, yeah?” She scooped her hands beneath you, ignoring your whiney muffled protests. You used some of your energy to push yourself up with her help and she held you in her arms sat up. Burying your face into her, she held you letting you cry a little. “I know. Fuckin’ sucks huh, sweet girl.” Ellie sympathised before holding your pink water bottle to your lips. “Sip, don’t gulp it down.” She advised, her free hand that was wrapped around your shoulder stroking your arm. “Look, you got nothin’ to worry about okay? Not only am I the worlds best dealer… I’m also a nurse. And I’m gonna make you feel all better.” She smiled making you furrow your eyebrows, moving your mouth away from the bottle to cuddle her again.

“You’re not a nurse.” You accused and she blinked into space, continuing to hold you tight.

“Well. I am now.”

The night went on, and Ellie continued to soothe you well into the night, not being able to sleep or get comfortable — often bursting into tears and needing immediate assistance. “I just wanna sleep.” You sounded devastated, and she truly pitied you— nothing was making you feel better and she knew you were just going to have to ride it out.

“I know baby. We’ll get there… when we get there.” She huffed, almost frustrated with herself for not being able to help you more. “Y’want me to read to you, might help you get some sleep? Worth a try, right?” She leant down, persuading you in a hushed tone. You didn’t open your eyes, just nodded weakly giving her the green light to get up and grab one of her books from her desk. It was the Jurassic Park novel — always having it on her being one of her favourite books.

She settled down on her bed, letting you clamber up to lay your head in her lap. She had changed into her sweatpants around two hours ago, and you found comfort in the softness against your cheek. She began reading, book pulled close to her face to be able to read the words in the low light — not wanting to turn any lights on as to aggravate your headache. Halfway into Chapter 2, she finally heard the soft snore of your eventual sleep against her leg— and Ellie felt herself relax, knowing she’d completed her girlfriend duties for now to a satisfactory level. She knew you hated being sick, and that you were miserable — but Ellie would still choose to be here looking after you than dealing at some random party any day.

♡ ♡ ♡

[emby-m]

Highway Cavalier and Dulcinea

Fifth in the “Putting Alice into Nort’s Skin Lines” project

They would tell tales of thee, if they knew thee, my Dulcinea. Instead, I, thy humble vassal, thy cavalier of the highway, tell tales of thee. A lady of grace and poise, riding astride your piebald hackney, hair of gold plaited back, eyes like suns beneath your goggles, hands like ivory steering your noble steed – any beam of the sun of thy beauty that reached my eyes would have given light to my reason and strength to my heart, so that I could be unmatched and unequaled in wisdom and valor. Thou hast strayed away from El Toboso, and yet I cannot seek thee.

Design and backstory under the cut:

Setting/text notes:

Highway Cavalier obviously based on Don Quixote with ‘the Cavalier’ and ‘Rocinante’, so Alice was a natural fit for a Dulcinea, a remote and far off lover who the cavalier acts for.

I imagine Alice died prior to the events of the story but maybe she’s just far far away…

Part of the text is directly lifted from Chapter 8 of Volume 2, in the Ormsby translation.

Thee and thou for ~intimacy~

Imagine this as an old-timey black and white photograph Norton keeps in his glovebox…

Norton’s design:

Agh agh agh so much to change so little time agh agh agh

Ok so the typical motorcycle jacket we think of wasn’t in production until at least the 20s but I figured a short riding coat would make sense. We do have motorcycle riding in this period (motor corps in World War I!) plus riding gear is consistent between that and horses.

The pants with the knee-reinforcements are normal, so I kept them but they’re not… jeans. His undershirt is a regular stand-up collar shirt – protective, but not whatever he’s got for padding there.

Alice’s design:

So women also had a motorcycle corps in World War I which is pretty cool. Their coats tended to be longer and somewhat fuller, with most of the shaping coming from the belting and some very heavy pleats in the waist. These were, quite spiffily, worn with a shirtwaist and tie. Pants/ jodhpurs were common (split skirts were too, the point being you NEED to ride astride on a motorcycle.)

The motorcycle they’re leaning on is hers, which is a contemporary Phelon & Moore 500cc single cylinder motorcycle. 

This is the age of no helmets. So. No helmets.

[storiesabouteli]

Hi! Loved your most recent story! I was thinking maybe you could write one where the reader struggles with acne and Eli makes her feel not insecure? 💕

Hope you are well!

Heey, thank you for requesting! I hope you like that one too!!

Words: 1,6K

You followed a certain logic in your mind, choosing comfortable clothes. You'd wrapped socks around your hair to make sure it looked nice, hoping it would draw attention away from your face—or maybe even from your own reflection in the bathroom mirror. Everything felt exhausting, almost pointless. Your face was freshly washed, the marks and small stinging spots seemed more noticeable. You spent a long time staring at yourself, wondering what to do—they were worse than the day before. You took care of your skin, wanting the blemishes to disappear, not to worsen suddenly, leaving scars behind.

You covered them with foundation and concealer, did your eyeliner to make your eyes more noticeable, but then leaned against the wall, disliking the texture of your skin, wanting to just stay there. You and Eli were supposed to meet Ryan and his girlfriend, trying out a new restaurant, something casual and fun, but you knew your mind wouldn’t let you feel at ease.

“You okay? Something happened?” Eli's voice was sweet, as if he hadn’t been waiting for you to get ready for almost an hour.

“I’ll be out soon, sorry.” You could hear him breathing behind the closed door, his feet shuffling against the floor.

“Need anything? I can run to the pharmacy for you, just tell me what you need.” His thick accent, full of concern, made you smile, an honest contrast to how you felt. You held the doorknob, hesitating for a few seconds, and then remembered Eli was your boyfriend—he would understand.

“No, I’m okay, El.” You whispered, opening the door to face him. He was wearing a tight band tee, showing off his arms, jeans with a belt, and his hair slicked back. He looked adorable, which made you feel even worse about the fact that he'd dressed up, only for you to now not want to go. It also seemed unfair that he'd be going out with you. You closed your eyes quickly, pushing those thoughts down as hard as you could. You hated being like this.

“You look beautiful, pumpkin. I can get dressed up more if you give me a few seconds.” That was the thing—Eli was just being himself, effortless, while you had tried so hard. He didn’t move, and the silence between you wasn’t uncomfortable, though you felt uneasy in your own skin. Tears welled up in your eyes, and he stepped into the bathroom with you. He looked around before his gaze settled on you. His eyes scanned you from head to toe, then he smiled softly, trying to show he was there for you.

“I can tell something’s bothering you, but I’m not sure what.”

All the beauty products—makeup, skincare solutions—were scattered across the sink. You often wondered how Eli saw this side of you. Some people could be insensitive about it, and although Eli wasn’t like that, you couldn’t help but think about it. You looked down at your feet, swallowing your words, not liking the idea of verbalizing this to him.

“Can I stay? I thought maybe you could go without me. I’m just not feeling up for it.” He frowned, thinking, still looking cute. It felt like you were a kid asking to skip school without a good reason.

“We don’t have to go.” He stepped closer, gently holding your face, trying to read you. His concern and calmness were so kind.

“But you should go—you look so handsome.” He chuckled softly.

“So do you, but what’s the point of going without my girl?” You crinkled your nose, embarrassed at how goofy he could be. He hesitated, about to brush his fingers across your cheek, but you flinched. Instead, he placed his hands on your shoulders, still wanting to keep you close, like that might ease your feelings. Your eyes drifted away from his, and that’s when he realized you weren’t avoiding him—you were hiding your face. He pulled you into a hug, and you pressed your face against his chest as he held you tight.

“I’ll let them know, it’s okay.” His lips brushed the top of your head as a wave of relief washed over you.

