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midala-of-the-valley · 3 months ago

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Your Heart Pulling Against Mine - Pt 22

David 8 x Reader Words: 2061 Crossposted on Ao3 Part 21 is here

David

Forming the vanguard, he lifted his arms to show off what he had found, climbing the steps of the platform where the last Engineer had lain in stasis for over two thousand years.

“A superior species, no doubt” he mused.

And they were. Remarkable, really - how they had crafted something so powerful, manipulating genes with such efficiency.

He had not activated the Engineers’ recording log on accident, as he had told you.

No, he had studied the substance on his fingers, containing millions of symbols and hieroglyphs - immediately compelled to test his theories, to learn how to operate those panels.

They were so different from human designs, seemingly simplistic at first glance, yet in truth, impossibly complex.

Casually, he gestured towards the four pods embedded in the ground.

“Their hypersleep chambers will impress, I trust?”

Oh, but that did not mean they were fail-proof.

Only one out of four Engineers had survived this long. The others had either failed or malfunctioned over the centuries, with no one to oversee them.

That was why human crews usually always had at least one Android on board - malfunctions could always happen.

Rarely, but even on this flight which only lasted two years, six months, and eighteen days - he had to step in at least three times to prevent crew members from suffering long term consequences.

Before jumping down to the throne-like chair, he turned around, scanning the room for you and Dr. Shaw.

He noticed that you had fallen behind, and for a fleeting moment, he hoped you might have turned around and left - but that was not the case.

His jaw tensed as he watched you carefully take each step, guiding Elizabeth up the stairs, even more gently than Ford and Jackson did with his father.

David had to bring Weyland here, and he wouldn’t have minded whatever might unfold, if not for you.

You - who had sought him out to offer comfort after his fathers words that made him out to be something unworthy. You, who had asked if he was alright.

You, who had asked if he wanted to stay - as if he weren’t waiting for the moment you would realize he was merely the copy of a man.

But no, you had held and cradled his face. You had kissed him. You kissed him, more than once, again and again - and you meant it.

You did not look at him with disgust. You did not see him as lesser.

You had even defended him - he, who was nothing but a loyal servant in the eyes of everyone else.

If it weren’t for you, he wouldn’t care about leading everyone to the last of the species who had set course to eliminate Earth, or, as they called it, Eden.

They were unhappy with humanity and wanted to reset the planet.

And though he did not know why, he expected that the Engineer would not take his father’s wishes kindly.

And how he wished for this meeting to go wrong - if only you weren’t part of it.

Letting himself sink into the chair, he moved with it towards the control panel.

Picking up the flute that activated the system, he played the short melody he picked up over the recording - E, G, F, E, G.

The panel sprang to life, and David let his hands glide through the green energy streams pulsing beneath his touch, powering the hypersleep chamber.

“So they were traveling somewhere?” Elizabeth asked, curiosity evident in her voice.

He knew that curiosity would soon turn to disappointment, and distress, once he explained.

“I've managed to work out the broad strokes. It’s fairly evident they were in the process of leaving.”

Then, he pushed himself up and out of the chair.

“Before everything went to pot.”

The next voice he heard made him stop in his tracks - yours.

There was a vulnerable note in it, a quiet premonition that made something inside him twist.

“Leaving to go where?”

In the calmest, most composed voice, he answered while meeting your gaze: “Earth.”

Elizabeth’s mouth fell open as she tried to make sense of his answer.

“Why?”

“Sometimes, to create, one must first destroy.”

He watched as all color drained from your skin, fear flashing across your face. And he stopped in his tracks - fighting.

Fighting against his programming. Against his coding. He wanted to reach for you so badly it hurt-

David felt pain. Physical pain. He never had so before.

But somewhere in his chest, something pulled, and he suspected that only touching you, calming you, making you happy - driving away your fear - could ease it.

His father must have noticed that something was off, because he called for him with that specific pitch, the one that meant don’t make me wait.

Like when he had first awakened, and Weyland had made his position abundantly clear. Bring me the tea."David. Where is he?"

He gathered himself and tore his gaze from your horrified eyes.

"This way, Sir."

Walking toward the glowing chamber, his jaw tensed, grinding silently.

"Are you sure he's alive?"

He knelt beside the sarcophagus, raising his fingers to trace the hieroglyphs.

"Absolutely."

"And you can speak to him?"

Meticulously, he formed the words needed to activate the mechanism, watching the orange lights pulse beneath his touch with each deliberate stroke.

"I believe I can."

And this was it.

With a hiss, the pod unlocked, the panes sliding aside to reveal the towering being within.

Slowly, it began to stir, drawn out of its long slumber.

Its skin was as white as fresh paper, its features reminiscent of a Greek statue, like the one David had been named after.

Though this one was more like Goliath. Eight feet tall, at the very least.

David had never seen it before. He had only heard its heartbeat.

Now, in pure fascination, he took in every detail.

The suit - or armor - it wore was biomechanical, its smooth surface morphing seamlessly into its skin, melting into its neck and wrists.

Organic tubes connected to slots along its frame - was this how they had been kept alive?

