#Elizabeth Craft Designs

[teribears]

My neighbor is the best and he always brings my garbage cans in on trash day so I made him a lil thank you card.

[crossstitchpatterns]

If making Alfgan

[theflyingkipper]

a short crappy essay about emily

The writing of girl characters in TTTE genuinely infuriates me. There’s a lot of girl characters who were done absolutely dirty, but it always comes back to Emily for me.

Emily had agency and attitude and purpose in S8-12 and it was erased in favor of a “hi. I’m nice. Im the girl character” nothing one-note personality. What do we know about post HiT era Emily? (And honestly, S7 Emily too. Her introduction is kind of weak in my opinion). She wants to help out. She’s safety oriented. She’s… I don’t know. You could replace her with Rosie or Rebecca or whoever in the cgi episodes where she’s driving the story, and nothing would change. I can’t name any major differences between Emily post-rewrite and Rosie in her entire tenure. Aside from how they’re introduced to Thomas and interact with him, really… which sucks. They don’t have major differences in characterizations outside interacting with a male lead. 

AND the worst part is that there are moments where you can SEE they were crafting bold, interesting girl characters and they were either completely sanitized or forgotten about. Molly has a very particular basis. It's not a flashy type where the engine’s basis is the center of the character’s entire personality/marketing/etc (Mighty Mac and Hank come to mind). It feels clear to me that Molly was going to be more important. And then… she wasn’t. She appeared like 3 times, said nearly nothing and never appeared again. I wish I lived in a world where Emily kept her bossy personality and had this contrasted by Molly’s shyness and timidity. 

In my perfect world, Emily is bossy and important, and has some complexes about not needing help or knowing more than others. She’s intelligent and rambunctious, feeling like she’s made for more than the fast express duties that she was designed for. She wants to be involved and get dirty. (Which is a sentiment that I think a lot of young girls can relate to!) Maybe this causes other engines to view her as childish, but we know it's because even if she’s an old design- she has youthful zeal. I think that's a compelling personality and character to make from a Stirling Single, rather than just making another “old wise sage” character (we’ve got plenty of those and in different flavors!) An old engine that's hard to register as “old” at all, though not like Edward, she reads like this because she’s childish and immature- Someone immature, but in a distinct flavor of immature than Percy or Gordon. This Emily has so much room to bounce off other characters, and she does. The way she acts in Respect for Gordon comes to mind. Emily’s bossiness brings a much needed shakeup to the monotony of seasons 8-12. 

In addition, big, snooty, important characters are a staple of TTTE, but it's an archetype almost exclusively reserved for male characters. You could make an argument that Daisy and Elizabeth support these, but I think they’re different (or underdeveloped) enough not to fit this. Emily is the exception here. I think it's why she’s remembered so well as the female TTTE character that immediately comes to mind. Emily could be great, and she was great. 

[alexthesillybilly]

the girls !!

going insane about Charlotte and Cassidy being foil characters of eachother.

Charlotte would do anything, even forgive William, to give herself and her friends peace and freedom.

Cassidy would do anything, even give up her and her friends' peace and freedom, so she never has to forgive William.

uuuuuoouuhoohuh

[yama-bato]

National Gallery of Ireland

Susan Mary Yeats

"Susan (Lily) Yeats’s Apple Trees, silk embroidery on blue poplin designed by Elizabeth Yeats: In 1890s London, the sisters became part of an artistic circle that shaped an Irish revival, and were influenced by William Morris and the Arts and Crafts Society. " ( via )

[inbabylontheywept]

That isn't a ship, it's a cannon with FTL

Aggral Thrawn’s gut was a grotesque thing to behold: Soft and distended, covered with a coarse layering of fur, a fat purple worm of a scar crossing over it’s almost spherical circumference. So vicious was the scar that even gazing upon it brought unwanted imagery of the fat ape-like creature screaming in pain, both arms working as a dam to keep the tidal wave of bloody guts from spilling out of its three-fingered fists

Yet, for all its grotesque horror, he trusted it. That same gut that had almost gotten him killed so many years before had worked hard to save him again and again after. It was what had brought him from mere gangpress, to quartermaster, all the way to the captain of his own pirate vessel.

And right now, it was telling him to call off the attack. The readings he was getting from the craft ahead made no sense. The crew space was too small, the energy readings were off the charts, and there was something almost military about it. Yet, as he looked over the hull, he couldn’t spot a single weapon. Nothing about it made sense.

The crew had enough in the larders to pass on a ship this sturdy. Even as ships on either side of him pulled forward, eager to be the first to raid the craft, he aborted the ram sequence to watch from a distance.

The crew was disappointed. It’d been too long since they’d had a good, solid fight, but they knew better than to second guess Aggral’s gut. It had earned its place as the ship’s oracle by rite of blood, and was to be respected accordingly.

---

There were only four crew aboard the USSN PMAC: Dalton Dial, in charge of weapon systems, Elizabeth Harris, in charge of navigation, and the Pratchett siblings, who worked together to keep the fifth generation fusion reactor that powered the whole abomination within some semblance of working order.

The Pratchett siblings’ love of the reactor (which they had affectionately named “Sun-Son”) was rivaled only by their hatred of the rest of the craft. Elizabeth and Dalton had more mixed feelings on the matter. Elizabeth considered the ship “Perhaps a little ridiculous on paper, but a work of military genius,” while Dalton lauded the idea as “Literally the coming of the Messiah, the only thing I prayed for my whole adulthood, and the answer to that prayer manifest, just for me, to bring me back to the flock.”

Their mixed feelings could be explained away just by describing the craft concept:

The PMAC was not a ship. It was the largest possible gun that could still be attached to an Alcubierre drive, with just enough manpower to steer, aim, and maintain the thing for long term patrols.

The prototype MAC that the life-support, thrusters, and reactor had been constructed around hadn’t even been built with space in mind. It was originally designed as a ground-to-orbit defense weapon. If it wasn’t for the capacitor bank the ship would’ve needed almost a minute between each shot to get enough power, even with the fifth generation reactor. Luckily, it could start out each battle with enough charge to fire off a salvo of four before needing to begin recharging for its next launch.

It had just such a salvo prepared for the pirate ambush that their military grade scanners had picked up minutes earlier.

Dalton was not taking the delay very well.

“With all due respect mam, I’ve had a lock on all three for almost a minute now. I could just fire and claim that I sneezed. The Pratchetts would back me up on this. Right guys?”

Emily Pratchett snorted.

“Why is it that when the weaponsmaster says ‘with all due respect’ he always means ‘fuck you for giving my stupidly giant gun blue balls?”

Thom Pratchett shrugged.

“Maybe he’d say it less if you weren’t so eager to translate it to the navigator for him.”

Elizabeth was slightly amused by the conversation. It was hard to keep things particularly formal while on a crew this small. Still, she was waiting for something. She’d gotten permission from the brass to take a new approach to fighting with the ship.

They’d proven it could win battles. Now, it was time to establish shock and awe. And as it currently stood, dead men told no tales.

Thus, they needed more living ones. And as she watched two pirate ships pull forward, with one hanging back, she knew just who’d live to pass on this particular legend. ---

Aggral watched the ships advance on his HUD, the blips crossing the thousands of kilometers between them and the strange ship in seconds. For a moment he felt regret. Was he making a mistake? Was this going to be what led to some upstart in the crew thinking they could do things better than him?

Then, the world went mad.

The power readings on the strange ship spiked. Hard. He’d thought that the baseline levels were outrageous, but they must’ve had some sort of absurd capacitor bank to expel that much energy that fast. The twin prongs that made up most of the length of the ship gave off some sort of EMP that fried the electronics of the Viscera, his sister ship, cutting off their radio traffic. His crew scrambled to find some way to regain contact when Gods of the Dead, forgive me my sins, and and forget me my debts, the actual weapon went off. The EMP hadn’t even been the attack, it had just been a side effect.