Eli held your waist as you sat on the counter in front of him. Your mind was somewhat blank, relieved to be staying in, but it still felt wrong. You were distant while Eli's voice echoed in the bathroom, talking to Ryan on the phone. He said he wasn’t feeling well, throwing in a sarcastic remark about you being his caregiver, which made you chuckle despite your sour mood.

“We could cook something nice, watch a movie, or just do nothing for the rest of the night. What do you think, huh?” You nodded, your eyes lifting to meet his, only to quickly look away. He kept his gaze on you.

"Sounds good, El."

Your shoulders were slumped, and Eli felt uneasy, unsure how to help. "I need to take off my makeup. You can get changed; I’ll do the same, and then we can cook something." You said this, imagining how you'd end up with your face pressed to his chest, transferring all the makeup onto his shirt. Either that, or you'd insist on hiding yourself with concealer the whole time.

"Can I?" Eli asked, his waist brushing against your knees as he reached for the makeup wipes you had grabbed earlier. You let out a long sigh and nodded. "My skin's irritated. It’s really flared up."

Your voice was barely audible, as if preparing him for the reality. “You know, I’ve seen your face plenty of times before,” he said softly, his warm, caramel eyes as tender as always as he carefully wiped your makeup away. “What do you think about them?” you asked quietly, handing him a small amber bottle. Speaking about it in code, adding a certain distance, helped make it easier to handle.

He paused, his shoulders heavy as if unsure how to put his thoughts into words. “I don’t really think about them like that,” he said thoughtfully, “They’re a part of you, so I like them.”

He applied the product to your cheeks with his fingers, lightly squeezing them, making you close your eyes and giggle at the way his thick fingers and rings felt against your skin. “How do you see yourself?” he asked hesitantly, not wanting you to speak poorly about yourself.

“I don’t know,” you swallowed, swinging your legs around him. “Now that they’re worse, I feel…”

He noticed your eyes divert once again, a sadness creeping into them. “It’s okay,” he gently lifted your chin, making you look at him. He kissed each cheek, the bridge of your nose, and then your forehead, lingering for a moment as his kisses echoed with soft pops.

You often feared Eli might find you unattractive at times, but his tenderness shattered that doubt. “I met you like this, remember? I thought you were beautiful then, and nothing’s changed. I won’t let you believe otherwise.” You wrapped your arms around his waist, pulling him closer. You didn’t know what to say, but Eli had already brightened your day. You wanted to be enveloped by him, as if he were a cocoon.

You nodded silently, letting him apply a few more drops of product to your face. He massaged it in the way he had seen you do many times before, and it was endearing how he had memorized your routine just from watching. “What’s this for?”

“It’s an aloe vera gel; it helps calm my skin.”

His brow arched as he read the label. “Okay. And those stickers? What are they for? And the other tubes?”

You laughed, feeling a bit lighter now. Eli’s muscles relaxed, pleased to see you holding eye contact with him again. Things were looking up; everything would be fine. “I use vitamin C sometimes to fade spots,” you explained. The wrinkle in his forehead smoothed out as if it all made sense now. “And I just try to keep my skin hydrated.”

You handed him a pack of star-shaped pimple patches, and he glanced at the pile, you got slightly embarrassed by how many you had. “These dry out pimples—like the pus and stuff. But mostly, they stop me from picking at them.”

He seemed satisfied with the explanation. The patch you handed him was shaped like golden stars. “Do you still have the pink heart ones? I think you look adorable when you wear those.”

Your cheeks warmed. It was a bit jarring to realize that Eli was fully aware of your blemishes, yet he viewed them as just another part of you, while you treated them like monsters. "You like them?" You gave him the chosen patches, though the question was more a confirmation for yourself than for him.

“I do have a favorite, but yeah, I like the others too. It’s cute when you walk around the house with them on your face.” You laughed, guiding his hand as he placed the patches in random spots rather than directly on the pimples.

You peeled one off and stuck it on his cheek. He smiled, leaning in to kiss you on your lips, lingering a little longer. The tip of his nose gently brushes against yours into softness.“I’ll go change into something more comfortable and head downstairs.” You tied your hair up, abandoning any formality that might’ve lingered.

Eli nodded, removing his shirt and unbuckling his belt. You glanced over, eyes lingering on his shoulders and tattoo. He chuckled through his nose, “Okay, go get changed, little one. I’m starving.”

[strangestcase]

You remember that list of J&H movies that actually slap? I cannot find the post for the life of me and I NEED to watch that French one. Help a sister out! What was the name???

Alright SO!

Doc’s incredibly objective list of J&H films that fucking SLAP:

-Le Testament Du Docteur Cordelier (1959): obscure French TV film by Jean Renoir in which Mr. Hyde is a sex pervert played by a mime. Set in 1950s France but incredibly accurate to the book.

-I, Monster (1971): a British production with Christopher Lee and Peter Cushing as main characters. A more “realistic” science-y take on the story.

-Dr. Jekyll and Mr. Hyde (1920): with John Barrymore. It’s also an adaptation of The Picture of Dorian Gray. -Dr. Jekyll and Mr. Hyde (1931): a “talkie” version of the previous movie. Not the best writing wise but it’s gorgeous. The acting and SFX are the best I’ve seen so far.

-El Hombre y La Bestia (1951): Argentinian movie in which Jekyll is married with a four year old son. And it’s heartbreaking. Other than that is very similar to Le Testament in the ways it adapts the story and changes the setting.

-Nightmare Classics: Jekyll and Hyde: episode of the show Nightmare Classics which it is a very interesting retelling of Jekyll and Hyde.

-The League of Extraordinary Gentlemen (2003): okay this one isn’t a J&H movie but Jekyll and Hyde are in it and they’re very well acted and characterized. Go on, sue me.

Might expand the list when and if I find more movies that are worthwhile or at least not mid.

[doeeyeseddie]

Hii :) if I'm not too late for the soft prompts, I would love some buddie + "I missed you"

hello! sorry it took me over a month to write this but i hope you see and like it <3

[read on ao3]

Buck is pacing. He knows it’s stupid, knows it doesn’t make the minutes pass faster, but he braved the hellish drive to LAX and now he doesn’t have the patience to just stand here and stare at the board displaying the arrivals, waiting for the flight from ELP to switch from “On Approach” to “Arrived”.

He stops when it finally does, but then immediately starts pacing again. Eddie only traveled with hand luggage, but it’s still gonna be ages until he’s off the plane and stepping through the gates.

He’s glad no one here knows that it’s only been three days since he last saw Eddie, they’d probably call them co-dependent. But what they also don’t know is that Eddie kissed Buck for the first time right before he left for El Paso, and that Buck has been absolutely aching to do it again since then.

Three days of only seeing Eddie’s face through the screen of his phone, three days of holding back all of the questions he still has. It kind of feels like he should ask them in person, and anyway, it wasn’t the right time. Eddie flew out to help his parents after his mom had to undergo a minor operation, just for three days until Adriana could take over, so he had plenty of other things to think about. Buck, meanwhile, took care of Christopher and slept in Eddie’s bed every night, which did not help with the thoughts swirling through his head or the buzzing of his nerves.

And now he’s only minutes away from seeing Eddie in person, from being able to touch him, from maybe finally getting answers, and he doesn’t know what to do with himself.

So he paces.

With one eye constantly on the sliding doors, he walks back and forth, feeling jittery all over.

And yet, the second Eddie actually, finally steps through the doors, Buck is rooted to the spot.

He’s wearing jeans – of course he is, he says sweatpants are for the gym or for sleeping and rarely even wears them around the house – and a soft sweater, sleeves pushed up to his elbows. He’s carrying his duffle bag and his forearms look, frankly, indecent. His soft, product-less hair looks like it’s just waiting for Buck to run his hands through it, and he aches. But he can’t quite bring himself to move.

Three days ago, they were standing not far from here, Eddie with that same duffle bag and Buck tagging along all the way into the airport, even though there wasn’t really a reason to.