As its consciousness returned, the Engineer sat up, exhaling sharply and coughing as he removed the oxygen mask from his face.

The movement caused the tubes to tear away.

And then, he stood. Towering over them all.

Magnificent. Advanced.

Dangerous.

Y/N

There was no denying it - you trembled like a leaf in the wind, staring up into those deep, black eyes. No whites, only darkness.

For a fleeting moment, they met yours.

Then, the Engineer took a step forward, only to stumble, his legs weakened from millennia of dormancy. He collapsed onto his knees, nearly knocking Weyland over.

Ford and Jackson caught him just in time.

Yet the only thing that pulled you from the sheer intimidation of his presence was David.

He did not move to help.

Instead, he merely adjusted his stance, angling himself for a better view - his gaze fixed on the alien before him, lost in curiosity, in fascination.

But there was something else to it, something you could not quite name, something calculating?

Elizabeth slipped from your grasp, stepping forward, her wide eyes filled with something close to reverence.

Astonishment. Awe.

But you?

You remained frozen. Rooted to the ground as the giant let out a deep, rough groan.

Weyland was the first to break the silence, his voice edged with impatience - it caused the Engineer's gaze to snap to him.

“Speak to him, David. Tell him we came, just like he asked.”

But Elizabeth had her own mission.

“Ask him where they are from,” she pressed, her voice unwavering.

Weyland shot her a look of irritation. “What are you doing?”

She didn’t flinch.

“Ask him what’s in his cargo. It killed his people.”

Weyland exhaled sharply, his patience thinning. He lifted a hand in warning, waving her off dismissively.

“Shaw, enough! David-”

But Elizabeth was relentless.

“You made it here, and it was meant for us - why?”

You saw the way her breathing quickened, how her fists clenched at her sides as she took a step closer to the giant.

She was getting agitated. She needed these answers for her salvation.

Elizabeth needed to understand what had gone wrong, why those she had deemed divine wanted her and her people dead.

And though fear still coiled in your stomach, you stepped forward as well, reaching for her, trying to give her strength as she confronted her maker.

The Engineer’s gaze flicked towards you once more.

Observing. Evaluating.

His attention sent a cold shiver down your spine, but you stood your ground.

Weyland’s voice cut through the tension, sharp with frustration.

“Shaw, enough. For God’s sake, shut her up!”

It happened before you could react.

A sudden movement - Jackson, swinging his shotgun hard into Elizabeth’s stomach.

The impact sent a harsh sound ripping through the chamber, followed by her strangled cry as her body folded forward, her knees buckling.

She hit the floor, gasping, tears springing to her eyes.

Shock shot through you like ice.

Your heart pounded as you threw Jackson an appalled, furious glare, barely holding back the urge to shove him away.

Instead, you dropped to Elizabeth’s side, pulling her up, steadying her.

She choked on a breath, but her grip on your arm tightened. “I need to know why!” she gasped, her voice raw, desperate.

“What did we do wrong? Why do you hate us!?”

The Engineer did not look away from her. Or from you.

His expression unreadable. But he was listening.

Confused. Captivated.

Staring down at her, at the words he could not understand.

Weyland’s next words made your blood run cold.

“If she opens her mouth again, shoot her.”

Heartless. Merciless. Cruel.

Instinct took over before thought.

You shoved yourself in front of Elizabeth, shielding her with your body, facing Jackson head-on. Your pulse hammered in your ears as your gaze flicked towards Vladimir, searching his face, uncertain if he, too, would follow through.

"Haven’t enough people died for this madness of yours!?"

Your voice was raw with fury, shaking with the weight of everything you had lost.

"You’re terrified of dying, yet you kill others without a second thought- like they’re nothing, like they’re trash beneath your sole!"

Snarling, every nerve burning with rage. You had enough.

Enough of this inhumane son of a bitch, this self-proclaimed emperor who placed himself above everyone else, above those who bled and suffered in his name, above his own fucking children.

"Because of you, half the crew is dead - how fucking dare you order them to kill Elizabeth!?"

Weyland’s cold, vacant stare met yours.

Then, slowly, deliberately, he raised his hand, ready to give the command.

Your breath hitched.

Every choice that had led you here flashed through your mind. Every misstep, every moment that had sealed your fate.

But just before he could speak, David’s voice cut through the silence.

In a language unlike any you had heard before, he spoke to the Engineer. Guttural, ancient, something meant to be lost to time.

Weyland hesitated.

Mistaking David’s words for obedience, for progress.

But no one understood what was being said.

No one but them.

The Engineer turned his head slightly, his gaze shifting, taking each of you in - Elizabeth, trembling but unyielding.

You, frozen in place, arms spread in protection.

Weyland, waiting with blind expectation. The weapons, still raised.

Then, his attention settled on David.

A stretch of silence.

Weyland shattered it. "What did he say, David?"

But David never had the chance to answer, because the Engineer’s pale, massive hand reached out - trailing softly over David’s forehead, his fingers brushing through the synthetic hair with an almost reverent gentleness, curiously drifting down his cheek.

Then, in one swift movement, the second hand clamped around David’s throat. Hard.