He hadn’t seen a weapon because he’d been looking for one on the hull, some kind of guardian laser, or a missile pod. He hadn’t even conceived that the whole goddamn vehicle could be the weapon. But what kind of weapon would charge up like that? A laser would just fire over a sustained period. What would need a burst like-

He stopped midthought as it hit him: A railgun.

He stopped again as it hit them: The kinetic charge would have to have been moving at almost 0.8c for it to just ignore the evasive maneuvers like that. The ferroslug itself wasn’t detected by any of their defense measures aboard, but the thermal readings of the Viscera made every infared sensor aboard scream in horror. Contact with whatever slug had hit it must’ve reduced the whole thing to plasma. It was almost inconceivable.

He was already screaming out the full retreat call when the ship fired twice in rapid succession at the Rictus, which was still recovering from what had just happened to its partner. The first shot was dead through the center. The second hit some target a few dozen meters off to the side.

A direct hit on an escape pod. Apparently, the captain had tried to save himself. Even in the mortal terror that he felt at that moment, Aggral could take a grim satisfaction at that second shot. To leave all the men that followed you to their deaths was a cowardice that he could not bear to consider. He would rather die.

And now, he was going to. Jump was fifteen seconds away, and the console was telling him that the ship was pinged. They knew where he was, they had him in their crosshairs, and they were going to pull the trigger.

He traced a finger over the purple scar absentmindedly. This was it. He’d been living on borrowed time since that first wound, and now he was to meet his ancestors.

He was ready.

---

Dalton was wincing, even as he maintained his ping on the ship. He knew that Elizabeth was just doing her job, but even by his admittedly bloodthirsty standards, there was something fucked up about keeping a ship in ping like this. It was like forcing someone to look you in the eyes before you slit their throat. Way too personal for his tastes.

Elizabeth was keeping an eye on the craft, making sure that no escape pods were jettisoning. Part of her was hoping that some would, but whatever other faults these pirates had, they were loyal to each other at least. As the ultraviolet scanners gave the telltale flair of redshift, she told Dalton to turn off the ping.

To say he was relieved was an understatement. In the middle of a firefight, he couldn’t question Elizabeth’s orders, but for the first time in a long time, he’d been afraid to pull the trigger. Now he didn’t have to.

He almost slid out of his chair as he asked the question that had been on his mind since the engagement began.

“Mam, what the hell was that?”

Elizabeth smiled warmly at her very surprised crew even as her words came out, cold as ice.

“A message.”

---

Thanks for reading this far! I'm moving my previous works from reddit to here. If you follow me, more will come. If you're impatient, you can skip to the source and read things at https://www.reddit.com/user/InBabylonTheyWept/

[the-jewel-catalogue]

Queen Elizabeth's Engagement Ring

Prince Philip designed the square-cut diamond engagement ring with jewellers Philip Antrobus Ltd.

The ring is a platinum ring set with eleven diamonds, a 3 carat round solitaire and five smaller stones set on each shoulder. The diamond's used were from his mother's tiara.

Crafted from platinum, the ring is set with eleven diamonds in total, including five smaller stones set on each shoulder. A design like this isn’t seen often, it’s very unique. 

[watchnrant]

A Discovery of Witches Season 2: A Darker, Richer Narrative

If you thought A Discovery of Witches was just another fantasy romp with a bit of historical flair, buckle up for Season 2—this ride gets delightfully more treacherous. Based on Deborah Harkness’s All Souls Trilogy, the show kicked off with a seductive blend of magic, academia, and some good old-fashioned supernatural skullduggery. But with its sophomore season, it doesn’t just dip its toes into darkness—it dives headfirst into the murky waters of power struggles, betrayal, and Elizabethan angst. The result? A more prosperous, textured narrative that wraps around you like a cloak on a chilly London night, refusing to let go.

Power and Betrayal: The Core of Season 2

This season isn’t content with picking up where the first left off—it’s a full-blown transformation. Power dynamics take center stage; with stakes so high, you’ll need a ladder to catch your breath. In a world where every glance, whisper, and seemingly innocuous gesture could be a precursor to betrayal, the relentless pursuit of control gives the season its teeth. Whether safeguarding ancient secrets or simply trying to survive another day, the characters are pushed to their limits, leaving you glued to the screen, wondering who will crack under the pressure first.

From Modernity to Mystery: The Haunting Atmosphere of Elizabethan London

Say goodbye to the sleek, modern settings of Season 1—this time, we’re strolling through the gritty, shadow-laden streets of Elizabethan London. The production design team has outdone themselves, crafting an environment where every alleyway feels like it’s hiding something sinister. With dim lighting and claustrophobic sets, the atmosphere is laced with palpable tension. It’s a visual feast that perfectly complements the season’s darker tone, making you feel like danger lurks around every corner—and honestly, it probably does.

A Walk Through Time: The Immersive Historical Detail

For the history buffs out there, Season 2 is a love letter to the past, filled with all the pomp and peril you’d expect from the era. The Elizabethan setting isn’t just a backdrop; it’s a living, breathing character in its own right. Every detail pulls you deeper into this world, from the meticulously crafted costumes to the period-accurate architecture. This historical immersion doesn’t just serve the aesthetics—it enriches the entire narrative, grounding the fantastical elements in a world that feels as real as your own. Unless you know something we don’t, except for the witches and vampires?

The Dark Evolution of Matthew Clairmont

Matthew Clairmont’s past comes back to haunt him with a vengeance, and Matthew Goode’s performance is captivating. He expertly navigates the fine line between restrained intensity and explosive emotion, bringing the character to life with smoldering intensity and magnetic terror. It’s a masterclass in understated menace that makes for some compelling viewing.

Love and Power: The Shifting Dynamics of Matthew and Diana

The relationship between Matthew and Diana remains the beating heart of the series, but in Season 2, it’s fraught with tension from external threats and an evolving power struggle. Diana is no longer the hesitant scholar we met in Season 1—she’s coming into her own, challenging Matthew in ways that shake the foundations of their relationship. The patriarchal backdrop of Elizabethan society adds another layer of complexity, making their love story as much about power as it is about passion. It’s a push and pull that keeps the drama sizzling, and you’ll find yourself invested in every charged exchange.

Blending Fact with Fiction: Historical Figures in the Plot

One of the season’s most delightful tricks is its seamless blending of historical figures with its fictional narrative. Queen Elizabeth I and Christopher Marlowe are more than name-drops—they’re integral to the plot, adding a layer of authenticity that enriches the story. Their interactions with Matthew and Diana aren’t just for show; they’re pivotal to the unfolding drama, offering some of the season’s most electrifying moments. This blending of fact and fiction grounds the supernatural elements in history and sets the series apart from other contemporary fantasy offerings.

A Delicate Balance: Romance and the Supernatural

A Discovery of Witches has always balanced romance with its supernatural elements, and Season 2 is no different. The romantic tension between Matthew and Diana is as intoxicating as ever, but it never overshadows the show’s broader mythos. Instead, the romance enhances the narrative, adding an emotional depth that complements the dark intrigue at the heart of the plot. It’s a careful dance between the heart and the supernatural, and the show pulls it off with aplomb.

Star Performances: Matthew Goode and Teresa Palmer

Matthew Goode and Teresa Palmer continue to anchor the show with stellar performances. Goode brings Matthew Clairmont to life with a smoldering intensity and magnetic terror, while Palmer’s portrayal of Diana Bishop is a revelation. She embodies the character’s transformation with grace and strength, creating an electric dynamic that crackles with every scene. The supporting cast also shines, each actor bringing something unique to the table, further enriching the narrative’s tapestry.

A Visual Feast: The Cinematic Brilliance of Season 2

Visually, Season 2 is a triumph. The cinematography is nothing short of cinematic, with each shot meticulously crafted to enhance the story’s mood and tone. The interplay of light and shadow, the rich color palettes, and the precise camera angles all work harmoniously to create a world that is as visually compelling as it is narratively rich. It’s the kind of show where you could pause at any moment and find a frame worthy of hanging on your wall—a testament to the care and craft that’s gone into every aspect of its production.