“You didn’t even remind me to call you if I have any questions,” Buck said, and Eddie shook his head with a smile.

“You know that anyway, Buck.”

“Yeah, but I know the lists you still write for Christopher’s sleepovers—”

“The same way you know all of mine and Chris’ routines,” Eddie interrupted him gently, and Buck felt himself flush. “Buck, I trust you. I know you don’t need any lists or instructions. You’ve done this before, even when there was no way to call me.”

“Maybe, but Carla was there to help,” Buck insisted, even though he’d rather not talk or even think about anything related to Eddie being shot.

“Buck,” Eddie said again, and reached up to squeeze Buck’s shoulder. His thumb brushed the bare skin of Buck’s throat, and Buck swallowed hard. “I’m not worried. You two will be fine.”

“We’ll still miss you,” Buck blurted out, and Eddie’s eyes got even softer.

“I’ll miss you too,” he murmured, and then he leaned in and kissed Buck.

It lasted only a couple of seconds and Eddie jerked back, wide-eyed. Buck opened his mouth to say…something, or maybe to beg Eddie to do it again, but he was interrupted by an announcement from the overhead speakers telling them that Eddie’s flight had started boarding.

“You’re not even through security yet,” he said instead of any of the other things he wanted to say, and Eddie blinked, his hand dropping from Buck’s shoulder.

“Shit, yeah, I–” He licked his lips. “Sorry, I– I have to go, but– we’ll talk when I get back?”

“Yeah,” Buck nodded. Somehow, at some point, his hands had made their way to Eddie’s waist, and he dropped them now. “Uh, safe flight, text– text me when you land?”

“Promise,” Eddie said over his shoulder, already a few steps away, and then he disappeared in the mass of people queuing for security.

Buck touched his lips almost absently. What the fuck had just happened?

Eddie’s walking towards him slowly, measuredly, and he’s smiling, but it looks a little bit nervous. Something about that makes Buck feel better, kind of.

“Hey,” Eddie says quietly when he reaches him, and Buck just throws his arms around him in a hug that’s probably too tight, especially considering that it’s only been three days.

But Eddie’s duffle drops to the ground by their feet with a thud and he hugs him back just as tightly, so maybe it doesn’t matter at all.

“Eddie,” Buck breathes, and they just stand there for way too long, holding each other.

“I missed you,” Eddie says eventually, his breath warm against the side of Buck’s neck, and Buck tries not to shiver.

“I missed you too,” he whispers, and Eddie laughs a little.

“It’s only been three days.”

“Yeah, but,” Buck loosens his hold a little and takes half a step back, just enough to look at Eddie. “Eddie, you– you kissed me and then you said we’d talk when you got back and for three days I couldn’t tell you– I had to wonder if it was a mistake–”

“It wasn’t a mistake,” Eddie interrupts him. “An accident, maybe, because the timing was fucking terrible, but. Not a mistake.”

Buck laughs, because he doesn’t know how else to deal with the amount of feelings rushing through him, and tentatively, the corners of Eddie’s mouth lift too until his adorable dimple appears, and Buck reaches out to touch it, then cups Eddie’s cheek, rosy now.

“For three days, I– I wanted to tell you that what I really wanted to say after you kissed me was,” he hesitates only for a second, the sparkle in Eddie’s eyes telling him everything he needs to know, “Can you please do that again?”

Eddie laughs, but he presses his cheek into Buck’s palm a little harder and pulls him in by the waist.

“I would’ve,” he confesses, and his nose nudges Buck’s.

“Many times,” Buck murmurs. “So many times, Eddie.”

“No objection from me.” Eddie’s lips are soft against Buck’s cheek, his chin, the corner of his mouth. “I’m happy to do this for the rest of my life.”

And when he kisses Buck, he knows that he means it.

[itsdappleagain]

48 for the spotify wrapped

48: My Dead Gay Son from Heathers the Musical

oh boy. this one might be a wild ride. highly recommend you listen to the whole song if you're unfamiliar.

here is a recording of the stage production with...erm...visuals and here is the cast recording with better audio!

They're up there disco dancing to the thump of angel wings! They grab a mate… And roller skate— While Judy Garland sings! They live a playful afterlife that's fancy-free and reckless! They swing upon the pearly gates— And wear a pearly necklace!

summary: jean paul and antonio fake their own deaths in order to escape the dangerous life VILE has put them on and must secretly watch their own "funeral" in order to make sure no one suspects they are still alive.

---

It starts with a note, slipped furtively into the hand of Carmen Sandiego in a fight both of them know is going too easily. Le Chevre holds her gaze and immediately makes good on his whispered promise to to leave right then and there without a fight, telling the Faculty she defeated him as always.

The note she opens says this:

Antonio and I need your help. We are defecting from VILE- we want to start a future together, but we don't have anywhere to go. We are afraid they will find us...you know what they would do if they found out. You are the only one to have ever left VILE and lived to see another day. Please help us. We know you don't have any reason to, so all we can do is beg. Antonio and Jean Paul

Carmen, of course, helps them. It is her nature. Together, secretly, the three begin to plan the deaths of Le Chevre and El Topo.

Tigress is the unwitting unlucky winner of the "who gets to witness their death" contest. Once everything is set in place and Antonio, Jean Paul, and Tigress are scheduled on the same mission again, Carmen makes arrangements for them and the plan goes into motion.

At 11:44pm Tigress sends the duo into their empty target building to scout it out. At 11:49 the building blows up in a ball of fire and ash and shrapnel, and Tigress must flee before the police arrive, streaked with soot and, against her will, crying.

She is the first one to see the news report that the police found the charred remains of two unidentified bodies in the wreckage of the building. She is the first to alert the faculty, and the one to begin arrangements for El Topo and Le Chevre's memorial.

Back in San Diego, Carmen sits with Antonio and Jean Paul, the air heavy as they watch the news report apparently announcing their own deaths.

"Tigress will be devastated." Antonio murmurs, eyes fixed on the circling overhead shot of the blackened building they'd snuck out of before Carmen had detonated the explosives. "She acts cold, but she will blame herself."

"It will make it all the more convincing." Carmen sighs, tracing her jaw with her fingers in contemplation. "If she knew..."

"Better that she does not." Jean Paul finishes, his hand squeezing Antonio's as they lean on one another. With Player messing with the police reports to make it seem as though their bodies had been found in the explosion, they are effectively invisible. Dead. Wiped off the map, and free to start their new lives together however they wanted.

Almost.

"I'm pulling up video and audio feed now." Player chimes from the base's speaker systems. "Good thing that I have the experience now to hack through VILE's 27 layers of encryption. Where did you set up those hidden cameras?"

"Where VILE always holds its memorials." Carmen says solemnly, her eyes just barely betraying a history of seeing more there than she cares now to admit. Her eyes flick to the two former operatives in her living room and they nod.

"The great hall. Last step," Jean Paul sighs, "see if they bought it."

The video feed flickers to life on their monitors- grainy and half-hidden where the two secretly set it up on VILE Island before their final mission. Everyone leans in, squinting as the fuzziness works itself out a little bit. The camera is hardly a centimeter in diameter, and, considering that, it is doing its best.

There, gathered in the grand hall, is a small crowd of operatives and the Faculty, gathered around the small table displaying their operative ID photos. Tigress, clearly wiping her eyes and trying not to show it, has just laid down a small bouquet by their photos.

Zack emerges from the kitchen and leans over the couch to where they're watching. Ivy hangs slightly behind, still suspicious of Antonio and Jean Paul. Zack whistles, oblivious to the tone in the room. "Too bad we can't have this camera on all the time. We shoulda got a man on the inside sooner!"

"Every minute that camera stays on in there is another minute it risks being discovered." Player explains briefly, his eyes still fixed on the feed on his own screen. "It'll self-destruct as soon as the ceremony is over, when I tell it to. We just need to confirm that El Topo and Le Chevre truly are dead to VILE and then we're out."