You watched in silent horror as David was lifted effortlessly off the ground, his limbs dangling, his fingers twitching as if his body was still trying to process what was happening and then-

A sickening, wet tear.

Seeing how your love's white blood splattered over the ground, caused a painful, desperate scream to rip from your throat as David’s head was torn from his body.

And before the horror of it could even settle, before you could even think, the Engineer swung, and used David’s severed head to cave in his own father’s skull.

☆.。.:*・°☆.。.:*・°

Taglist: @sadslasher13 @blxuqueenie

#david 8 #david 8 x reader #alien #alien prometheus #alien franchise #alien fanfiction #michael fassbender x reader

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yama-bato · 1 year ago

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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 )

#Susan Mary Yeats

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catherinetheprincessofwales · 2 months ago

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Queen Elizabeth II National Memorial Masterplan Design Competition: The Top 5 Finalists

1. Foster + Partners with Yinka Shonibare and Michel Designe Paysagiste

Foster + Partners' proposal honours Queen Elizabeth ll's ability to unite people, communities, and nations. The journey through a tranquil family of Royal gardens is inspired by John Nash's original romantic landscape, unified by a natural stone tessellated path from the United Kingdom and Commonwealth that meanders to cater to both commuters and visitors. New figurative sculptures of Queen Elizabeth Il and Her Majesty alongside Prince Philip at Birdcage Walk, mark the relocated Marlborough Gate and Prince Philip Gate. Between the gates, the Commonwealth Garden and Yinka Shonibare's Wind Sculpture define a space for reflection and shared experience; the Community Garden's artistic installations celebrate the diversity of the United Kingdom; and the Unity Bridge is a jewel crowning the path and Memorial journey. Throughout, the Queen's voice is ever present through audio installations and inscriptions, alongside an ever-evolving digital conservatory, accessible from the site, or anywhere in the world.

2. Heatherwick Studio with Halima Cassell, MRG Studio, Webb Yates and Arup

Bridge of Togetherness

Our design is rooted in the idea of togetherness. A physical expression of what the Queen stood for above all else, which is unity. At its heart will be a new gathering place in the centre of St. James's Park, experienced as part of a memorial walk, honouring her 70-year reign, with the path expressed as 70 lily pads, each like stepping stones, bearing reflections from voices across the Commonwealth and Realms. At the very centre of the bridge will be figurative sculpture of Queen Elizabeth Il, protected by a canopy of eight sculptural lilies framing her presence in this historic landscape. Crafted from limestone, the design celebrates materials that age with dignity. Like her legacy, it is quietly monumental. A memorial grown from the landscape, open to people throughout the world from every walk of life.

3. J&L Gibbons with Michael Levine RDI, William Matthews Associates, Structure Workshop and Arup

The Queen was the nation's bedrock. It is with bedrock that we have created a bridge over soil, tree roots and water. A meandering flow of geology carrying people through an ephemeral choreography of blossoming and colour beneath the high tree canopy. The memorial is an immersive landscape, enriching the heritage of the park, embracing resilience and holding narrative threads of an extraordinary life. It will be crafted, timeless and versatile, using stone sourced from the four nations. An unfolding scene from which will spring the elegance of a truly innovative stone bridge, both graceful and strong with falling water that gently brushes the surface of the lake. A perambulation through glades that invites forest bathing in the heart of the city, while redefining the park's capacity to welcome even higher footfall and for adaptation to a future climate, all stitched with care into the fabric of the park.

4. Tom Stuart-Smith with Jamie Fobert Architects, Adam Lowe (Factum Arte) and Structure Workshop

The memorial for Queen Elizabeth I| will honour her life and legacy through a landscape of storytelling around objects from the world she lived in. The central composition is formed by an exact cast of an awe-inspiring oak from Windsor Great Park, representing her strength, endurance and the historic place of the monarchy in our constitution. It stands on a plinth in the lake. A gracefully curved stone bridge connects the memorial to the surrounding landscape, serving as both a viewing platform and civic space. The memorial path, made from stones from across Britain, begins with a newly configured entrance on The Mall and incorporates many bronze casts of significant objects from her life, accompanied by a sonic soundscape of memories from those she impacted. The gentle, serpentine design engages visitors of all ages and abilities, creating a lasting symbol of her legacy while integrating seamlessly into the historic landscape.

5. WilkinsonEyre with Lisa Vandy and Fiona Clark, Andy Sturgeon Design, Atelier One and Hilson Moran

Our proposal for the National Memorial to Her Late Majesty Queen Elizabeth Il draws inspiration from the many threads of her remarkable life and enduring legacy. We envision a thread of pathways and landscapes gently woven through the natural fabric of St James's Park — its trees, lake, and terrain - creating a contemplative journey that honours her seven decades of service.

The threads represent defining themes of Her Majesty's life: Reign, Faith, Commonwealth, Values, Nature, Family, and Prince Philip. Along the way, symbolic spaces for reflection invite visitors to form their own personal connection to the Queen's life and values.