Fan and Critic Reactions: Embracing the Darker Narrative

Season 2 has struck a chord with fans and critics alike. The darker, more intricate narrative has been widely praised, with many appreciating the show’s boldness in deepening its themes and expanding its world. The shift to the gritty realism of Elizabethan London has been a particular highlight, adding a fresh dynamic that keeps the series from stagnating. Critics have lauded the show for its character development, atmospheric tension, and historical detail, solidifying its place as a standout in the fantasy genre. It’s a season that doesn’t just continue the story—it elevates it, pushing the boundaries of what a fantasy series can be.

Building on a Solid Foundation: How Season 2 Outshines the First

While Season 1 laid the groundwork, Season 2 takes it to new heights. The progression in tone, plot, and character arcs is evident in every frame, with the creators intent on building something more ambitious and complex. The historical setting, darker themes, and more intense character dynamics contribute to a fresh yet familiar season—a continuation of the story, but one willing to take risks and challenge its audience in new ways.

Delving into Darkness: The Weight of Season 2

The thematic weight of Season 2 is undeniable. It’s not just a stylistic shift—it’s a narrative evolution that delves into the darker corners of its characters’ psyches and the world they inhabit. The exploration of power, betrayal, and control resonates deeper, making the stakes feel higher and the choices more consequential. This isn’t just about good versus evil—it’s about survival, legacy, and lengths to protect what one loves. It’s a season that engages the heart and the mind, leaving you pondering its themes long after the credits roll.

Season 2’s Triumph: A Captivating Blend of Fantasy and History

Ultimately, Season 2 of A Discovery of Witches is a triumph. It’s a masterful blend of fantasy and history, romance and intrigue, all wrapped up in a visually stunning package. The darker, richer narrative pulls you in and refuses to let go, offering an experience as intellectually stimulating as it is emotionally engaging. Whether you’re here for the history, the romance, or the supernatural spectacle, Season 2 delivers on all fronts, leaving you eagerly awaiting what the series has in store next.

[fool-counter]

Players can get some of the earliest glimpses into the pizzeria’s history through the minigames in each of the main titles. Before being called Freddy Fazbear’s Pizza, the first restaurant was called Fredbear’s Family Diner. Two men opened the original restaurant and its several rebrandings as co-owners: William Afton and Henry Emily.

Their restaurant’s concept was to create a special place for children’s birthday parties. While mostly serving pizza and cake, the thing that made this restaurant chain special was their “animatronic” wait staff and entertainment. Originally, they were unable to create animatronics. So, instead, they crafted two spring-lock suits that they or their staff could wear to appear as animatronics or place on a stage to perform. Their names were Springbonnie and Fredbear. The concept for the business did so well that they ended up creating a second location: Freddy Fazbear’s Pizza.

Within this new location, four new animatronics were created and adored. They were Freddy, Bonnie, Chica, and Foxy. William Afton would use his success and the spring-lock suits to act on his cruel and abusive thoughts toward the children who flocked to his restaurant, specifically the five children at the birthday party that he murdered after luring them into the backrooms with the spring-lock Bonnie suit.

To cover up his sick actions, he made all of the suits fully automated but still hollow enough for children to fit inside. Once they were all automated, he placed the children’s bodies within them to discard the evidence—placing the children’s souls within each of the animatronics. With no bodies or evidence, no charges could be pressed against William Afton. However, the missing children’s case eventually caused the second location to close.

After the closing of the second establishment and Afton’s growing interest in capturing children, William created another sister location, based on his new animatronic, Circus Baby. This location, Circus Baby’s Pizza World, was only owned by Afton but served the same basic concept. Circus Baby was made specifically to draw children to her by acting child-like. She could blow up helium balloons, dispense ice cream, and use her claw to grab children and stuff them inside of her.

Circus Baby was specifically designed for trapping and killing children when she was alone with them in a one-on-one situation. Despite being a despicable man, Afton had a family—two sons and a daughter. He actively kept his children away from animatronics, such as Circus Baby, to keep them safe. However, Circus Baby’s design was too entrancing to his youngest, Elizabeth, and she was consumed by the animatronic. Circus Baby became aware of the soul of Elizabeth inside her. After losing his daughter to his creation, he shut down the sister location immediately.

As players likely noticed, the fourth main title within the series is quite different from previous versions of the game. Instead of playing as a new hire within the facility to work nights and watch after the animatronics, players are a child who is haunted at night by the animatronics. This child is Evan Afton, the youngest son of William Afton.

After losing his only daughter to Circus Baby, William chose to scare his youngest son away from the animatronics using a frequency that would cause his son to hallucinate. During these hallucinations, Evan would believe that the animatronics from the restaurant were within his home and trying to reach his room and eat him.

On top of this, William encouraged his older teenage son, Michael, to bully Evan and regularly scare him with a Foxy mask. However, Michael purely chose to bully Evan out of his malicious intent and ended up bullying Evan inside the diner for his birthday party. He gets his friends to help him do this and pushes Evan into the mouth of an on-stage animatronic to truly scare him. Due to the design of the spring-lock animatronic, Evan’s tears caused the suit to fail and crush him inside the mouth.

The suit had crushed Evan’s head, and after heading to the hospital, he was put into a coma to be stabilized. This would not last, however, and Evan ended up dying in his coma. Despite all the work that William had done to keep Evan from being killed by any of his animatronics, he failed to reign in Michael and inadvertently caused his eventual death. After losing a second child to the animatronics, the original diner closed, and William descended into madness.

William leaves Fazbear Entertainment, and Henry is left to solve all the problems in his stead. As he isn’t the inventor of the animatronics and knows how many issues there are with the spring-lock suits, there are a lot of problems for him to sort out. He hires a full team to work out all of the previous issues and create a new name within Fazbear Entertainment.

This included stocking the old animatronics in a backroom and creating the new and improved “toy” versions of Freddy, Chica, Bonnie, and Foxy. They also added a couple of new animatronics into the mix, like Balloon Boy. As an extra added security feature, Henry gave the animatronics facial recognition systems, specifically meant to spot and remove William if he ever returned. Later, he created the Puppet animatronic to protect his daughter, Charlie, as he was nervous about bringing her to the new establishment, Junior Freddy Fazbear’s Pizzeria.

After the death of Evan, everything went downhill for William. His wife became unstable and left, while he berated and blamed Michael for Evan’s death. William went back to the closed original Fazbear’s and destroyed the spring-lock suit that had crushed Evan before placing Evan’s body inside the suit to try and put him back together. Upon hearing about the grand opening of a new Fazbear’s, he immediately drove there.

Security stopped him from entering, and he was met by Henry, who heatedly asked him to leave and reminded him that it was his fault that all the children died in the previous restaurant. Angered by this, Afton left, making plans to get his revenge on the co-owner of Fazbear Entertainment. He chooses to go after Henry’s daughter, Charlie.

Afton kept the Puppet animatronic from being able to watch out for Charlie by locking his container. Because it was stuck closed, Charlie ended up being stuck just outside the restaurant long enough for William to take his revenge. The Puppet animatronic was eventually able to break free of his box to try to rescue Charlie, but it was too late, and as the rain was heavy that night, it broke down beside her in the alleyway.

With the loss of Charlie, the Puppet began giving life to the children who were murdered within the pizzeria. However, these reanimated versions didn’t appear in the old animatronics. Instead, they were hosted within the new “toy” versions.

Customers didn’t notice, as the reanimated versions still acted the way they were supposed to during their working hours. The children within the animatronics simply gained a new motive: to find their killer. This is what causes their odd behavior at night, as they are trying to reach the security office to make sure Afton isn’t in the building.

However, the unruly kids that came to play at Fazbear’s repeatedly ripped Mangle apart. After one too many times, Mangle bit the child who was tearing it apart, and the child lost part of their frontal lobe. This caused the company to scrap all of the animatronics, except for the Puppet, to ensure the safety of all children.