Zack hums noncommittally, attention drawn to the camera screen. Carmen's eyes are on the Faculty, watching for a sign of suspicion.

It's a second before Tigress's voice filters through their speakers. She stands at the front of the crowd, head bowed and fists clenched.

"Le Chevre and El Topo were part of my graduating class," she begins, a very un-Tigress-like hitch in her throat. "We spent the entire year training together and while- while we had our ups and downs they were some of my first friends here. There's something unbreakable about entering this life together. The two of them knew that better than anyone. I don't believe in any- any anything, really, but I hope that wherever they are now they're together, and-and that they're happy. You were some of the best, and I'm sorry that it wasn't me in that building instead of you. Rest well."

She finishes so quietly the camera's microphone almost doesn't pick it up, and she quickly wipes her eyes again and retreats back into the small crowd of operatives as they scatter some applause into the otherwise silent room.

When Carmen glances over at the two boys, they aren't making any effort to hide their own tears.

"Do you want to leave?" She asks quietly. "I can finish watching it. This might just get harder."

They both shake their heads. On the screen, Mime Bomb steps forward and mimes a flower, placing it on the table with little of his usual theatrics and retreats as well.

"They look convinced so far," Jean Paul says quietly.

Maelstrom is the first of the faculty to speak once the other operatives have finished paying their respects, and Team Red's base goes silent as he moves.

"While I don't want to spoil the evening-" he begins, and in unison Carmen, Jean Paul, Antonio, and Shadowsan (in the other room but listening in) mutter "here we go," all traces of mourning vanishing.

"-I think it must be acknowledged that El Topo and Le Chevre were two operatives whose passion was more often in each other than in their thieving work." Antonio and Jean Paul share a glance as the professor goes on with just the barest touch of disdain. "I would never stoop to say I celebrate their loss- we have lost two fine operatives in their deaths- but I must agree that I hope they are finding their lives after death more suited to the life they wished to live together."

"Cheers, Professor, we are." Antonio laughs wryly. Jean Paul isn't taking it as well, and his fists are clenched in his lap as he stares daggers at Maelstrom.

And then, suddenly-

"Now, you wait just a minute, Gunnar!"

The gasp in the VILE congregation is echoed across the world in San Diego as the group watches Dr. Bellum shoves her way forward, finger pointed directly at Maelstrom.

"You're skirting around your own prejudices, and I'm sick and tired of it. They were not dirty!" There's a glass of some drink in her hand, which seems to have given her a little courage. "They were not wrong!"

"I never said they were, Doctor, please-" Maelstrom hisses, bending with embarrassment towards his fellow faculty member. All five feet of her shoves him backwards and he stumbles, shocked.

"You have made your steady intolerance a part of our Academy's atmosphere for far too long, Gunnar!" Her voice climbs pitches like a roller coaster. "You're too afraid to say that those boys were-" she takes another sip of whatever she's drinking, "-gay as hell!"

"Doctor!" Maelstrom pleads, but Bellum is on a roll now, and the other two Faculty behind her seem to be finding this just as entertaining as Team Red is. Cleo, in particular, is red in the face and biting her lip in a way the three ex-operatives in the room have never seen before.

"Oh my God." Jean Paul stares in disbelief, all traces of anger gone as Antonio wheezes beside him. "This is going to be incredible."

"Those boys died as they lived- together! And I for one want to follow their example. I'd rather- rather live in happiness now than have to stay half hidden like they did here. Now they're up there- dancing to "disco" music and wearing beautiful necklaces like they never could have done while they were alive here!"

Maelstrom is melting into the floor as he tries and fails to do any sort of damage control, and before he can even open his mouth again, Bellum shouts, "We must carry on their legacy in VILE as we continue our work! It should never have taken their deaths to see it!"

With that, she turns, takes the hand of Countess Cleo, and sweeps her into the deepest, most passionate kiss the academy has ever seen. Antonio, in the middle of a sip of water, shoots it out of his nose.

"Shadowsan, get in here!" Carmen shrieks, cackling, as their room erupts into whoops and cheers. Shadowsan enters, sees what's happening, and has to leave again immediately to save face. In the periphery of their hidden camera, the chaos amongst the gathered operatives seems to be an even worse mixture of hilarity and horror. Tigress seems to have passed out cold onto the floor, and Cleo and Bellum are still going.

"Doctor! Countess!" They barely hear Maelstrom shriek over Brunt's roaring laughter. Zack, Ivy, and Player are in hysterics, which is a level more chill than whatever Carmen, Jean Paul, and Antonio are experiencing. Shadowsan isn't even in the room.

"If I got to witness my own funeral, I'm glad this is how it went," Antonio gasps in between howls of laughter as they watch Cleo and Bellum barely surface for air before they go back in, crashing into their memorial table and sending the two's pictures to the ground. Maelstrom has fled the great hall in a fit, and Brunt is literally crying. Someone gasps "disco!" in between laughs behind them. "Look at all the good our death did!"

"Our legacy will be felt around the academy for decades, mon amour!" Jean Paul wheezes in return, planting his own kiss on Antonio's lips. "I think we are in the clear!"

"What was in that drink, Saira?" Cleo gasps on the screen, voice husky, as they come up for air.

"It's plain Pepsi." Bellum responds, and the last thing they see before the camera self-destructs is the two Faculty members going in one more time as the Academy dissolves before their very eyes.

[hooked-on-elvis]

A filming day during the '68 Comeback Special production (June, 1968) 🎥⚡

— Recollections by ANN MOSES, editor of TIGER BEAT and NEW MUSICAL EXPRESS MAGAZINES, as published in her Facebook on January 8, 2024, Elvis' 89th birthday.

Happy Birthday in Heaven to ELVIS PRESLEY , born January 8, 1935. He would have been 89 today. I feel the best way to honor Elvis is to share some of my in-person memories from his incredible Comeback Special from 1968 — Ann Moses

THE CONTINUING STORY OF ELVIS AND ANN MOSES (EDITOR OF TIGER BEAT) FROM NEW MUSICAL EXPRESS:

ELVIS TAKES OFF TINY TIM AND RICHARD HARRIS

Last week I told you how I was chosen to sit on the steps of the stage when Elvis was performing before the tele-film camera in Burbank. They were recording the hour-long Spectacular to be seen in American on December 3. I promised to tell you about my further encounters with Elvis this week, so here goes: As Elvis left the stage, his face dripping with perspiration, his straight hair hanging over his eyes after such an energetic half-hour workout, everyone expected the end had – too soon – arrived. Wrong! After a few moments the executive producer appeared to inform us that this had been a dress rehearsal and Elvis would be back as soon as his leather suit dried out, and go through it all again.

Great News

It was great news because to have a small taste of greatness would have been cruel. The first set whet our appetites and the gathering was openly happy that the appetite might now be satisfied (if that’s possible)! During the half-hour break, Priscilla Presley, Elvis’ wife, descended from the seats where she was watching him and glided backstage to see her husband. She did not return. Meantime, the executive producer stayed on stage to entertain the audience by answering questions about El. I asked how much he had contributed to the creation of the TV Special. The producer said El had done about 75 per cent of the creating. He also said El was easy to work with and his professionalism had cut the time allowed for filming. To fill time and keep us occupied, as if we weren’t content to merely sit and wait for him to return, the producer called the Blossoms on stage to do a song. This Negro (remember this was 1968 and the correct way to describe the black girls) girl trio, who performed on the old “Shindig” show and have aided the Righteous Brothers on their tours, backed up Elvis vocally in the special. “We’d like to sing a gospel song for you,” one of the girls said. “You know, Elvis really loves gospel songs. Every time we’ve had a break in the past two weeks he drags us off to some corner to sing gospel tunes, isn’t that a groove?” she went on.