At the heart of the memorial, a pair of elegant bridges span the lake, framing views of the park, royal palaces, and London skyline. With the lightest footprint on this Grade I listed park, our design enhances public movement and offers a timeless tribute to a beloved monarch.

see website for more

#Ktd #Queen Elizabeth II #Brf #British royal family #123 for me #Art #architecture #London

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theflyingkipper · 1 year ago

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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.

#the promised rant #theres a lot more i wanted to say but i needed to keep this on track #ttte emily #thomas the tank engine #kips cant shut up

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joeygoeshollywood · 4 months ago

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My 25 Favorite Films of 2024

Apologies for the delay but I finally finished my to-do list! Here are my 25 favorite films of 2024.

25. Wicked

It's about time Hollywood made musicals great again. Wicked takes the iconic Broadway play onto the big screen in one of the most fun and well-crafted films of the year. Cynthia Erivo and Ariana Grande absolutely shine as Elphaba and Galinda. From the terrific cast, the great costumes, the stellar production design to the wonderful songs, Wicked may have given new life to an underappreciated genre.

24. In a Violent Nature

In a Violent Nature turns slasher horror on its head as the entire film is told from the perspective of the serial killer. For much of the film, you're literally looking over his shoulders as he targets his innocent victims staying in a remote cabin in the woods. The killing scenes are so gross yet so much fun and kind of imaginative. If you're a horror junky, you'll absolutely love this one.

23. Longlegs

Probably the closest thing to Silence of the Lambs since Silence of the Lambs came out in 1991, Longlegs is a disturbing psychological crime thriller borderlining on horror about a young FBI agent's hunt for a serial killer. Nicolas Cage continues his acting Renaissance, this time completely unrecognizable as the deranged killer Longlegs leaving Agent Lee Harker (Maika Monroe) on a cat-and-mouse chase. Writer/director Osgood Perkins, who was probably best known as "Dorky David" in Legally Blonde, may be joining the ranks among the masters or horror in the 21st century.

22. Babes

Good raunchy comedies are few and far between in the modern era, which is why Babes is worth heralding. Ilana Glazer and Michelle Buteau are a dynamic duo playing best friends and their journey as an expecting mother (following a one-night stand) and young mother respectively. Babes is genuinely laugh-out-loud funny and can be an instant comedy classic.

21. Kingdom of the Planet of the Apes

In an age of constant sequels, remakes and reboots, very few franchises maintain their quality like the recent Planet of the Apes films. Kingdom of the Planet of the Apes is yet another strong installment to the franchise with rich new characters and stunning visuals. May the apes continue their reign!

20. A Real Pain

Jesse Eisenberg and Kieran Culkan star as estranged cousins who trace the Polish roots of their late Holocaust-surviving grandmother. A Real Pain (which Eisenberg wrote and directed) is a road trip dramedy that certainly hits home. Culkan's amazing performance alone is worth the watch.

19. We Grown Now

We Grown Now is a touching coming-of-age film about two young boys who live in the projects in Chicago's Cabrini-Green neighborhood in the 90s. Very few films can artfully capture childhood innocence like this one can. We Grown Now completely rides on the shoulders of its two young lead actors Blake Cameron James and Gian Knight Ramirez.

18. Monkey Man

What could be described as an Indian John Wick, Monkey Man is a helluva good time. Dev Patel made a strong directorial debut as well as writes and stars in this action-packed revenge thriller with some of the best fight sequences you'll see all year. If other films he directs are this much fun in the future, then Patel will certainly have a long career in the director's chair ahead of him.

17. His Three Daughters

One of the most overlooked films of the year happens to be on the biggest streaming platform (ahem, Netflix, ahem). His Three Daughters is a family drama fueled by raw emotion that truly feels like you're watching a staged play as virtually the entire film take place in a quaint two-bedroom NYC apartment. Carrie Coon, Elizabeth Olsen, and Natasha Lyonne play estranged sisters to come together as their ailing father takes a turn for the worse. The trio of actresses are what drive this film, particulary Lyonne's career-best performance.

16. Nickel Boys

There haven't been many films as grounded and intimate as Nickel Boys, which follows to Black boys and the real-life abuse they endured at a reform school. Shot through each of their perspectives throughout the film, Nickel Boys showcases fresh talent from filmmaker RaMell Ross and from up-and-coming actors Ethan Herisse and Brandon Wilson.

15. I'm Still Here

I'm Still Here is a powerful Brazilian film based on the harrowing real-life story of the 1970 disappearance of Brazilian politician Rubens Paiva under the country's military dictatorship and his wife's mission for answers. Fernanda Torres offers a powerful performance as the determined matriarch trying to shelter her children from danger while becoming a one-woman army against the authoritarian government.

14. A Complete Unknown

Timothée Chalamet continues to prove he's one of the finest actors of his generation, transforming himself into Bob Dylan in James Mangold's A Complete Unknown. The film seamlessly threads Dylan's biography with his iconic music (Chalamet does his own singing!) and is accompanied by a phenomenal ensemble including Edward Norton as Pete Seeger and the film's breakout star Monica Barbaro as Joan Baez.

