#Harlequin France

[chic-a-gigot]

Les Modes : revue mensuelle illustrée des arts décoratifs appliqués à la femme, no. 25, vol. 3, 1 janvier 1903, Paris. Jean Béraud. — Arlequine. Bibliothèque nationale de France

[dersiebentekontinent]

[henk-heijmans]

Harlequin with a cart, Arles, France, 1955 - by Lucien Clergue (1934 - 2014), French

[winterlogysblog]

4KOTA HIGHSCHOOL AU

Liones University

Founder - Bartra Liones President - Meliodas Vice President - Gilthunder Prefect of Disipline - Dreyfus School Doctor - Hendrickson Middle School Principal - Guila Highschool Principal - Howzer Drama Teacher - Gowther PE and Science Teacher - Derieri PE Teacher - Griamore

Known Groups (Past):

The Seven Deadly Sins - Delinquent Gang led by Meliodas (yes, the president of the school) Members: Meliodas - Former Leader of The Ten Commandments; President of Liones University Ban - Owner of Fox's Sin (Bar & Resto) Escanor - Veteran Soldier Harlequin - Alias: King; Fashion and Costume Designer; Owner of Chastiefol (Fashion Clothing Brand) Diane - Former Ballerina; Model for Chastiefol Gowther - Drama Teacher of Liones University; Producer and Owner of Nadja Theater Merlin - Former Vice President of Camelot Academy

The Ten Commandments - Delinquent Gang led by Zeldris Members: Zeldris - Owner of Underworld Corp. Mael - Former Member of The Four Archangels Derieri - PE and Science Teacher of Liones Academy Monspeet - In the US Gloxinia - In France Drole - Also in France Melascula - Professor at Camelot University Galland - Professor at Camelot University Grayroad - <No information found> Fraudrin - <No information found>

The Four Archangels - Student Council Group Members: Ludociel - President Mael - Former Vice President turned member of the Ten Commandments Sariel - Secretary Tarmiel - Comittee Chairman

Known Groups (Present):

The Four Knights of the Apocalypse - just a gaggle of individuals Members: Lancelot - Captain of the Basketball Team; Models for Chastiefol in his free time (either he gets paid or he gets free stuff); Straight A Student (he doesn't even try); Subject of expertise - Math Percival - The most innocent bean known around Campus; Subject of Expertise - Foreign Language (doesn't know why he's good at it) Gawain - Former Camelot University Student; Captain of the Women's Volleyball team; Straight A Student; Self proclaimed chick magnet; Subject of Expertise - Science Tristan - Student Council President; Straight A Student (you're doing great sweetie); Subject of Expertise - Science and History

Percival Platoon - 4kota sub-group led by Percival Members: Anne - President of Fencing Club; Straight A Student; Subject of Expertise - English Donny - Varsity Basketball Player; Subject of Expertise - PE Nasiens - Hendrickson's assistant; Models for Chastiefol in his free time (automatic free stuff); has an obvious crush on Percy; Straight A Student; Subject of Expertise - Science and Geography

Tristan Platoon - 4kota sub-group led by Tristan Members: Isolde - Cheer Captain; has an obvious crush on Tristan; Subject of Expertise - Art and Design Chion - Campus A-hole; Does not care about anybody except for Tristan (Isolde and Jade too but mainly Tristan); Subject of Expertise - Science and History Jade - The tolerable one; has an obvious crush on Isolde; Subject of Expertise - Geography

Lancelot Platoon - 4kota sub-group led by Lancelot Members: Sixtus - Foreign Exchange Student (currently in France staying with Uncle Glox and Drole); Subject of Expertise - History (really good at memorizing specific dates) Tioreh - Member of the Gymnastics Club; Subject of Expertise - Arts and Design

[docgold13]

Batman: The Animated Series - Paper Cut-Out Portraits and Profiles

Harleen Quinzel

Once a talented albeit unscrupulous psychiatrist, Doctor Harleen Frances Quinzel came to work at Arham Asylum for her postdoctoral internship. Therein she met The Joker and in her youthful ambition believed that she could successfully treat the so-called clown prince of crime. At first it seemed as though Dr. Quinzel was making excellent progress with The Joker.  And yet it turned out that The Joker was slowly and successfully indoctrinating the young woman into his own twisted outlook on the world.  Employing a string of lies and false accounts, The Joker was able to make Quinzel see him as the victim.  Before she knew it, Quinzel was hopelessly and nearly irrevocably entranced by the villain. 