The Blossoms (American female group): Photo 1 from 1966 (left), clockwise from top: Fanita James, Jean King, and Darlene Love. The group's formation changed over the years but those are the female vocalists of the Blossoms that worked with Elvis.

On the '68 Comeback Special, the full group appear onscreen during the Gospel number (second picture from 1968 — from left to right, Jean King, Elvis, Fanita James and Darlene Love). Darlene Love also sings the female vocals for 'Let Yourself Go' song, used for the bordello scene.

The Blossoms also have uncredited roles on the film 'Change of Habit' (1969) on which they act as Elvis' character's neighbors performing as his backing vocals for the song "Rubberneckin'", right at the beginning of the movie, although the female backing vocals for the actual song was recorded by other female artists during the American Sound Studio sessions in January, 1969. I'm not sure if for the movie version they recorded the song again, with the Blossom's backing vocals, but probably no — if that's so, the girls participation on the "Rubberneckin'" scene is specifically with their acting, lip syncing the studio version recorded previously. The movie was filmed between March and April, 1969. Still for the "Change of Habit" movie, the Blossoms sing the female backing vocals for "Let Us Pray", song used during the closing scene in the church. The Blossoms recorded a few more songs with Elvis.

------------------------------------------------------------------------------------------------

Continuing Ann Moses' article:

Then they sang a gospel tune and it was a groove too. I would have loved to hear Elvis join with them, but anyway. . . A few more minutes, in which the executive producer introduced all of Elvis’ buddies and then HE was back. This time he was much more at ease in front of the audience. He began to joke with those of us close by, sitting on the platform. “I hope you don’t mind if we do a few of those numbers again,” he smiled, “I really goofed up some of them the last time.” The band was ready and it began again. But this time seemed even more exciting because it was likely we knew him better. That may seem hard to comprehend since we’d only been there a couple of hours, but that’s the way he makes you feel!

Some new twists

Some of the songs had been recorded previously and when he’d get to them in the medley he just cut up the original lyric. Like when “Love Me Tender” came around again he sang “. . .you have made my life a wreck and I hate you so. . .” then he’d laugh and go on to the next tune. Once through the whole medley and everything stopped for a prop change. A special set had to be set up for the finale. Instead of leaving this time, Elvis bent down to me (are you ready for that – me!) and said “What would you like to hear?” I blurted out, “Your Time Hasn’t Come yet, Baby.” * He gave me an inquisitive look and I said: “The new single.” “Right,” he said and started singing the song.

Movie soundtrack: "Speedway" (1968)

"Your Time Isn't Come Yet Baby" was released a few weeks before the movie, as a single, on May 21, 1968, with "Let Yourself Go" on the opposite side (the second song, is part of the '68 Comeback Special setlist, used during the bordello scene where Elvis acts opposite to Susan Henning). "Speedway" movie was released only a few weeks before the filming for Elvis' NBC TV Special had begin, on June 12, 1968 (although the film was completed in the early summer of 1967), while the videotaping for the "'68 Comeback Special" was filmed from June 27-30, 1968.

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Continuing Ann Moses' article:

The microphone was turned off. He called to have someone turn it on. Another girl said, “Sing ‘U.S. Male,’” and he said in a deep voice “I’m a U.S. Male. . ." but still the mic was off. Others ere calling out songs now and while he waited for someone to turn on the mic he bent down to sign some autographs. He got back up and strummed the electric guitar and tried again, but still no sound. So he left. It’s really awful to complain in light of what we were all experiencing, but to think we would have had private little 15-minute concert except for that rotten dead-mic, well. . . it would have been great. The set was ready. It was a black box some 25 feet long and as high and wide as a room. At one end there were flashing colored lights darting in all directions. At the open end was our platform and the microphone. Elvis returned, casually, but things were not quite ready. The mic was on now. Someone asked “How’s your daughter?” Elvis answered, “Oh, about this long,” he held his hands out about a foot apart as he smiled broadly.

I found this moment on Youtube Shorts (Elvis talks about baby Lisa Marie and also sings one verse of a song we'll talk about soon, recorded by Tiny Tim):

As we know, Lisa Marie Presley was born in February 1, 1968. By the time the '68 Special was being filmed, little Yisa was close to reach 5-months-old. An infant, the King's little Princess. ♥

------------------------------------------------------------------------------------------------

Continuing Ann Moses' article:

“How long have I got?” he questions the director, “I’m getting embarrassed.” There was no answer, so he began singing “Tiptoe through the tulips” in Tiny Tim style. It was hilarious and even he couldn’t help breaking into laughter.

“Tiptoe Through the Tulips” by Tiny Tim. Also known as "Tiptoe Thru’ the Tulips with Me", is a popular song published in 1929. Singer, Tiny Tim, release his version in April, 1968. It was a new tune when Elvis was singing it out of fun during the '68 Comeback Special filming, as Ann Moses remembered happening.

You can hear Elvis singing one verse of this song on the Youtube Shorts I shared previously when Ann Moses mentions Lisa Marie). What a funny guy, our Elvis. ♥

------------------------------------------------------------------------------------------------

Continuing Ann Moses' article:

“Well, how about. . .’someone left the cake out in the rain’. . .” He was now mimicking, in an extra-deep voice, Richard Harris’ hit record “MacArthur Park.” Again, he laughed.

You can listen to Richard Harris' song on Youtube, here.

Everything was ready now. He took that special stance and GLARED at the camera. The music started. . .”If you’re lookin’ for trouble. . .you’ve come to the right place.” Rough and tough, he was singing “Trouble,” twitching lip and all. But then he called, “wait, wait. . .” and the tape stopped. He looked at us and said: “Did you see that?” He was laughing again. “I got my lip caught on the microphone!”

This above isn't the take Ann is referring to (I didn't found it [:(], but one of the takes he sings "Trouble" during one of the '68 Comeback Special's stand up concerts). You got the picture.

Continuing Ann Moses' article:

He goofed the famous lip twitch. Of course, it had to be right. It all started again and this time it was perfect. In the middle of “Trouble” the tape broke into “Guitar Man” with Elvis singing “well, I’ve come a long way from the car wash. . .” and he sings about heading back down the road with a guitar slung over his back. He picks up his guitar, slings it over his back and walks off down the black corridor into the flashing lights symbolizing the future. The audience was hysterical and that’s good because the reaction is all on tape too. It was so spontaneous and so beautiful. What I gather the special is all about is sort of a life story of Elvis through his music, ending of course, with him walking into the unknown future, that for him can only get better. All I can say is I didn’t sleep for two nights and I’m still having dreams. I guess that’s what can happen when you’re touched by magic! — Recollections by ANN MOSES, editor of TIGER BEAT and NEW MUSICAL EXPRESS MAGAZINES, as published in her Facebook page on January 8, 2024.

Pictures 1-2: Elvis '68 Comeback Special. Picture 3: Ann Moses on "Elvis: That's The Way It Is" (1970, theatrical version).

ON ANN MOSES: Ann is one of the girls appearing on "Elvis: That's The Way It Is" (1970) documentary on the fan interviews portion of the film. In one of her interviews years later, Ann says that she was a fan of Elvis previous to the '68 Comeback Special but her love for him hibernated for a while during Elvis' Hollywood years (60s) due to all the new music for the youth that was happening at the time, but then ever since 1968 and Elvis' comeback to performing live in 1969, Ann was again a die hard fan, instantly — and that she is until today. Every now and then she talks about Elvis Presley on her Facebook page, sharing articles she wrote on him to the magazines she was an editor for back in the days, also about her experiences watching Elvis performing live, the time she visited him on a movie set in 1969, and so on. Ann Moses published a memoir book where she talks about her experiences as a young woman living among big stars in the 60s and 70s - obviously she mentions Elvis there. Her memoir book is entitled "Meow! My Groovy Life with Tiger Beat's Teen Idols", published in 2017.