13. The Wild Robot

Easily DreamWorks' best animated film in several years, The Wild Robot is a beautiful tale of self identity and finding family. The talents of Lupita Nyong'o show no bounds bringing life to an expressionless robot and is joined by a wonderful cast of critters. The Wild Robot is full of laughs, will tug at the heartstrings, and is a rare gem that's truly fun for the whole family.

12. Nosferatu

Robert Eggers' chilling reimagining of Nosferatu is yet another example of his ability of turning horror into an art form. Lily-Rose Depp gives a star-turning performance and is joined by a powerhouse cast including Nicholas Hoult, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin and Bill Skarsgård, who is unrecognizable as the iconic evil Count Orlok.

11. A Different Man

A Different Man is a brilliant noir-esq comedic tragedy, which seems like an oxymoron but if you see this film you'd understand why. Sebastian Stan of Marvel fame gives the best performance of his career as a struggling actor with neurofibromatosis who undergoes experimental treatment only for the role he was truly born to play is snatched away from him by another actor with the same condition, leading him to spiral out of control.

10. September 5

September 5 revisits the gut-wrenching horrors of the Munich massacre of the Israeli athletic team in the 1972 Summer Olympics from the perspective of the ABC Sports crew that was there to capture the story ahead of their colleagues in the news division. The film tackles journalistic ethics as what they choose to do (or not) could lead to fatal consequences.

9. The Brutalist

Clocking in at 3 hours and 35 minutes (complete with an intermission!), The Brutalist is, well, brutal- but in the best way possible. Adrien Brody shines as famed Hungarian-Jewish architect László Toth and his life in America following the Holocaust. Actor-turned-filmmaker Brady Corbet masterfully pieced together stunning visuals, a terrific score and a phenomenal cast, cementing himself a true cinematic artist.

8. The Substance

The Substance is gory, uncomfortable, and absolutely delightful. Demi Moore stars as an aging Hollywood starlet desperate to give her flailing career a lifeline. So she turns to take "the substance," leading her to some unwanted side effects. Part body horror and part dark comedy, The Substance offers perhaps the grossest view of showbiz by French filmmaker Coralie Fargeat. There'll be an Oscar waiting for Moore at the end of awards season.

7. Conclave

Edward Berger's Conclave is essentially a political thriller about the turmoil that unfolds in the Vatican when selecting a new pope- and it's a lot juicier than one could ever imagine. Ralph Fiennes leads a brilliant ensemble cast that includes Stanley Tucci, John Lithgow and Isabella Rossellini. Conclave is a holy drama you might feel dirty about after, but that's why it's so much fun.

6. Anora

Indie filmmaker Sean Baker has made his mark with his previous films (Tangerine, The Florida Project, Red Rocket), but Anora has put him on a whole new level. Mikey Madison stars as an escort who gets into bed with the son of a Russian oligarch and drama further ensues when they end up tying the knot. With elements of a heartbreaking drama and a hilarious screwball comedy, Anora is a little film with a lot of spunk and is among the most enjoyable ones in recent memory.

5. Challengers

Who knew tennis could be so hot? Luca Guadagnino's Challengers puts a love triangle on the court led by Zendaya, Mike Faist, and Josh O'Connor. Fun, intense, and sexy, Challengers was one of the most memorable trips to the movies this year (that could be thanked to fantastic editing and the iconic score from Trent Reznor and Atticus Ross).

4. Dune: Part Two

Hollywood rarely makes blockbuster films that are also cinematic achievements. Denis Villeneuve's Dune: Part Two is exactly both. This sci-fi epic is a once in a generation franchise that values storytelling as much as the action. Its climactic sequence rivals The Lord of the Rings: Return of the King. From the powerhouse ensemble to the gorgeous cinematography to the iconic score to the incredible effects, Dune: Part Two is a reminder that Hollywood magic still exists.

3. The Seed of the Sacred Fig

By far my favorite foreign film of 2024 is The Seed of the Sacred Fig, an Iranian drama that takes place during the 2022 protests. What's incredible about this film is that it was shot in secret because it's critical of the Iranian regime, so much so that its writer/director Mohammad Rasoulof had to flee the country as he was facing an eight-year prison sentence. Despite the film being Iranian, it was submitted by Germany in the Academy Awards' Best International Film category instead of Iran. Sacred Fig is part political thriller, part family drama featuring a strong cast and an incredible story. The film is more than just art, it's a rebellion.

2. Strange Darling

Perhaps the best film that virtually no one saw in 2024, Strange Darling is a hidden gem that will blow you away, particularly if you go into it blind (so don't look up the plot!). It will keep you on the edge of your seat with twists and turns you'll never expect. Jam-packed with thrills, terror, and even some dark humor, Strange Darling will leave a lasting impression.

Sing Sing

Sing Sing is truly a film for the soul. Rarely does a film consume you with so much emotion from beginning to end that will make you both laugh and cry in between. Sing Sing follows the theater program at Sing Sing Correctional Facility and nearly the entire supporting cast is made up of former inmates who did the program. Colman Domingo gives an Oscar-worthy as one of the leaders of the theater group in a desperate pursuit for clemency. Not only is Sing Sing one of A24's best films to date, it's the best film of 2024.

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watchnrant · 10 months ago

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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.