Fashioning herself a harlequin outfit along with a variety of thematic weapons, Quinzel broke The Joker out of Arkham and thus began a colorful career as Harley Quinn, the Joker’s partner in crime.  In her delusional state, Harley never saw The Joker as actually hurting anyone; he was merely bringing mirth and mayhem into their otherwise dull lives.  Similarly, Harley was unable to appreciate the abusive nature of her relationship with The Joker, how he mistreated her and took her for granted.  It was only through her loving relationship with fellow villainess, Poison Ivy, that Harley enjoyed a respite from the toxic thrall of The Joker.  

The wonderful Arleen Sorkin provided the voice for Quinzel, with the character first appearing in the seventh episode of the first season of Batman: The Animated Series, ‘Joker’s Favor.’       

[kaiasky]

one of my favorite political tendencies to run into is the like, 1960-1970 obsession with like, the revolutionary potential of the prank or that the schedule is the ultimate killer. "'Repent, Harlequin!' Said the Ticktockman", "Chronopolis". Situationist International, a revolutionary movement whose philosophy might be summed up as "how could capitalism stand up to the might of Some Funny Shit Happening On Your Commute?" and then yknow, accidentally became the theoretical backing of '68 in France. Discordianism "maybe if we do weird shit people will realize that it's ALL fake" (sorry discordianism for attempting to boil it down to a coherent point.) the legacy of culture-jamming and everyone on tumblr really believing in the revolutionary potential of the graffiti tag.

like... i don't think its a particularly useful leftist revolutionary politics-"ugh! ze sheeple, zey do not even look at my living statue performance en zeir way to work. ze proletariat, zey buy the téléviseur and the téléviseur tells them what to buy next, eh?" but also like. despite it all being quite silly i do see the appeal. repent, harlequin!

[kingscrafty]

Tried to get back into drawing by creating Pokemon Legends ZA starter evos.

Meowscarada is based on a Harlequin, this was a tough one seeing as I bounced between picking a Pierrot or a Harlequin but ultimately picked Harlequin because it felt easier to choose the secondary type. I went with fairy because of the whole "kids love clowns but adults are terrified" thing, particularly when you realise what fairies are really like. The design looks too busy so I'm not all that happy with it, but I also wanted to try to capture the outfit without looking too 'meh'

Cinderace is based off of a marathon runner with neon running shoes and a paper square-like marking on the chest, seeing as there are one or two (ahem) famous marathons in France. Struggled to secondary type this one, almost went for normal, water (triathalon-based), or even flying (speed) but they just didn't feel right. I eventually went with ground because of all the running, but also because of the funny Napoleon being scared of bunnies story because I feel like he was the kinda guy to double down after a stunt like that

Empoleon is based even more off of Napoleon with his hat, a cape, and jacket patterns (thanks it has pockets). I wanted to add red in to the design seeing as Napoleon had red accents in most of his famous paintings, and changed the crown-like headpiece to match the sideburns . The high collar also got replaced by shoulder pads, and I tried to make the feet resemble Napoleon's boots - although with diddy legs like that it was kinda difficult... Also chose water/dark because damn Napoleon. You sure did some things huh

[2laffy2]

Me: *Randomly watch some genshin impact videos even though I don't play it because i have no patience for the game to get uploaded on my phone*

Me: *look at the fatui Harbinger* Why in the name of the holy Frogs they names are like this *point at Pantalone and Dottore* really who the frog name they Children, Pantalone and Dottore?! (Trousers and Doctor) Omg- 🤣🤣🤣

The Fatui Harbinger be like:

Pierro

〈pieró〉 (or Pierrot) sm, fr. [der. of the name Pierre «Peter»; owner «Pierino»]. – Character from Italian comedy in France, who originally represented the type of the foolish servant, who then moved on to French pantomime, where he gradually took on the character of a pathetic and unlucky lover.

Il dottore

(Unfortunately I can't post more than 10 photos so take this gif of Mr Bean 🙃, you guys can always look for it)

Balanzone, also known as Doctor Balanzone (Dutåur Balanzån in Bolognese), is a mask of Bolognese origin. He belongs to the ranks of the "old men" of commedia dell'arte, sometimes called Doctor Graziano or simply the Doctor.