After arguing with and murdering his wife, William begins crafting three new animatronics: Playtime Freddy, Playtime Foxy, and Ballora. Ballora is the only completely new design, a ballerina animatronic containing his wife’s body. Together with the original Circus Baby, he had a full staff to create a new location; Circus Baby’s Entertainment & Rentals.

Due to both creators of the animatronics reusing the original endoskeletons of the old models, the new creations were still possessed by the victims of William Afton. Over time, Afton eventually realized this and decided that he had to destroy the animatronics all over again. One by one he took each of them down. Overjoyed at his victory, he put on the Springbonnie suit once more to celebrate. Forgetting the fatal flaw of the suit, he ignored the rain dribbling through the open-air part of the backrooms and the suit crushes him nearly to death.

Henry witnesses Afton’s assumed death but tells no one, instead, locking off all entrances into the backrooms and trying his best to cover up the beaten animatronics. With all of his attempts and failures to keep Junior Freddy Fazbear’s Pizza open and safe, he finally decides to close the facility for good.

After the mysterious disappearance of Michael’s father, Michael decides to disguise himself as a technician and go work at his father’s newest facility, Circus Baby’s Entertainment & Rentals. With the technician cover, Michael was able to get up close with the animatronics and fully explore the place. Through his exploration, he mainly spoke with Circus Baby, who tried to give him the information he sought.

She brought him into the scooping room, where the animatronics are emptied of their endoskeletons and anything else hidden inside of them. Circus Baby made sure that Michael saw Ballora be opened, the animatronic his mother was placed inside of.

Michael didn’t realize what exactly Circus Baby was showing him, but he knew there had to be something important about Ballora. After making an unanswered call to his mother, he returned to Circus Baby’s Entertainment & Rentals one final time.

Unannounced to Michael, Circus Baby and the rest of the animatronics wished to leave the facility. They knew that as their endoskeletal and suited form, they would be recognized and stopped. So as a last resort, they bound themselves together and scooped Michael out to use his skin as a new suit. With this, they successfully fled the facility and began the search to destroy William.

Over time, the amalgamation of animatronics called Ennard that entered Micheal’s body struggled to deal with Circus Baby and pushed her out. Both rebuilt themselves, becoming Scrap Baby and Molten Freddy. Somehow after 30 years of this, Micheal was somewhat alive.

During this time a new horror attraction is born; Fazbear’s Fright. Unfortunately, in doing their research, the people building the attraction went through the shutdown diners and found Scraptrap or William Afton within his suit. He became their main feature to roam the new attraction.

Michael hears of the newest attraction and recognizes his father within Scraptrap. Knowing what he needs to do, he travels to the attraction and starts a fire that traps and engulfs the “animatronic.” This brought peace to the spirits of the five children, who were inhabiting the various suits. Allowing them to be free and finish their original birthday party from over 30 years ago. However, Charlie, or the Puppet, and Golden Freddy, or Evan Afton, stayed behind to ensure that William and everything he had done was fixed.

Henry Emily now knowledgeable of all the evil deeds that William had committed, wanted one thing; to nullify William’s actions. In order to do this, he creates a new location to draw back all of the lost souls/animatronics called Freddy Fazbear’s Pizza Place and hires a manager to do all of the stagings and set up for the business.

This brought Michael, Scrap Baby, L.E.F.T.Y., Molten Freddy, and William back to the scene, drawn by different things. Henry planned for all of them to meet at a big event held at the Pizza Place on Saturday. During this “party” each of the animatronics were let to freely do as they wished within the dining facility, where they all turned on one another. Then Henry spoke over the intercom to interrupt their fight and leave them with a few final words.

With this final speech, Henry Emily burns down this establishment with himself, the manager, and all the animatronics trapped inside. This fire releases all but one spirit. The spirit of Evan, within Golden Freddy. It wasn’t until he’d replayed everything he had been through for another 20 years that he would finally choose to let go.

After the death of both original founders and the original animatronics, Fazbear Entertainment was officially taken over by new businessmen to make something of the franchise. They hired an indie game developer to create a series of games to remove the dark rumors floating around their franchise. Within the game development team, Vanessa arrived.

While developing this new series of VR games they decided to upload some of the old animatronics’ coding into the game, creating the “Anomaly.” A creature that would appear in-game and specifically talk to one person within the team; Jeremy. Jeremy became overwhelmed with the anomaly, and with no one at the company listening to him, committed suicide while at work.

Vanessa happens to overhear the higher-ups talking about how this suicide will make the company look worse for an upcoming court date. When she tries to confront them on all of this information she is forced to playtest the game, taking on Jeremy’s job.

Vanessa records logs of the anomaly within the game, unknowingly allowing Glitchtrap to attach himself to the code of these undeletable files. She tries to break apart the files to keep Glitchtrap broken apart, but instead, he invades her mind. Keeping himself alive within her mind.

Vanessa gains a split personality and creates a bunny suit to wear when Glitchtrap comes out. While reluctant to do so, she follows Glitchtrap’s instructions to resurrect Scraptrap a.k.a. William Afton. Shortly after this, Freddy Fazbear’s Mega Pizzaplex opens and Vanessa becomes a security guard there.

During Vanessa’s time at the Pizzaplex, she tries to find more ways to bring back the remnant of Scraptrap with the technology housed there and murders children caught in the complex after hours. Throughout this time, she visits a therapist to try and fix her mind. The therapist discovers encrypted threatening messages from someone online who is manipulating her. However, Vanny stops each therapist once they are too close to discovering the truth and murders them.

Later during one of Freddy’s performances, something tries to infect his code and causes him to shut down. When he reawakens, Gregory is inside his stomach hatch. This is the start of Five Nights at Freddy’s: Security Breach. Throughout the game, Gregory damages each of the main animatronics in order to upgrade Freddy into the best animatronic. Despite all of their work together, Freddy cannot escape with Gregory once the doors reopen in the morning.

They travel together underground to find Freddy Fazbear’s Pizza Place, where all the original souls had been put to rest. Freddy mentions that Vanny has brought him here before and that she made him realize he wasn’t himself. Through the power of the charging stations, Vanny reconstructed Scraptrap’s body and transferred William’s data to the animatronic from Glitchtrap.

Over the time of the mall’s construction, Fazbear Entertainment had been throwing all of the old haunted animatronics down here, which were slowly building into a new amalgamation. When the amalgamation witnesses the rebirth of William via Scraptrap, it takes him down, allowing Freddy and Gregory to leave and the spirits to be at rest again.

this one is so long that I feel obligated to put it under a read more. and, foolish anon, where did you find this? why is it so poorly-written? why does it randomly switch from past to present tense? why does it only sometimes mention which game concerns the events they're covering? why does it get the names of the Funtime animatronics wrong??

and why did William throw a birthday party at a restaurant full of animatronics when he went out of his way to make his son terrified of them? why does it say he encouraged Michael to do this only to later say this teenage boy did it purely out of malice? who in their right mind would take over an entertainment company that has endured two locations burning to the ground, two confirmed child murders and several suspected ones? does any part of the Five Nights at Freddy's franchise pass the Bechdel Test?

Players can get some of the earliest glimpses into the pizzeria’s history through the minigames in each of the main titles. Before being called Freddy Fazbear’s Pizza, the first restaurant was called Fredbear’s Family Diner. Two men opened the original restaurant and its several rebrandings as co-owners: William Afton and Henry Emily.

Their restaurant’s concept was to create a special place for children’s birthday parties. While mostly serving pizza and cake, the thing that made this restaurant chain special was their “animatronic” wait staff and entertainment. Originally, they were unable to create animatronics. So, instead, they crafted two spring-lock suits that they or their staff could wear to appear as animatronics or place on a stage to perform. Their names were Springbonnie and Fredbear. The concept for the business did so well that they ended up creating a second location: Freddy Fazbear’s Pizza.

Within this new location, four new animatronics were created and adored. They were Freddy, Bonnie, Chica, and Foxy. William Afton would use his success and the spring-lock suits to act on his cruel and abusive thoughts toward the children who flocked to his restaurant, specifically the five children at the birthday party that he murdered after luring them into the backrooms with the spring-lock Bonnie suit.