Picture 1-2: Elvis and Ann Moses during and after his press conference at the International Hotel (August 1, 1969 - the press conference was held right after Elvis' opening night at the hotel's showroom). Pictures 3 and 5: Elvis performing at the International hotel on August 2, 1969, both photos by Ann Moses. Picture 4: Ann Moses.

[familyabolisher]

The individual tomb is more narrowly a product of the eighteenth century and therefore more explicitly related to public health guidelines for the reorganization of urban space. Yet their logic was still largely olfactory and thus equally resonant with Laporte’s analysis. Vic D’Azyr, for example, recommended a four-foot distance between separate graves in cemeteries; individuation and separation were designed to keep the “morbific rays” that emanated from the corpses from intermingling in deadly brews. What quickly became an issue of personal dignity was initially sought in terms of individual odor and public promiscuity: to each his cesspool and to each his grave. The same olfactory/excremental factors that transformed body, bed, and tomb into distinct spatial units were operative at the level of the building and the city. Their influence is clearly demonstrated in the evolution of the hospital during the second half of the eighteenth century, a process in which many recent introduction studies have recognized the emerging physiognomy of modern space. Its characteristic feature is discernible in the consistent compartmentalization and fragmentation of space into discrete components with sharp edges and clearly delineated contours. For instance, in Jean-Baptiste Le Roy’s 1777 proposal for a new Hôtel Dieu to the Académie, the wards are isolated and aligned as separate pavilions. “By means of this disposition,” he argued, “each ward is like a kind of island in the wind, surrounded by a considerable volume of this fluid so that winds can carry off and renew it easily by the free access between them.” A single and easy step separates architectural reforms in hospital and cemetery design from public health policies, large-scale urban interventions, and utopian schemes for ideal cities.

Rodolphe el-Khoury, 'Introduction' in Dominique Laporte's History of Shit

[the-cat-at-the-theatre-door]

I know that at least two Jellylorums were also Christines in "Phantom" (Marni Raab and Sara Jean Ford)--would you happen to know who some of the others were?

Are you looking specifically for Jellylorums that were previously Christines, or more like the general Phantom - CATS or CATS - Phantom pipeline? I can give you a decent list of both, since we'd be atom smashing two hyperfixations together.

Format: NAME OF PERFORMER - Role in Phantom (Role in Cats)

Sorted by part played in PotO - I won't be naming all locations of productions these individuals were in for the sake of some kind of brevity. Since you asked mainly for Jellylorums who have been Christine, I have taken the liberty to BOLD them for easy reference.

(Note that this is not an extensive list - just a bulky one - I was already getting too long in the tooth haha)

MAIN TRIO

Sarah Brightman - Christine Daaé (Jemima - OLC)

Nikki Ankara - Christine Daaé (UK 1st Tour) (Jellylorum - London)

Celia Graham - Christine Daaé (Jellylorum - RCCL, Palladium, UK Tour 2016 etc)

Theresa Borg - Christine Daaé (Jellylorum - Circus Tour 1999)

Maree Johnson - Christine Daaé (Guest Grizabella - Circus Tour 2000)

Myrra Malmberg - Christine Daaé (Young Grizabella - Gothenburg 1989 non-replica)

Katie Knight-Adams - Christine Daaé (Swing - UK Tour 1993, Jemima - London)

Mia van den Eykel - Christine Daaé (Jellylorum - Aus/Asia Tour 1995)

Iren Bartok - Christine Daaé (Jellylorum - London)

Zoe Curlett - Christine Daaé (Jellylorum - UK Tour 2003 - 2009)

Debra Stables - Christine Daaé (Jellylorum - London)

Josie Walker - Christine Daaé (Grizabella - London and UK Tour 1993)

Ren��e Knapp - Christine Daaé (Jennyanydots/Griddlebone - Amsterdam)

Lydia Gerrard - Cover Christine (Cover Jellylorum and Grizabella - Asia Tour 2022)

Marti Webb - Christine Daaé (Grizabella - London)

Colleen Besett - Christine Daaé (Jennyanydots - Berlin and Dusseldorf)

Els Bongers - Christine Daaé (Booth Singer - Amsterdam)

Teresa de Zarn - Christine Daaé (Sillabub - Broadway)

Diane Fratantoni - Christine Daaé (Swing - Broadway, cover Cassandra, Etcetera, Grizabella, Jellylorum / Griddlebone, Rumpleteazer, Sillabub)

Marina Prior - Christine Daaé (Jellylorum - Sydney 1985)

Steve Barton - Raoul/The Phantom - (Munkustrap Original Vienna)

Richard Todd Adams - Raoul/The Phantom (Cats Chorus)

Jeremy Hays - Raoul (The Rum Tum Tugger)

Bronson Norris Murphy - Raoul/Others - (Asparagus/Gus/Bustopher)

Brad Little - The Phantom (Old Deuteronomy)

Mark McKerracher - The Phantom (Old Deuteronomy)

Pierre-Yves Duchesne - The Phantom (Old Deuteronomy)

Ian Jon Bourg - The Phantom (Asparagus/Gus/Bustopher)

Ethan Freeman - The Phantom (Asparagus/Gus/Bustopher)

Peter Polycarpou - The Phantom (Asparagus/Gus/Bustopher)

Scott Davies - The Phantom (Asparagus/Gus/Bustopher)

Phyllida Crowley Smith - Meg Giry (Victoria)

Emma Harris - Meg Giry (Victoria)

Emmanuelle Guélin - Meg Giry (Victoria)

 Karin Seyfried - Meg Giry (Jennyanydots)

Julie Carlton - Meg Giry (Electra)

Sharyn Winney - Meg Giry Understudy/Ballet Corps (Tantomile, Sillabub, Swing)

Kathleen Mullin - Meg Giry (Rumpleteazer, Swing)

Kimberley Partridge - Meg Giry (Jemima)

Jeehyun Noh - Meg Giry (Jemima)

Claire Lander - Meg Giry (Jemima)

OTHER PARTS

Peter Kevoian - Monsieur Reyer (Asparagus/Gus/Bustopher)

Greg Castiglioni - Ubaldo Piangi (Asparagus/Gus/Bustopher)

Tony McGill - Assistant Conductor (Asparagus/Gus/Bustopher)

Andrew Keelan - Passarino (Walking Cover/Asparagus/Gus/Bustopher)

Wim Van Den Driessche - Monsieur Firmin (Asparagus/Gus/Bustopher)

Gareth Snook - Monsieur Andre (Asparagus/Gus/Bustopher)

John Dewar - Swing (Asparagus/Gus/Growltiger)

John Ellis - Ubaldo Piangi (Old Deuteronomy)

Nathan Patrick Morgan - Jeweler/Ubaldo Piangi Cover (Swing, Chorus, Asparagus/Gus/Bustopher, Old Deuteronomy, etc)

Saverio Pescucci - Dancer/Ensemble (Alonzo)

Sharon Wheatley - Replacement Page/Swing (Jennyanydots)

Katharine Heaton - Swing and Understudy (Swing/Jellylorum)

Karl Morgan - Dancer in the 2004 Film (Pouncival 1998)

Chrissy Brooke - Ballet Girl (Chorus Cat in 2019 Film)

Marisa Paull Gorst - Dancer/Ballet Girl (Swing)

Marise Dusheiko - Ballet Girl (Victoria)

Harriet Ho Yin Chung - Ballet Girl (Swing)

Myrthes Monteiro - Ensemble (Jemima)

Lucius Wolter - Ensemble (Walking Cover)

Matt McFarlane - Understudy Phantom/Raoul in Love Never Dies (Munkustrap)

Bradley Delarosbel - Unknown (Likely Ensemble) (Admetus/Macavity)

Stephen Morgante - Unknown - likely ensemble (Skimbleshanks/Swing)

Anton Luitingh - Resident Director/Possibly Played Raoul (Munkustrap)

And technically, Jack Rebaldi was supposed to play Monsieur André in the Theatre Mogador production of PotO, but that was tragically cut short and never came to fruition (justice for that cast).