Native of Bologna, he is the classic "serious", pedantic and presumptuous character. He is a doctor of law: he is in fact the caricature of the learned and pompous Bolognese lawyer. Its very name proves it, in fact Balanzone derives from the Bolognese balanzån, meaning balance, scales, meaning the symbol of the Law. A man with big red cheeks, he has a big belly and usually gesticulates a lot. He wears a small mask that covers only his eyebrows and nose, resting on two large moustaches. His costume represents the dress of the professors of the University of Bologna: black toga, white collar and cuffs, large Bolognese hat, black jacket and cloak. Fussy, quibbling, he finds every little excuse to start one of his endless meaningless speeches. Always ready to boast of his titles, he says he knows every field of human science: right and law first of all, but also history, astrology, philosophy; he talks about these topics in a boring and long-winded way, mixing them into an inextricable tangle. He enjoys a lot of respect among the other masks who often turn to him for legal advice: he does not deny his help but always takes the opportunity to do the thing he likes most: speaking and giving opinions of no value.

Columbina (Colombina)

Colombina is a Venetian mask from the commedia dell'arte, often the object of attention from her master Pantalone and the cause of Harlequin's jealousy.

The only female mask to stand out among so many male characters is Colombina, a lively and clever servant girl. She's lively, pretty, a liar and is from Venice. She is very fond of her equally young and pretty lady, Rosaura, and in order to make her happy she is willing to commit scam after scam.

Arlecchino

Arlecchino (in Bergamo dialect Arlechì) is a Bergamo mask from the commedia dell'arte.

Identified by his colored lozenge costume, his role is usually that of a carefree and cheerful, but also cunning servant, who acts to thwart the plans of his master Pantalone, in cahoots with his friend Brighella, and to pursue his interest loving, Colombina, with wit and resourcefulness. These characteristics make him assimilate to the typical role of the trickster.

(I'm pretty sure that i made a doll of him when i was in elementary school)

Pulcinella

Pulcinella (derived from Puccio d'Aniello, in Neapolitan: Pulecenella) is a Neapolitan mask of the commedia dell'arte.

Pulcinella embodies the Neapolitan plebs, the simplest man, the one who occupies the last place on the social ladder, the man who, despite being aware of his problems, always manages to come out of them with a smile. He is called to represent the soul of the people and their primitive instincts, he almost always appears in contradiction, so much so that he does not have fixed traits: he is rich or poor, he adapts to do all jobs in addition to being a faithful servant, here he is a baker, innkeeper, farmer, thief and seller of miraculous concoctions, he is either arrogant or cowardly, and sometimes presents both traits at the same time by making fun of the powerful. The quality that best distinguishes Pulcinella is his cunning, and it is precisely with his proverbial cunning that he manages to find the ability to solve the most disparate problems that arise before him, but always in favor of the weakest to the detriment of the powerful. Another famous characteristic of his is that of never being able to keep quiet and this is where the expression “pulcinella's secret” comes from, i.e. something that everyone knows. Pulcinella represents a character who has acquired within himself all the symbols and meanings of the popular and peasant world and has brought to all the scenes of Italian theaters, and beyond, a repertoire rich in movements, gestures, acrobatics, typical dances and rituals of the Neapolitan gestural code. In fact, they accompany him on the theater and carnival scenes: the broom, the horn, the cowbells, elements which for the Neapolitans have a propitiatory value and an antidote against the evil eye and jinx.

Scaramouche

Scaramuccia is a mask from the commedia dell'arte, derived from the Captain: boastful and boastful, he dressed in black according to the uniform of the Spaniards stationed in Naples. In truth, however, the mask was born in Naples with the name Scaramuzza, taking on the form Scaramuccia (Tuscan) in the eighteenth century.

(Oh and there is also a film that its called Scaramouche but it doesn't has nothing to do with the mask i think-)

Sandrone

Sandrone (Sandróun in Modenese) is the traditional mask of the city of Modena.

Sandrone represents the peasant of the past, rough, but smart and shrewd. He is the spokesperson of the most humble and mistreated people, and always looking for stratagems to make ends meet.