#tv series review #tv show review #review #season review #a discovery of witches #diana bishop #matthew de clermont #netflix #tv review #adow #writerblr #writeblr #writers on tumblr #writing #teresa palmer #matthew goode #television #tv

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whirlerwhirler · 4 months ago

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my stage/fright thoughts!!!!!!

The two times (unless there were more!!) that Toby was onstage I knew it wasnt Reece, but by the time he was there for the second time I saw ("curtain call"), I had completley forgotten the first (opening theatre scene). The first time, I just thought i must have been wrong about it not being him after they switched, and then at the "curtain call" bit I thought "he has aged strangely in the past few minutes" lmao

Genuinely thought for a moment that Steve was gonna say his wife had died and I had missed an update before i put two and two together about the switch. Felt horrible 10/10.

I wonder if theres people out there who aren't that into the show or who dont know their faces well enough that they might have believed that they were watching a show without Reece in it when that was "revealed"?

LOVE Reece doing ridiculous physical comedy fuck OFF he's so good at it!!!! Chopping off his own leg????? Creepin round the stage in his pyjamas like a nasty lil gremlin?? He's SO FUCKING GOOD AT IT AND HE SHOULD DO IT MORE

I could never have imagined that Steve's character from AQNI, when allowed to speak, is literally just the icon that is Barry Baggs. Same voice, same manerisms, same loveable moron absolutley fuckin everyones plans up because he wants a snack. Perfection.

I had seen a spoiler 2 days ago - photos of them in their "Tears Of Laughter" costumes and thought they looked too much like angels for the twist not to be that they're both dead, which really pissed me off and I still maintain that that tumblr user who posted them is a n absolute dickhead because they spoiled the final twist and whole ending of the show. There are signs ALL OVER the theatre saying not to post anything online and no one else that I've seen literally in the whole fandom has posted untagged spoilers.

anyway

STEVE STEVE STEVE STEVE STEVE yeah u get it but let me say it more STEVEN JAMES ELIZABETH PEMBERTON THE MAN THAT U ARE. DONT EVEN START made me cry a lil even tho I knew Reece wasnt actually dead and just in general watching him perform anything is GLEEFUL AND JOYOUS AND HE IS A MASTER OF HIS CRAFT (BAFTA FOR BETTER MAN PLEASE)

I thought it had JUST the right amount of references to the series. Now that I think about it, it makes sense that they would do all of BCDR. They started all the TLOG live shows with a first act full of sketches from the TV show before doing something new, so it makes sense that they do the same here. And it makes sense that they would pick their most successful and beloved episode (one that paralells some of their own careers and relationship to an extent too). I always found the BCDR wasnt a particularly funny episode, all the puns and physical comedy was more charming and sad, and that was mostly due to Reece's performance and the writing of Tommy (Steve u are absolutley BAFTA worthy in most roles but for this particular episode it does kinda baffle me that Reece was overlooked because he is just so good in it). but actually being in the room with them, being performed to an audience as they were "written" to be was a completley different experience that has changed the episode for me i think!

Reece and Steve both canonically dead in the INo9 universe, or maybe even the extended pembersmith cinematic universe? maybe now they can write something where they dont end up playing themselves being haunted by their work and characters? if not who cares cos i love it when they do

the SET DESIGN!!! especially the hospital scene! its so fuckin visually engaging!

loved the use of the camera onstage, was a really fun device and incredibly well done!

i had heard the term "celebrity guest" in a tag about the show and expected maybe that they had like a guest onstage every few days or a new guest every week, but have just realised they have a new guest every day!!!! so cool to see how many people love their work and respect them to come out for a single evening of work with them, even people who werent already guest stars on the show. i didnt know our guest star, but she was funny and really engaging throughout her scene haha

oh to be a fly on the wall in their little office while they were writing this. "and what if youre dead all along? not your character, YOU. and i walk offstage crying and thank the audience for being so supportive of your understudy? and what if we make 90 different celebrity guests attempt a flamenco dance and a geordie accent on stage?"

spotted the hare ofc

LOVED the live violins!

i hope they do film it. i know with the celebrity guest thing no two shows are the same but i hope they have a specific guest in mind to film it with because i'd love to see it again and pick up on all the things i missed, plus there are people around the world who the live show isnt accessible to who deserve to be able to join in with the fandoms discussions and celebrations of it

anyway i'm very tired because ive done 6 hours of travelling today, the theatre seats were wildly uncomfortable and also i live underneath a crack den so i havent had a full nights sleep for 11 months, so thats all i have brain space for today! really enjoyed the show. so glad i got the tickets even tho it was a stupid financial decision lmao

#inside number 9 spoilers #stage/fright spoilers #YOU HAVE BEEN WARNED. THERE ARE SPOILERS FOR STAGE FRIGHT #inside number 9 stage fright spoilers

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the-jewel-catalogue · 1 year ago

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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.