To cover up his sick actions, he made all of the suits fully automated but still hollow enough for children to fit inside. Once they were all automated, he placed the children’s bodies within them to discard the evidence—placing the children’s souls within each of the animatronics. With no bodies or evidence, no charges could be pressed against William Afton. However, the missing children’s case eventually caused the second location to close.

After the closing of the second establishment and Afton’s growing interest in capturing children, William created another sister location, based on his new animatronic, Circus Baby. This location, Circus Baby’s Pizza World, was only owned by Afton but served the same basic concept. Circus Baby was made specifically to draw children to her by acting child-like. She could blow up helium balloons, dispense ice cream, and use her claw to grab children and stuff them inside of her.

Circus Baby was specifically designed for trapping and killing children when she was alone with them in a one-on-one situation. Despite being a despicable man, Afton had a family—two sons and a daughter. He actively kept his children away from animatronics, such as Circus Baby, to keep them safe. However, Circus Baby’s design was too entrancing to his youngest, Elizabeth, and she was consumed by the animatronic. Circus Baby became aware of the soul of Elizabeth inside her. After losing his daughter to his creation, he shut down the sister location immediately.

As players likely noticed, the fourth main title within the series is quite different from previous versions of the game. Instead of playing as a new hire within the facility to work nights and watch after the animatronics, players are a child who is haunted at night by the animatronics. This child is Evan Afton, the youngest son of William Afton.

After losing his only daughter to Circus Baby, William chose to scare his youngest son away from the animatronics using a frequency that would cause his son to hallucinate. During these hallucinations, Evan would believe that the animatronics from the restaurant were within his home and trying to reach his room and eat him.

On top of this, William encouraged his older teenage son, Michael, to bully Evan and regularly scare him with a Foxy mask. However, Michael purely chose to bully Evan out of his malicious intent and ended up bullying Evan inside the diner for his birthday party. He gets his friends to help him do this and pushes Evan into the mouth of an on-stage animatronic to truly scare him. Due to the design of the spring-lock animatronic, Evan’s tears caused the suit to fail and crush him inside the mouth.

The suit had crushed Evan’s head, and after heading to the hospital, he was put into a coma to be stabilized. This would not last, however, and Evan ended up dying in his coma. Despite all the work that William had done to keep Evan from being killed by any of his animatronics, he failed to reign in Michael and inadvertently caused his eventual death. After losing a second child to the animatronics, the original diner closed, and William descended into madness.

William leaves Fazbear Entertainment, and Henry is left to solve all the problems in his stead. As he isn’t the inventor of the animatronics and knows how many issues there are with the spring-lock suits, there are a lot of problems for him to sort out. He hires a full team to work out all of the previous issues and create a new name within Fazbear Entertainment.

This included stocking the old animatronics in a backroom and creating the new and improved “toy” versions of Freddy, Chica, Bonnie, and Foxy. They also added a couple of new animatronics into the mix, like Balloon Boy. As an extra added security feature, Henry gave the animatronics facial recognition systems, specifically meant to spot and remove William if he ever returned. Later, he created the Puppet animatronic to protect his daughter, Charlie, as he was nervous about bringing her to the new establishment, Junior Freddy Fazbear’s Pizzeria.

After the death of Evan, everything went downhill for William. His wife became unstable and left, while he berated and blamed Michael for Evan’s death. William went back to the closed original Fazbear’s and destroyed the spring-lock suit that had crushed Evan before placing Evan’s body inside the suit to try and put him back together. Upon hearing about the grand opening of a new Fazbear’s, he immediately drove there.

Security stopped him from entering, and he was met by Henry, who heatedly asked him to leave and reminded him that it was his fault that all the children died in the previous restaurant. Angered by this, Afton left, making plans to get his revenge on the co-owner of Fazbear Entertainment. He chooses to go after Henry’s daughter, Charlie.

Afton kept the Puppet animatronic from being able to watch out for Charlie by locking his container. Because it was stuck closed, Charlie ended up being stuck just outside the restaurant long enough for William to take his revenge. The Puppet animatronic was eventually able to break free of his box to try to rescue Charlie, but it was too late, and as the rain was heavy that night, it broke down beside her in the alleyway.

With the loss of Charlie, the Puppet began giving life to the children who were murdered within the pizzeria. However, these reanimated versions didn’t appear in the old animatronics. Instead, they were hosted within the new “toy” versions.

Customers didn’t notice, as the reanimated versions still acted the way they were supposed to during their working hours. The children within the animatronics simply gained a new motive: to find their killer. This is what causes their odd behavior at night, as they are trying to reach the security office to make sure Afton isn’t in the building.

However, the unruly kids that came to play at Fazbear’s repeatedly ripped Mangle apart. After one too many times, Mangle bit the child who was tearing it apart, and the child lost part of their frontal lobe. This caused the company to scrap all of the animatronics, except for the Puppet, to ensure the safety of all children.

After arguing with and murdering his wife, William begins crafting three new animatronics: Playtime Freddy, Playtime Foxy, and Ballora. Ballora is the only completely new design, a ballerina animatronic containing his wife’s body. Together with the original Circus Baby, he had a full staff to create a new location; Circus Baby’s Entertainment & Rentals.

Due to both creators of the animatronics reusing the original endoskeletons of the old models, the new creations were still possessed by the victims of William Afton. Over time, Afton eventually realized this and decided that he had to destroy the animatronics all over again. One by one he took each of them down. Overjoyed at his victory, he put on the Springbonnie suit once more to celebrate. Forgetting the fatal flaw of the suit, he ignored the rain dribbling through the open-air part of the backrooms and the suit crushes him nearly to death.

Henry witnesses Afton’s assumed death but tells no one, instead, locking off all entrances into the backrooms and trying his best to cover up the beaten animatronics. With all of his attempts and failures to keep Junior Freddy Fazbear’s Pizza open and safe, he finally decides to close the facility for good.

After the mysterious disappearance of Michael’s father, Michael decides to disguise himself as a technician and go work at his father’s newest facility, Circus Baby’s Entertainment & Rentals. With the technician cover, Michael was able to get up close with the animatronics and fully explore the place. Through his exploration, he mainly spoke with Circus Baby, who tried to give him the information he sought.

She brought him into the scooping room, where the animatronics are emptied of their endoskeletons and anything else hidden inside of them. Circus Baby made sure that Michael saw Ballora be opened, the animatronic his mother was placed inside of.

Michael didn’t realize what exactly Circus Baby was showing him, but he knew there had to be something important about Ballora. After making an unanswered call to his mother, he returned to Circus Baby’s Entertainment & Rentals one final time.

Unannounced to Michael, Circus Baby and the rest of the animatronics wished to leave the facility. They knew that as their endoskeletal and suited form, they would be recognized and stopped. So as a last resort, they bound themselves together and scooped Michael out to use his skin as a new suit. With this, they successfully fled the facility and began the search to destroy William.

Over time, the amalgamation of animatronics called Ennard that entered Micheal’s body struggled to deal with Circus Baby and pushed her out. Both rebuilt themselves, becoming Scrap Baby and Molten Freddy. Somehow after 30 years of this, Micheal was somewhat alive.

During this time a new horror attraction is born; Fazbear’s Fright. Unfortunately, in doing their research, the people building the attraction went through the shutdown diners and found Scraptrap or William Afton within his suit. He became their main feature to roam the new attraction.

Michael hears of the newest attraction and recognizes his father within Scraptrap. Knowing what he needs to do, he travels to the attraction and starts a fire that traps and engulfs the “animatronic.” This brought peace to the spirits of the five children, who were inhabiting the various suits. Allowing them to be free and finish their original birthday party from over 30 years ago. However, Charlie, or the Puppet, and Golden Freddy, or Evan Afton, stayed behind to ensure that William and everything he had done was fixed.