La signora

No mask found, but translated into English means The lady

Pantalone

Pantalone (in Venetian Pantalón) is a Venetian mask and a character from the commedia dell'arte.

Pantalone initially appears as a vicious old man who undermines the young lovers, the courtesans, more often the servants of the comedy.

represents the typical old, stingy and lustful merchant: his very name is the one typically imposed on the males of the wealthy families of the Serenissima.

Tartaglia

Tartaglia is a mask of the commedia dell'arte, born in Genoa at the beginning of the 1600s. It is similar to that of the doctor, from which it derives.

His main characteristic (hence the name) is stuttering.

Il capitano

The captain is one of the oldest masks of commedia dell'arte.

Reborn in other forms in the Italian theater of the 1500s, he sometimes personified the noble and imaginative soldier or the vainglorious braggart who boasted of titles he did not possess and of deeds never accomplished: in both cases he actually poorly concealed the terror of having to face a battle or a duel, contrary to what he continually stated in words.

Like they are almost all (-La signora) Italian masks for comedies?! I can't take them seriously anymore 🤣🤣🤣

I don't think that they the personalities match those of the masks but idk anything about them soo~ i could be wrong ^^

If you guys are interested in the Lore of the masks you can just look for them or ask me questions about them if i reamber something

Oh and I used the Google translator because I feel lazy right now

[in-kyblogs]

need to know more about italian lestat and why is this so overshadowed by his french side 😤

Have you heard about the fact that Lestat is nonbinary on his mother side? We could say the Italian thing is the same kind of situation really lmao

His mother, Gabrielle De Lioncourt, was born in Naples and grew up there. It was common for Italian nobles to marry in France for political alliances reasons, the most famous is the Medici family from ‘400 Firenze: Caterina De’ Medici was a french queen in 1547 (fun fact: the Medici family seal has similarities to the royal French seals with the arald of a lily I think for some alliance thing in the ‘500 but I can’t exactly remember). But I digress. This is to say that, as direct neighbours, Italy and France have a lot of history and a lot of beef, mostly due to wine and cheese if you can believe it. And football. Oh, especially football.

Gabrielle isn’t really an affectionate mother, she has a complex and fascinating relationship to her role as a woman and a wife and a traumatic experience, I’d say, with giving birth to seven sons (can’t wait for her character in the show, especially since Hannah, who wrote a play on these themes called What a young wife ought to know, which I wholeheartedly recommend, said she is really excited to be writing for her!). This results in her and Lestat having a really weird relationship, cold and distant but at the same time extremely visceral due to the both of them being kind of prisoners in their own life. Gabrielle never teaches Lestat Italian, nor is particularly forthcoming about her old life or her cultural roots. When Lestat runs to Paris, Gabrielle tells him to find someone who can write Italian for him, so he can send her letters that his father can’t read. She also never bothered to teach him the alphabet, even less a second language, and she used to read Italian books that Lestat couldn’t understand. So, very mixed feelings about this on Lestat’s part I’d say. He is, I think, really resentful of this side of his mother that he isn’t allowed to know, but at the same time really fascinated by it: his first attempt at escaping is with an Italian troupe of commedia dell’arte actors, a type of play that involves a lot of improv. Basically you have a series of “maschere” (characters) that have a definite set of characteristics but no written lines (we call it canovaccio I have no idea how to translate this concept though). Each character is tied to a specific part of Italy, for example Pulcinella is the neapolitan one, Arlecchino (Harlequin) is from Bergamo (near Milan). Lestat plays Lelio in the book, a character from the italian play that is the maschera of the lover. (He is also the protagonist of a play by Goldoni where he is also a liar (title of the play Il Bugiardo), totally unrelated to iwtv but it always makes me laugh).

I basically wrote all this stuff to say that Lestat knows basically nothing about his italian heritage and that explains why it is so overshadowed by his french side, but I will say that both italian and french people are extremely extra, in wildly different ways and also they will fight each others over nothing (they stole the Gioconda btw), so this accounts for why Lestat is like that ™️. Particular about food? Italian heritage. Snobbish about music? French heritage. Extremely petty? Eh, to be fair, both. Will hold a grudge forever? I will tell you, during fifa and uefa football games we still yell at the French team about that time during the 2006 World Cup final when one of their players went and hit one of the Italian team players with a headbutt (Italy won btw💁🏻‍♀️). So yeah. Lestat never stood a chance really

[chic-a-gigot]

La Mode nationale, no. 272, 11 juillet 1891, Paris. No. 1. — Costumes de bains de mer. Bibliothèque nationale de France

(1) Costume de bain, en anacoste bleu-marine. Corsage froncé, décolleté en carré sous un galon blanc fantaisie. Jupe courte, garnie de deux galons et d'une ceinture semblable. Pantalons au-dessous du genou. Grand chapeau de paille. Grand manteau de bain en tissu éponge.