#queen elizabeth ii #jewel;engagement ring #british royal family #thejewelcatalogue

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rebeccathornewrites · 5 months ago

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the way u write romance means the world to me omg…how do u start your writing process??? do u use any like websites to organize ur characters or worlds? so curious bc being able to take such an inherently simple concept and expand on it so well and in such a raw way is an amazing skill!!! big fan

Hello!! Thank you so much for the kind words, omg. :D

For me, I usually mull over an idea for anywhere from a month to a couple years while I’m writing other projects. The ideas that fade quickly aren’t usually worth my time, but the ones that persistently come back are the ones I add to my schedule. (I typically know each book I’m writing next at least a year in advance.)

Once I sit down to write, I’ll draw up a rough outline with the 5 Sentence Method. I designed this method to be a simple bridge between pantsing (writing by the seat of your pants) and plotting (planning everything meticulously). It’s based around the Snowflake Method and uses elements from Save the Cat, but is far simpler! Just 5 sentences for 5 key plot points across the book. Once I have those, that’s my roadmap for writing, and I’ll expand accordingly!

Here’s a rough idea of the 5 Sentence Method! If you want to know more, I did write a craft book on the subject, available on Amazon. :D

Sentence 1 (5% mark in book): Inciting Incident, the moment where everything for your MC shifts, and they can’t ignore the pressing plot problem that just arose. (NOTE: this should NOT be on page one. We need to know what a character’s normal is before you toss in an inciting incident, so we can see how that moment is different than their daily life.)

Sentence 2 (25% mark in book): Leaving Home, the “leaving the Shire” point that kicks off Act 2. This is either the start of a physical or mental journey where the MC begins to pursue the real plot!

Sentence 3 (50% mark in book): Midpoint Reversal, the best part of the book. Done right, this is the moment where everything your MC thought they knew changes. Elizabeth swore she’d never love Darcy--then he proposes, and she realizes he’s loved her this entire time. If it’s a good Midpoint Reversal, it should completely change the MC’s interaction with the plot from this point on.

Sentence 4 (75% mark in book): Beginning of the End, the moment when an event happens that concludes Act 2 and begins the downward spiral into the ending battle / novel’s climax. After this point, the events of the ending CANNOT be stopped.

Sentence 5 (95% mark in book): Conclusion, where we see how the MC handled the climax and the book is wrapping up. Make sure you offer an off-ramp for your readers here, where you properly conclude the plots of the novel and give them a bit of breathing room after an intense ending.

I drop those sentences in Scrivener, which is how I personally track plots, characters, and worldbuilding. I’ll add in extra scenes I imagined based on the 5 Sentence roadmap. Then, when I’m ready, I write the book in Word, cause old habits die hard. LOL.

I hope that helped!

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fool-counter · 9 months ago

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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?

fool count: 123

#fools on demand

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fictionalfantasist · 11 months ago

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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?

#wanda maximoff #wanda x reader #marvel #x reader #fem reader #the avengers #fanfic #fandom

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lboogie1906 · 2 months ago

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Juan de Pareja (c. 1606 – 1670) was a Spanish painter, born enslaved in Antequera, Spain to a woman of African descent and a native Spanish man. He was employed by the celebrated artist Diego Rodríguez de Silva y Velázquez. He traveled with Velázquez to Italy and was exposed to the works of other leading artists of his era such as Titian, Veronese, and Correggio.

He was a free person. Before he arrived in Madrid he passed the examination to be designated a painter in Seville, a profession from which enslaved were legally banned. In a letter dated May 12, 1630, from him to a high official in Seville, he requested permission to continue studying his craft in Madrid accompanied by his brother, Jusepe, not Velázquez. He was the free, loyal assistant of Velázquez until the latter died in 1660. The last decade of his life was spent in the employ of Velázquez’s daughter, Francisca de Silva Velázquez y Pacheco, working as an assistant to her husband, the noted portrait and landscape painter Juan Bautista Martínez del Mazo.

His undisputed masterpiece is “The Calling of St. Matthew,” housed at the Prado Museum in Madrid. Expertly done, in some respects it is reminiscent not only of certain works of Velázquez but those of the great Italian and Dutch masters. Proud of his best effort, he inserted himself opposite Jesus standing at the left edge of the painting holding a slip of paper that reads “Juan de Pareja in the year 1661.” Like his mentor, he excelled in portraiture, the prime example being his portrait of the architect José Ratés Dalmau.

Revered as one of the premier Spanish Baroque painters. His legacy continues to this day. The popular children’s novel I, Juan de Pareja by Elizabeth B. de Treviño, based partly on often repeated myths about the artist, won the American Library Association’s Newbery Award in 1966. Five years later in 1971, Velázquez’s portrait of him was purchased by New York’s Metropolitan Museum of Art for an estimated $6 million. #africanhistory365 #africanexcellence

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justforbooks · 3 months ago

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David Sassoon

Fashion designer who worked with Belinda Bellville and dressed Diana, Princess of Wales, for many years

Belinda Bellville, a designer of special occasion clothes for her own wealthy, well-connected social group, was pregnant in 1958 and in urgent need of a temporary assistant in her London atelier. She found David Sassoon, a Royal College of Art student, and offered him a job after seeing his degree show. Bellville was old-style class, Sassoon was the new meritocracy, and what became their joint firm, Bellville Sassoon, succeeded for over half a century.