[thefirstlioveyou]

my stranger things 5 predictions - a log

(some are oddly specific with no legitimate reason. just a feeling. i will update from time to time! i am creating this just to see how much of it i get right lol)

12/31/23 - pre-production predictions

- mike wears ripped jeans or something with rips in them

- mike wears more flannel

- will has shaggy hair similar to season 3, just more styling to it

- eleven has curlier hair, similar length to season 4, a little shorter.

- dustin dies (a feeling)

- lonnie dies (everyone cheered)

- murray dies (also just a feeling)

- will has a power of some sort

- byler kiss lovers lake episode 6

- melvin break up episode 1 or 2

- mike gets vecna’d

- mike has an emotional coming out scene that involves him breaking down

- someone gets beheaded (some random background character)

- a character gets trapped somewhere (like a building or room)

- smalltown boy plays

- mike and will leave Hawkins

- the kids finally get into some more combat scenes

- someone’s birthday

- lucas talks to either will, dustin or mike about max

- mike and nancy have some sort of heart to heart

- mike and dustin grieve for eddie greatly and reflects back to him a lot (like inspiration)

- flooding

- hellfire club are chased down

- will and mike share a bed

- lucas and max get to kiss again

- mike’s parents demand him to stay away from will and hellfire

- bullying for the boys gets more severe

- someone loses a limb

- mike checks will out and has a gay panic

- someone gets hit by a car

- homophobia

- a transformation of some sort (the fly was on the whiteboard for ideas sooo)

- the painting is brought up ofc and leads to byler endgame

- blizzard

———————————————————————————

01/02/24

- we get scenes of the party biking together again finally

- massive explosions

- nancy uses a machine gun

- steve stays single and figures out what he wants to do career wise and decides to focus on that (please)

- el finally gets to live a normal life in the end and enjoys her teenage years with her friends. let her find who she is without mike!

- lucas gets more important screentime!

- robin has moments with will or mike

- robin comes out to someone else

- spider-like creatures

- hospital scenes (besides max)

———————————————————————————

01/05/24 - production begins today!

- kali makes a come back for at least two episodes

———————————————————————————

01/07/24

- steve dies (maybe?? maybe not??)

[dailyanarchistposts]

Footnotes

[1] I here gladly acknowledge my obligations to Victor Drury, {15} whose classification I adopt and follow.

{1} Actually Say may have gone farther.

{2} From Royal Commentaries of the Incas (1609) by El Inca Garcilaso de la Vega (c. 1539-1616; not to be confused with the earlier Spanish writer of the same name); Lum quotes from the 1871 translation by Clements Markham.

{3} Principles of Sociology I.ii.10

{4} Probably American historian John Lothrop Motley (1814-1877).

{5} Swiss historian and economist Jean Charles Léonard de Sismondi (1773-1842).

{6} Jack Cade, leader of 1450 peasant rebellion; John Wycliffe, 14th-century Catholic dissident; Jacob van Artevelde and Philip van Artevelde, father and son, 14th-century Flemish nationalist leaders; Étienne Marcel, bourgeois leader involved in the 1358 French peasant rebellion known as the Jacquerie; rising of the Swiss cantons: a 14th-century confederacy that threw off Habsburg rule; Cola di Rienzi, 14th-century Italian revolutionary leader; Hanseatic League, Renaissance mercantile alliance of northern Europe.

{7} A reference to Auguste Comte’s (1798-1857) division of history into theological, metaphysical, and positive/industrial phases, though in his description of the details Lum seems closer to Spencer than to Comte.

{8} Barebone’s Parliament, form taken by the British Parliament in 1653, between the dissolution of the Rump Parliament and the rise of Cromwell’s Protectorate, taking its name from the involvement of religious dissenting leader Praise-God Barebones or Barebone or Barbon (c. 1598-1679); Emmanuel Joseph Sieyès (1748-1836), French revolutionary leader who served in the national legislature known as the Convention.

{9} “Progress and Order” (or equally “Order and Progress”) was a popular slogan among followers of Comte; see the Brazilian flag.

{10} Pen name of American humorist Benjamin Drew (1812-1903).

{11} Bonds payable only upon the death of a third party, though here used metaphorically to mean payable only in the afterlife.

{12} “The voice of the people [is] the voice of God.”

{13} Scottish writer Thomas Carlyle (1795-1881), whose description of economics as “the dismal science” has often been thought (as probably here by Lum) to refer to its conservative aspects (e.g., Malthus’s alleged proof that improvements in the lot of the working class were unattainable), though in fact Carlyle meant to be condemning its liberal aspects (specifically its opposition to slavery).

{14} plural sic.

{15} Victor Drury (1825-1918), French-born American anarchist active in the Knights of Labor.

{16} William Godwin (1756-1836), English anarchist philosopher who advocated voluntary equality of property.

{17} American economist Henry George (1839-1897), who though generally a free-market advocate regarded society as the legitimate owner of all land, and consequently favoured replacing all taxation with a single tax on land; American state-socialist writer Edward Bellamy (1850-1898); Lum’s line “looking backward to Sparta and Peru” is a sarcastic reference to Bellamy’s utopian 1888 novel Looking Backward.

{18} A reference to an example in Henry George’s 1881 book The Land Question.

{19} German economist Wilhelm Roscher (1817-1894), an important influence (perhaps surprisingly) on both the German Historical School and the French Liberal School. The passage quoted is from Joseph Lalor’s 1878 translation of Roscher’s 1854 Principles of Political Economy.

{20} A frequent misquotation from Shakespeare’s Tempest IV.1.151-57, eliding “the baseless fabric of this vision” with “we are such stuff as dreams are made on” a few lines later.

{21} English economist David Ricardo (1772-1823) had argued in his 1817 Principles of Political Economy and Taxation that there was a natural tendency for wages to approach the cost of production of labour, which he held to be the bare cost of keeping the labourer alive and able and willing to work; however, he also held a) that wages may be kept above this natural rate indefinitely in an improving economy, and that b) willingness to work depends in any case on cultural factors (including prevailing standards of comfort and decency). Dropping these qualifications, Ferdinand Lassalle (1825-1864) and other socialist thinkers developed Ricardo’s theory into an Iron Law of Wages according to which wages are doomed to stand forever at bare physical subsistence so long as the wage system survives.

{22} Classical liberal English statesman John Bright (1811-1889), free-trade and anti-imperialist activist; the quotation is from Bright’s Glasgow University installation speech in March 1883.

{23} Whatever source Lum is quoting (presumably by Henry George) is evidently to be found reprinted in the 1901 Sunset Club.

{24} In Greek mythology Cerberus was the three-headed dog who guarded the entrance to the underworld.

{25} A standard Spencerian concern, taking the line of progress to run toward greater differentiation. By “to greater differentiation” Lum presumably means “in preference to greater differentiation.”

{26} The quotation is from Spencer’s 1876 Principles of Sociology V.18 §570.

{27} This phrase often means “piecework,” but in the present context seems to mean labour done on one’s own without cooperation.

{28} The English phrase “to go without saying” derives from the French aller sans dire, although aller de soi, “to go of itself,” may be the more common French idiom.

{29} Lum had had an acrimonious falling-out with the Greenback Party ten years earlier.

{30} Change of antecedent sic.

{31} Presumably there should also be a hyphen between “from” and the first “day.”

{32} An agrarian association friendly to the urban labour movement, formed in Michigan in 1889; a similar movement of the same name was formed in Ontario the following year.

{33} The passage that follows is drawn from the article “‘Greatest Happiness’ Principle” (Westminster Review XI, no 21 (July 1829), which is apparently but not explicitly by Bentham; see Macaulay’s discussion.