Henry Emily now knowledgeable of all the evil deeds that William had committed, wanted one thing; to nullify William’s actions. In order to do this, he creates a new location to draw back all of the lost souls/animatronics called Freddy Fazbear’s Pizza Place and hires a manager to do all of the stagings and set up for the business.

This brought Michael, Scrap Baby, L.E.F.T.Y., Molten Freddy, and William back to the scene, drawn by different things. Henry planned for all of them to meet at a big event held at the Pizza Place on Saturday. During this “party” each of the animatronics were let to freely do as they wished within the dining facility, where they all turned on one another. Then Henry spoke over the intercom to interrupt their fight and leave them with a few final words.

With this final speech, Henry Emily burns down this establishment with himself, the manager, and all the animatronics trapped inside. This fire releases all but one spirit. The spirit of Evan, within Golden Freddy. It wasn’t until he’d replayed everything he had been through for another 20 years that he would finally choose to let go.

After the death of both original founders and the original animatronics, Fazbear Entertainment was officially taken over by new businessmen to make something of the franchise. They hired an indie game developer to create a series of games to remove the dark rumors floating around their franchise. Within the game development team, Vanessa arrived.

While developing this new series of VR games they decided to upload some of the old animatronics’ coding into the game, creating the “Anomaly.” A creature that would appear in-game and specifically talk to one person within the team; Jeremy. Jeremy became overwhelmed with the anomaly, and with no one at the company listening to him, committed suicide while at work.

Vanessa happens to overhear the higher-ups talking about how this suicide will make the company look worse for an upcoming court date. When she tries to confront them on all of this information she is forced to playtest the game, taking on Jeremy’s job.

Vanessa records logs of the anomaly within the game, unknowingly allowing Glitchtrap to attach himself to the code of these undeletable files. She tries to break apart the files to keep Glitchtrap broken apart, but instead, he invades her mind. Keeping himself alive within her mind.

Vanessa gains a split personality and creates a bunny suit to wear when Glitchtrap comes out. While reluctant to do so, she follows Glitchtrap’s instructions to resurrect Scraptrap a.k.a. William Afton. Shortly after this, Freddy Fazbear’s Mega Pizzaplex opens and Vanessa becomes a security guard there.

During Vanessa’s time at the Pizzaplex, she tries to find more ways to bring back the remnant of Scraptrap with the technology housed there and murders children caught in the complex after hours. Throughout this time, she visits a therapist to try and fix her mind. The therapist discovers encrypted threatening messages from someone online who is manipulating her. However, Vanny stops each therapist once they are too close to discovering the truth and murders them.

Later during one of Freddy’s performances, something tries to infect his code and causes him to shut down. When he reawakens, Gregory is inside his stomach hatch. This is the start of Five Nights at Freddy’s: Security Breach. Throughout the game, Gregory damages each of the main animatronics in order to upgrade Freddy into the best animatronic. Despite all of their work together, Freddy cannot escape with Gregory once the doors reopen in the morning.

They travel together underground to find Freddy Fazbear’s Pizza Place, where all the original souls had been put to rest. Freddy mentions that Vanny has brought him here before and that she made him realize he wasn’t himself. Through the power of the charging stations, Vanny reconstructed Scraptrap’s body and transferred William’s data to the animatronic from Glitchtrap.

Over the time of the mall’s construction, Fazbear Entertainment had been throwing all of the old haunted animatronics down here, which were slowly building into a new amalgamation. When the amalgamation witnesses the rebirth of William via Scraptrap, it takes him down, allowing Freddy and Gregory to leave and the spirits to be at rest again.

fool count: 123

[fictionalfantasist]

Wanda maximoff x reader

Summary: Y/N is not a hero—just a stunt double, living in the shadows of others' spotlight. But when her path crosses with Wanda Maximoff’s, their worlds begin to collide in unexpected ways. Drawn together by fate, their bond deepens as they face forces neither of them fully understands. In the fight to protect what matters most, they’ll discover that when two worlds collide, the aftermath leaves nothing untouched—and everything at risk.

Chapter 1

The morning sun hung low in the sky, still burning off the thin layer of mist that clung to the Hollywood Hills like a blanket. The backlot of the Avengers set was buzzing with energy—crew members rushing to adjust equipment, directors shouting orders over megaphones, and costumed actors casually sipping coffee, their faces painted with a curious mixture of anticipation and boredom.

And then there was Y/N.

Perched on the edge of a towering scaffold, overlooking a massive rig designed to simulate an explosion, Y/N adjusted the straps on the harness and secured the last of the gear. Their job for today was simple, at least on paper: a high-flying, pyro-filled, mid-air collision sequence. The directors had already referred to it as "insane" at least three times that morning.

"Don't die on us, Y/N," the assistant director quipped as he handed them the final safety check clipboard. He said it in a half-joking, half-serious tone, which was probably warranted, considering the number of moving parts involved in this particular stunt.

"Die? On *this* set?" Y/N smirked as they signed off the checklist, handing it back. "I've survived worse hangovers."

The assistant director chuckled nervously, unsure whether they were serious or not, then backed away toward the rest of the crew. That was the thing about Y/N. They carried this effortless calm with them, as if nothing really got to them—whether it was a fiery explosion or an awkward conversation at craft services. Cool, mysterious, and, in a way, untouchable.

And definitely sarcastic.

Y/N was used to being the one people whispered about, the anonymous face in the background doing the death-defying work for the more marketable stars. It suited them just fine. They didn't need the limelight; they just liked the thrill.

Today, however, things were different. Word had spread across the set that Wanda Maximoff—well, Elizabeth Olsen—was visiting today for a few interview segments to help promote the movie. Apparently, some of the new magic sequences were going to be inspired by her suggestions, so she'd been invited to consult on a few scenes.

Y/N didn't pay much attention to it at first. It wasn't like they hadn't seen stars on set before. The only difference was that *this* star had unknowingly been part of Y/N's life in more ways than one. But that was a story for another day.

The crew was getting into position when a sudden hush fell over the set. From the corner of their eye, Y/N spotted Elizabeth—no, Wanda—walking onto the scene, flanked by a couple of producers. She had this easy grace about her, not in an untouchable Hollywood way, but in a quiet, composed sort of way. She wasn't wearing anything flashy, just jeans and a simple jacket, her hair loose around her shoulders. Her eyes, though—they were sharp, taking in everything around her.

Y/N leaned back against the scaffold rail, adjusting their gloves as they watched Wanda from a distance. For a moment, they considered how wild it was to see her in person, after all the times they'd watched her on screen. But then, duty called, and Y/N's attention snapped back to the present. The stunt coordinator was shouting final instructions, and Y/N could feel the buzz of excitement creeping up their spine.

"Okay, Y/N," the director called out. "We're rolling in five. You ready to do your thing?"

"Always." Y/N's voice was light, but their focus was razor-sharp.

As the cameras started rolling, Y/N took a deep breath. The stunt was about as dangerous as it could get without crossing into 'this is just asking for trouble' territory. The plan was to leap from the scaffold, crash through a series of glass panels, and then land in a roll just as the pyro charges went off. A split second too early or late, and it wouldn't be pretty.

The moment the signal was given, Y/N leaped. The air whipped past them, the world blurring into a rush of color and noise. Glass shattered around them in a symphony of chaos, perfectly timed with the crackling explosions that bloomed behind. For a few heart-pounding seconds, it was just them and the stunt—adrenaline surging as they twisted mid-air, every muscle primed for impact.

Then, the landing. A perfect roll, and they were up on their feet in an instant. The set erupted in cheers and applause. Y/N casually brushed some glass shards from their jacket and smirked as they caught their breath. Not bad. Not bad at all.

But as the cheers started to die down, Y/N noticed Wanda standing at the edge of the set, her eyes locked on them. She had that look—the kind people had when they weren't quite sure what to make of you. It wasn't the usual admiration that stunt performers got, but something more. She was intrigued, maybe even a little impressed. Y/N shot her a wink, just to see what would happen.

Wanda raised an eyebrow, a small smile tugging at the corner of her lips.