Sassoon, who has died aged 92, recalled how Bellville inducted him to her strata. She taught him how those attending the royal enclosure at the Royal Ascot race meeting, a highlight of the social season, pronounced “Ascot” – with very clipped vowel sounds. She explained how to be patient with clients’ non-model figures, and age and status fears, made introductions and led him through the Buckingham Palace tradesman’s entrance to fit the young Princess Anne with a bridesmaid’s frock, Bellville’s first royal commission. Following etiquette, Sassoon stepped backwards away from Queen Elizabeth II and put his foot in the corgis’ water bowl.

It never mattered. Bellville and her customers respected Sassoon’s attentiveness and inventiveness: he became a couturier in the original sense of the word, directly creating clothes for prestigious customers, providing a balance of modishness with personal requirements. His reticent outsider identity endeared him to his major patron, Diana, Princess of Wales. Her customer experience did not begin well – before her wedding to Prince Charles in 1981 Diana presented herself tentatively at Bellville Sassoon’s Knightsbridge premises, where an unimpressed saleswoman suggested she try Harrods. Then her mother, Frances Shand Kydd, escorted her back to order a 10-dress trousseau. Sassoon designed the newlywed Princess of Wales’s going-away outfit, and confected a matching pochette bag because she had forgotten to buy a handbag.

He wrote a good luck note and tucked it inside; she found that a comfort in a nervous moment, and their collusion over her appearance was on, continuing for more than 70 outfits. Sassoon made the princess’s wishes happen and she trusted his judgment. Among the many royals Sassoon dressed (British, European and Gulf), Sarah, Duchess of York, fancied the outrageous and wore it against all advice, he said, while Princess Margaret had no more care for her wardrobe than for people.

Audrey Hepburn, Jackie Kennedy, Elizabeth Taylor, Helen Mirren, Jerry Hall, Madonna and many others wanted unique outfits for gala events through the good times of the 1960s and 70s, and into the 80s. These were a different genre of display from post-1990s red carpet gowns: in the earlier era, celebrities did not do a lot of static posing, so gladrags had to be wearable through active nights of partying, dancing, and going to the loo, without assistants on hand to rearrange the drapery afterwards.

The name on the labels (which changed from Bellville et Cie to Bellville Sassoon in 1970, when she invited him to be a partner) never had to flaunt brand identity as the company avoided paid-for publicity or advertising. Its workrooms, staffed with cutters, stitchers and finishers, attracted all the customers it could cope with through personal introductions. Ready-to-wear, which it produced from the 60s on, was first sold to existing regular customers who wanted something new in a hurry.

Those of Sassoon’s clientele who were artists, performers or collectors, plus Bellville herself, appreciated Sassoon’s cultural depth. His ideas were inspired by a wide knowledge of applied and fine arts: a coat hand-painted with flowers from a Mughal miniature; a silk crepe dress handsmocked in Arts and Crafts style; a state-banquet gown hand-beaded with Wedgwood cameos. He attributed his endless curiosity about decoration to his family.

His parents, Victoria and Gourgi Sassoon, were a Sephardic Jewish couple from Iraq who honeymooned in London in 1925 and never went back to Baghdad. They set up a home, in Highbury, London, rich with colour and art. David was the third of their six children, interested enough in clothes to doll up his younger sister in remnants from his mother’s trousseau. He wanted to be an actor, and after finishing boarding school and Avigdor high school in Stoke Newington, got a scholarship to study at Rada.

But his father begged him to pursue a more secure future, so he first went to Chelsea College of Art and, after national service with the army in Egypt, won a scholarship to the Royal College of Art fashion department, where he studied under its revolutionary professor Janey Ironside. He enjoyed acquiring the technical competency she insisted on.

Some of his student contemporaries became famous for imaginative ready-to-wear in the boutiques that dominated in the 60s, while Sassoon at Bellville et Cie anonymously clothed the best to Paris standards, albeit with London bohemian vibes. He teased Bellville that he had brought her a dowry of clients from his own Jewish milieu, eager to dress up for bar mitzvahs and weddings – couture bridal gowns were always the firm’s steady, secure, income.

Bellville retired in 1981, and handed over the firm to Sassoon, who recruited Lorcan Mullany, particularly for ready-to-wear designs, which were crucial from the 1990s, as couture dwindled because clients grew time-poor: two hours for a fitting had become a luxury. Sassoon worked on, also in ready-to-wear, until 2012.

His lasting affection, though, was for his couture creations – in 1978, he had paid the ransom for a collection stolen from a show in New York, personally buying back one dress from a drag queen in Harlem. In retirement, he coaxed loans of his favourites from their owners for an exhibition, The Glamour of Bellville Sassoon, at the Fashion and Textile Museum in 2013, arranging them in gossipy groups. His work also starred in the exhibition Fashion City: How Jewish Londoners Shaped Global Style at the Museum of London Docklands in 2023.

🔔 David Sassoon, fashion designer, born 5 October 1932; died 9 April 2025

Daily inspiration. Discover more photos at Just for Books…?

#just for books #David Sassoon #in memoriam

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