{34} The quotation which follows is from Herbert’s “A Politican in Sight of Haven.”

{35} Principles of Sociology V.xviii.563.

{36} Probably a reference to the title of Henry George’s 1879 Progress and Poverty.

{37} Either American economist Amasa Walker (1799-1875) or his son Francis Amasa Walker (1840-1897).

{38} American anarchist and currency reformer William Batchelder Greene (1819-1878).

{39} Hebrews 11:1.

{40} This makes no sense, and is an error for “will not go bankrupt at the same tine” in the original.

{41} Should be “since it is subscribed.”

{42} From Proudhon’s Organisation of Credit and Circulation (1848).

{43} Science of Wealth (1866), ch. 5.

{44} Another quotation from Roscher.

{45} “The great thinker is the secretary of his age”: from English philosopher George Henry Lewes (1817-1878), Problems of Life and Mind (1874).

{46} The Land Question (1881), ch. 16.

{47} Bavarian-American anarcho-communist Johann Most (1846-1906).

{48} French novelist Edmond François Valentin About (1828-1885).

{49} First quotation from Rights of Man (1792), II.1; next three from First Principles of Government (1795).

{50} Reference to a quotation from Malthus.

{51} Science of Wealth, XI.6.

{52} American abolitionist, businessman, liberal economist, and antiwar activist Edward Atkinson (1827-1905).

{53} German-American anarchist August Spies (1855-1877), one of the Haymarket martyrs.

{54} Isaiah 58:1.

{55} American abolitionist poet John Greenleaf Whittier (1807-1892), in “Stanzas for the Times.”

[agendaculturaldelima]

#ProyeccionDeVida

🎬 “VICKY CRISTINA BARCELONA”

🔎 Género: Comedia / Romance

⌛️ Duración: 96 minutos

✍️ Guion: Woody Allen

🎼 Música: Giulia y Los Tellarini, Juan Serrano, Paco De Lucía, Muriel Anderson & Jean-Félix Lalanne, Emilio De Benito, Biel Ballester Trio With Leo Hipaucha & Graci Pedro, The Stephane Wrembel Trio y Juan Quesada

📷 Fotografía: Javier Aguirresarobe

🗯 Argumento: Vicky (Rebecca Hall) y Cristina (Scarlett Johansson) son dos jóvenes norteamericanas que van a Barcelona a pasar unas vacaciones de verano. Vicky es sensible, racional y tiene intención de casarse; Cristina es apasionada y busca aventuras emocionantes; en realidad, no sabe muy bien lo que quiere, pero sabe perfectamente lo que no quiere. En Barcelona, ambas se ven envueltas en una relación poco convencional con Juan Antonio (Javier Bardem), un conocido pintor vinculado sentimentalmente a su tempestuosa ex mujer María Elena (Penélope Cruz).

👥 Reparto: Javier Bardem (Juan Antonio), Penélope Cruz (Maria Elena), Rebecca Hall (Vicky), Scarlett Johansson (Cristina), Patricia Clarkson (Judy), Chris Messina (Doug), Christopher Evan Welch (Narrador), Kevin Dunn (Mark) y Pablo Schreiber (Ben).

📢 Dirección: Woody Allen

© Productoras: The Weinstein Company, Gravier Production & Mediapro

🌎 Países: Estados Unidos-España

📅 Año: 2008

 📽 Proyección:

📆 Jueves 24 de Octubre

🕗 8:00pm.

🎦 Cine Caleta (calle Aurelio de Souza 225 - Barranco)

🚶‍♀️🚶‍♂️ Ingreso libre

🙂 A tener en cuenta: Prohibido el ingreso de bebidas y comidas. 🌳💚🌻🌛

[monkeyssalad-blog]

Maria-Rosa Rodriguez by Truus, Bob & Jan too! Via Flickr: German postcard by Krüger, no. 902/334. Photo: Art Messick. Exotic starlet Maria-Rosa Rodriguez was the sexy leading lady of a dozen French and Italian films of the 1960s and early 1970s. Her main claim to fame was the Louis de Funès comedy Le grand restaurant (1966). There is not much biographical information to be found about Maria-Rosa Rodriguez on the internet. A source suggests she was a Spanish actress, but possibly she is born in Ecuador. In 1960 a Maria-Rosa Rodriguez was crowned Miss Ecuador Mundo 1960. However, there is a bit more information about her film career. IMDb writes that during her film career she was also credited as Maria Rosa Rodrigues, Rosa-Maria Rodrigues, Rosa Rodriguez and Toty Rodriguez. Her first film appearance was an uncredited part as ‘Palma Diamantino’ in the French comedy Pouic-Pouic (1963, Jean Girault) starring Louis de Funès. Soon followed more film parts as a stripper in the kinky cannibal comedy Aimez-vous les femmes?/Do You Like Women? (1964, Jean Léon),co-written by Roman Polanski, and the sexploitation drama L'amour à la chaine/Tight Skirts, Loose Pleasures (1964, Claude de Givray). She appeared again as eye-candy in the spy film Coplan FX 18/FX-18 Superspy (1965, Riccardo Freda), the comedy Les gorilles/The Gorillas (1964, Jean Girault) and the crime comedy La grande frousse/The Big Scare (1964, Jean-Pierre Mocky) starring Bourvil. Other French films of the mid-1960’s in which she appeared were Les enquiquineurs/The pests (1965, Roland Quignon), the comedy anthology Les bons vivants/How to Keep the Red Lamp Burning (1965, Gilles Grangier, Georges Lautner) and the melodrama Le chant du monde/Song of the World (1965, Marcel Camus) starring Hardy Krüger. 1966 must have been a good year for Maria-Rosa Rodriguez. She was the leading lady opposite the immensely popular Louis de Funès in the hit comedy Le grand restaurant/The Big Restaurant (1966, Jacques Besnard). The choleric and energetic De Funès is the chef of Septim's, a very exclusive Paris restaurant. Problems occur when the president of an unnamed country gets kidnapped while having a dinner at Septim's. With police, gangsters and Maria-Rosa Rodriquez behind his back the always gesticularing De Funès tries to find the missing head of state by himself. The highlight of the film is a fabulous scene where a DS Citroen falls into a river and continues its ride as a boat. Maria-Rosa Rodriguez soon followed this up with a role in the fun filled caper Estouffade à la Caraïbe/The Gold Robbers (1967, Jacques Besnard) costarring with swimming champion Frederick Stafford, Jean Seberg and Serge Gainsbourg. She also appeared on tv in Amalia Escudero an episode of Au théâtre ce soir (1966). More tv roles followed in series like Les chevaliers du ciel/The Aeronauts (1967) – about the adventures of the French comic book heroes Tanguy and Laverdure - and Fortune (1969, Henri Colpi). In the early 1970’s she moved to Italy where she appeared in the ‘giallo’ thriller Il coltello di ghiaccio/Knife of Ice (1972, Umberto Lenzi) starring Carroll Baker. Her last film was a Spanish horror production La novia ensangrentada/Blood Castle (1972, Vincente Aranda). Most of Maria-Rosa Rodriguez’s biographies on the net stop here, but she kept on working as an actress. Under the name of Toty Rodriguez she is now a well known stage actress in Ecuador. In 1989 she appeared in another film, the East-German production Die Besteigung des Chimborazo/The Ascent of the Chimborazo (1989, Rainer Simon) filmed on location in Germany, France, Spain and Ecuador. In this adventure film she appeared briefly as a countess. More recently she was seen in a leading part in the Ecuadorian film Un titán en el ring/A Titan in the Ring (2002, Viviana Cordero). According to Rotten Tomatoes it’s an inspiring drama about the world of masked wrestling, set in a small community in the Andean Mountains. Sources: IMDb, All Movie Guide, Rotten Tomatoes and Wikipedia.