After the take was done, Y/N made their way over to the side of the set where the crew was resetting for the next shot. They grabbed a bottle of water from the table, taking a long drink when they felt a presence behind them. Turning slightly, they found Wanda standing there, arms casually crossed, still watching them.

"Not bad," she said, her tone teasing but warm.

"Not bad?" Y/N raised an eyebrow, feigning offense. "I risk my life for this movie, and all I get is a 'not bad'?"

Wanda chuckled softly. "Well, I've seen explosions bigger than that. Maybe you're just spoiled by the CGI."

Y/N laughed, leaning back against a table. "Fair enough. Guess I'll have to blow up something bigger next time."

She took a step closer, her curiosity evident. "Do you always make a habit of throwing yourself into danger like that?"

Y/N shrugged, a grin playing on their lips. "What can I say? I like to keep things interesting. Plus, it's not as bad as it looks."

Wanda gave them a long look, as if she were trying to figure out what made them tick. "You must be either very brave or very reckless."

Y/N tilted their head, pretending to think it over. "Why not both?"

There was a moment of silence, filled with the distant sounds of the crew bustling around them. Wanda looked at Y/N, her eyes flicking with something almost playful. "Well, just so you know, next time you jump through fire, I expect to see a little more flair."

Y/N chuckled. "Oh, trust me. You haven't seen anything yet."

Wanda's smile widened before she gave a nod and turned to walk away, leaving Y/N standing there with a mischievous grin on their face.

"By the way," Y/N called after her. "Let me know if you need a stunt double for your magic tricks. I'm pretty good with sleight of hand too."

Wanda paused, glancing back over her shoulder with a smirk. "I'll keep that in mind."

And just like that, she was gone, melting back into the chaos of the set. Y/N couldn't help but feel that this wouldn't be the last time they crossed paths. Something about her intrigued them too—and they were never one to shy away from a challenge.

As the crew reset for the next stunt, Y/N pulled their jacket a little tighter and prepared to go again. The day was far from over, and who knew what other surprises it held?

[hantheheart]

I need to make.

Sins head canon lists, but the 4kota kids won't leave my brain

But I have this because I love giving characters little craft hcs, they should make stuff

Elizabeth sucks at embroidery, but she has a wildly good hand at painting. She often paints images from her past lives.

Meliodas is annoyingly good at knot tying. Man was a boy scout in another life, he knows so many.

Diane tried her hand at pottery once while small in Liones and found she loved it! She makes all sorts of interesting vases and cups but has found this skill translates nicely into her earth powers.

King learned to weave from Elaine. I can't remember if it's King or Gowther whos the clothing guy among the team, but i like to think King just ends up making like. Little baskets from grass when hes bored

Ban learned to make flower crowns for his sister and just sort of makes them when he's bored. Elaine obviously gets the most, but Meliodas has a pretty close second.

Merlin enjoys making teas. Doesn't care to drink the stuff too much, but she enjoys the process of figuring out what flowers and herbs can be mixed together.

Escanor is obviously a poetry guy but he also binds his own books! He likes making the covers pretty with colorful lettering or designs. He doesn't mind making fully bound books for the other Sins.

EDIT: I FORGOT GOWTHER

Gowther is Jack of all trades type. He can do a little bit of all these things and enjoys doing them alongside everyone as a bonding activity. Frankly, he prefers making jewelry.

[tiarascrowns]

Henry Dunay | Gold, Diamond and Simulated Diamond 'Lachrymosa' Mask

Property from the Collection of a Connoisseur

Henry Dunay

Gold, Diamond and Simulated Diamond 'Lachrymosa' Mask

Of foliate design, set with numerous round diamonds, further decorated with round, oval, pear and marquise-shaped simulated diamonds, highlighted by a gold teardrop, gross weight approximately 356 dwts, mask and handle signed Henry Dunay, numbered IA2102 and 16911; dated 1993.

In the early 1990s, New York jewelry designer Henry Dunay was tapped to design a mask that would be sold to benefit the American Foundation for AIDS Research. Well-known for his striking and dramatic creations, Dunay allowed himself eight months to craft a piece he deemed worthy of amfAR’s mission. The result is the piece offered here, aptly named The Lachrymosa in reference to the many tears shed over the global scourge of AIDS.

In 1993, Elizabeth Taylor donned the mask at an amfAR charity event. The mask  reappeared in 2009 at the Antwerp Diamond Museum’s “Diamond Divas” exhibition, celebrating famous jewelry-loving women. It is believed that the mask was sold that same year, when Dunay closed his doors after over 50 years of business. Reportedly set with over 130 carats of diamonds, the mask was lauded by Dunay as something that “would be ideal…at the Smithsonian, saying what it was made for and why it was made.” At some point along its journey, the larger diamonds were replaced with simulants, but the dramatic power of Dunay’s original creation remains.

Sotheby's

[achillean-knight]

WOOO!! Rough Henry design LMAO bonus mini comic thing, BC why not

Y'all try on your mates glasses too, right?

-- Notes under the cut --

- He never shaves his moustache LMAO he does his beard, tho.

- Along with William, he needs glasses to see, but his eyesight is dramatically worse then Wills LOL

- The design is like-- sorta a combo of Henry's Novel and Character files design BSBSVSVSV

- This is his work attire, he wears suitable clothes for engineering ofc

- His wife left 🫡 as to why is unknown. They never fought to the extent of her leaving, but she left Henry behind one day, and Charlie. Charlie constantly thinks about it, but all she and Henry know, is Henry's wife left on good terms.

- Henry was the one to sing "my grandfather's clock" to Charlie as she grew up. Charlie was so fixated over the song, she would hum or sing it whenever they passed a Grandfather clock at the shops. Eventually, Henry created a smaller then average grandfather clock as a gift. This is why it calms the puppet.

- Henry has a habit of getting stressed and frustrated if work isn't going the way he wants. He doesn't lash violently out but he does request quiet and loneliness if he gets too heated. He has a personal punching bag in his shed.

- He originally created Carnie which later was repurposed into Lefty.

- After Charlie's death, he fell into severe depression. He drank heavily and it wasn't until he was confronted by Michael again, that he started seeing a therapist. He is still on edge alot and suffers from his mental health.

-- Relationships --

William:

- His relationship with William is very close lol romantically involved? No clue. Maybe they are, maybe they aren't, I seriously haven't decided, just like I haven't decided with Mike and Jeremy lmao

- Henry is William's crutch. He feels jealousy toward him, but ultimately relies on him most of the time after his own wife left (on bad terms). Henry doesn't mind, though.

- William is considered family to Henry.

- He is also the one to discover Williams corpse inside springbonnie and decided to board up every single safe room. Yikesssssss

- Strangely, Springtrap doesn't act violent toward Henry. He stares just- silently. Watching.

Charlie:

- Loves his daughter more than anything in the world.

- He passionately encourages Charlie's path in wood work after discovering her love for wooden crafts like the aforementioned Grandfather clock and various types of Puppets. Sometimes, if supervised, Henry hands her a block of wood and tools and lets her craft away. She finds peace in wood calving and Henry's utterly joyful.

- He struggles to recognise the Puppet as his own daughter, and unknowingly put her through so much pain when being caught by Lefty. It was only after the capture did he find out that of course the puppet is possessed by his daughter 😭 he just thought it was possessed by a very vengeful ghost. He didn't know that ghost possesed Golden Freddy, and that's why he's not in FNAF Pizzaria Simulator :')

Michael:

- He's on edge around Mike. He reminds him too much of Will.

- After Crying Child and Elizabeth died, aswell as Charlie's murder and William disappearing (he got spring locked rip), Michael lived with Henry shortly before disappearing himself. (He went to the SL bunker.)

- Henry looks after post-scooped Michael.

- Henry doesn't anticipate Mike to be the one to work at the Pizzaria Sim location-- but he knows this is where he wants to be.

[warwickroyals]

list those ugly irl tiaras, sis!

I think I will, actually, because I have no issue dragging IRL royalty, as they deserve. Like, if you like a tiara that I dislike . . . kick rocks I guess, this is just my opinion. I'll do five to keep it brief. And these are in no particular order.

The Burmese Ruby Tiara 🇬🇧

Queen Elizabeth II had a perfect tiara in the Nizam of Hyderabad, that was literally gifted to her and she just randomly decided to take a sledgehammer to it and made the meatball splatter tiara? I'm still so annoyed because the old tiara was so much better and this is a huge downgrade.

Elizabeth II sucked at making jewelry. All three of the tiaras she commissioned are ugly as sin, but this one is just insulting. At least the Brazilian aquamarine has character.

Princess Madeleine's Aquamarine Bandeau Tiara 🇸🇪

It looks like an arts and crafts tiara. Like I get it, she was 18 and you want to give her something practical as a baby's first tiara, but it's just ugly and Madde deserved better. It's funny because Sweden has some of the best tiaras and the other Aquamarine tiara they have is one of my favourites.

The Empire Tiara 🇱🇺

Luxembourg has some of the worst tiaras, but this one takes the cake. The issue with many of these huge tiaras is that they were made during a time when hair was way more dramatic, which complemented these big gun tiaras. However, modern hairstyles just don't work, and that's why I can't vibe with the Empire Tiara. It also is just too gaudy, stiff and heavy-looking, like one of those beauty pageant tiaras.

MT just looks bad in it and I already have a negative opinion of her for, um, other reasons . . .

The Duchess of Edinburgh's Wedding Tiara 🇬🇧

So, I don't know what they were thinking giving Sophie this hideous hodge-podge mess. It was made up of pieces from a different tiara belonging to Queen Victoria and it shows. It has tons of empty space and is gapping at the bottom. It also just doesn't have a proper base. I think they renovated it recently and while it looks better, it's still ugly.

Also not that point, but that pearl necklace? Your husband designed that for you? Sorry.

The Modern Gold Tiara 🇳🇴

I like a sci-fi look, and I like how Sonja wanted to step outside the box with this one, but I just find it ugly and awkward-looking, and the diamonds on add nothing. This is maybe the best version of it, though. Extra points for creativity, I guess.

[justinspoliticalcorner]

Alanna Vagianos at HuffPost:

Some people may believe that the end of Roe v. Wade was simply a matter of luck: Following the then-black swan event of Donald Trump winning the 2016 election, Trump got to appoint two Supreme Court Justices in his first two years and a third after an octogenarian passed away weeks before the 2020 election.

The court then had a 6-3 conservative supermajority, and that was that. But the project to overturn the federal right to abortion was much more calculated, involving an alliance of Republican groups aiming to reshape Congress, the courts and American life. And while conservatives may have won a huge battle, it’s not the end of their unholy war. That’s the story New York Times reporters Elizabeth Dias and Lisa Lerer tell in their new book, “The Fall of Roe,” a deeply reported accounting of the machinations of anti-abortion activists and lawmakers to reverse the 1973 ruling that reshaped both society and women’s lives. The book recounts the conservative network’s past victories, yes, but is also a window into the future, highlighting just how crucial November’s elections are for our rights and freedoms. That’s because if Trump wins a second term, this conservative coalition will bring even more litigation to strip away people’s rights — and would likely face a Supreme Court that’s even more untouchable than it is now.

The group most connected to Dobbs v. Jackson Women’s Health Organization, the case that overturned Roe, is Alliance Defending Freedom, a far-right Christian advocacy group. But ADF certainly didn’t do it alone, per Dias and Lerer — correspondents on religion and politics, respectively. In many ways, two other organizations laid the groundwork for this victory: The Federalist Society, a judicial group that drafted a list of Trump’s Supreme Court nominees, judges Trump said were all opposed to Roe; and Susan B. Anthony Pro-Life America, an anti-abortion political group with an affiliated PAC.

And they’re all funded with massive amounts of dark money, including from billionaires like the Koch brothers. The 30,000-foot view is that these groups worked together to draft and pass unpopular state laws and have conservative lawyers defend them in front of friendly judges who had been confirmed to lifetime appointments by Republican senators. The network could use this playbook on any number of issues in the future. ADF wrote Mississippi’s 15-week abortion ban at issue in the Dobbs litigation. Dias and Lerer report that a conservative Wisconsin lawyer suggested crafting a ban at exactly 15 weeks basically as a dare for abortion rights proponents to challenge it, believing the Supreme Court would find the ban reasonable and gut Roe without fully overturning it.

The lawyer, Misha Tseytlin, allegedly floated the idea at a Trump victory party hosted by Federalist Society Chair Leonard Leo, and then someone connected to ADF heard it, and the organization had Tseytlin present his theory at a July 2017 ADF summit. (This story shows that conservatives picked 15 weeks not because of emerging medical research, but because abortion rights advocates had chosen not to sue over previous 20-week bans designed to challenge Roe.) ADF drafted a model bill, identified states that might pass it and that had anti-abortion attorneys general who would defend it, and started talking to lobbyists. Then-Mississippi Gov. Phil Bryant (R) signed the 15-week ban into law in 2018, and litigation began. By the time the Supreme Court was considering taking the case, it was early September 2020. Then Justice Ruth Bader Ginsburg died, and Trump nominated Amy Coney Barrett, giving a 5-4 court a 6-3 conservative supermajority, with three Justices appointed by Trump — a president who lost the popular vote. The court agreed to hear the case in May 2021, and the rest is history.

That playbook worked for striking down Roe, but the coalition is not done. Dias and Lerer write that ADF, in particular, will “work to restore an understanding of marriage, the family and sexuality that reflects God’s creative order.” First, abortion opponents think Dobbs is not enough; they want a nationwide ban starting at egg fertilization.

[...] ADF also has its sights set on reversing the 2015 ruling establishing marriage equality, but Waggoner also seems to resent when journalists ask her about Obergefell v. Hodges. (That ruling was 5-4, and two of the Justices in the majority are no longer on the court — you only need four votes out of nine to take a case.) “I’m worried you’re gonna just use a choice little quote, and anybody that reads the article is going to think I’m abandoning Obergefell, and I am not,” she told The New Yorker. “I think it is wrong and it should be reversed, but I don’t wake up in the morning thinking about how to do that.” The group wants to roll back transgender rights in employment (Bostock v. Clayton County, 2020) and expand parental rights (Troxel v. Granville, 2000) so that parents can override the medical needs of their children with gender dysphoria, The New Yorker reports. ADF is also behind the rash of state laws banning gender-affirming care for minors and trans kids’ participation in sports — the group wrote model legislation. We’re watching a redux of the anti-abortion battle plan in real time. “It’s not that the Court is going to say, ‘Gender ideology is bad,’” Waggoner told The New Yorker. “But I do think the Court could say, ‘Parental rights are fundamental rights.’”

The Fall of Roe book by Elizabeth Dias and Lisa Lerer, a pair of New York Times reporters, takes a vital look at how anti-abortion activists delivered a win for their cause by overturning Roe in Dobbs and that they want more.

[the-jewel-catalogue]

Seven Jewels Symbolising Seven Decades Of Queen Elizabeth II’s Reign 4/7

To mark the 70th anniversary of Queen Elizabeth II’s coronation, her Platinum Jubilee, Pragnell has created seven one-of-a-kind-jewels, each designed to symbolise a different decade of our Queen’s rule.

Jewels created for British Royal Celebrations 4/?

Antique Rubies Crown A Gold Ring

For 40th anniversaries, there is only one gemstone to turn to: the king of gems. Rubies take centre stage in this original ring crafted to celebrate the fourth decade of Her Majesty the Queen’s reign. A pair of unheated Burmese cushion-cut rubies 4.47ct total, reset from a pair of antique earrings, are set into the tips of this crossover ring.

Both prongs have been angled just so to allow a spectacular view of the gems. The profile of the recycled 18ct Yellow Gold ring has been shaped to mirror the cut of the antique stones and is further accented by 38 round-brilliant rubies, a symbolic total of 40 rubies in the ring.