(1) Swimming suit, in navy blue anacoste. Gathered bodice, square neckline under fancy white braid. Short skirt, trimmed with two braids and a similar belt. Trousers below the knee. Large straw hat. Large terry cloth bath coat.

—

(2) Costume de bain forme marine, en lainage crème. Corsage ouvert sur une chemisette crème et bleue, encadré dans un revers de lainage bleu, se terminant au bas du corsage, boutonné. Pantalons courts, garnis par une bande bleue. Manches semblables à la chemisette. Souliers de bain, attachés en cothurnes. Chapeau de paille blanche et bleue, posé sur un bonnet de toile cirée.

(2) Navy swimsuit, in cream wool. Open bodice over a cream and blue shirt, framed in a blue woolen cuff, ending at the bottom of the bodice, buttoned. Short pants, trimmed with a blue band. Sleeves similar to the shirt. Bathing shoes, tied into buskins. White and blue straw hat, placed on an oilcloth cap.

—

(3) Costume marin pour jeune fille. Blouse en lainage bleu foncé, à larges revers crème, brodés d'ancres bleues, entourant un plastron héraldiquement brodé. Jupe plissée tout autour, brodée d'ancres dans le bas, retenue à la taille sous une ceinture crème. Chapeau de paille, très enlevé, doublé par du tulle à pois plissé, avec ancre brodée. Nœud comète en dessus.

(3) Sailor suit for young girl. Dark blue woolen blouse, with wide cream lapels, embroidered with blue anchor, surrounding a heraldically embroidered bib. Skirt pleated all around, embroidered with anchors at the bottom, held at the waist under a cream belt. Straw hat, very stylish, lined with pleated polka dot tulle, with embroidered anchor. Comet knot above.

—

(4) Costume italien pour enfant, fille ou garçon, de 4 à 5 ans. Blouse drapée en lainage rayé blanc et rouge, retenue à la taille par une écharpe nouée sur le devant. Grand col blanc retombant dans le dos, et en pointe devant. Chapeau de paille blanche, pointée de rouge, avec fond arlequin en lainage blanc et rouge.

(4) Italian suit for children, girls or boys, 4 to 5 years old. Draped blouse in white and red striped wool, held at the waist by a scarf tied at the front. Large white collar falling in the back, and pointed in front. White straw hat, tipped with red, with harlequin background in white and red wool.

—

(5) Costume de lainage ivoire uni. Corsage à petites basques, sans petits côtés, entouré par une petite frange boule. Manches bouffantes du haut, serrées dans le bas. Jupe drapée devant et plissée à larges plis derrière. Chapeau de paille blanche, entouré par un froufrou de mousseline de soie ivoire, avec nœud de ruban rouge en crest derrière.

(5) Plain ivory wool suit. Bodice with small basques, without small sides, surrounded by a small ball fringe. Puff sleeves at the top, tight at the bottom. Skirt draped at the front and pleated with wide pleats at the back. White straw hat, surrounded by a frill of ivory silk chiffon, with a red ribbon bow in the crest behind.

Métrage: 9 mètres lainage, grande largeur.

—

(6) Toilette de lainage rouge. Corsage-jaquette fermé et boutonné, à grandes basques, le tout garni de petit velours noir et de boutons blancs. Col rabattu, poches de velours sur les côtés. Jupe plate devant, plissée derrière, brodée en soie noire dans le bas devant, au-dessus de l'ourlet. Chapeau de paille, à bords enlevés, orné sur le côté par un fouillis de gaze de soie rouge.

(6) Red woolen ensemble. Closed and buttoned bodice-jacket, with large basques, all trimmed with small black velvet and white buttons. Turn-down collar, velvet pockets on the sides. Flat skirt at the front, pleated at the back, embroidered in black silk at the bottom of the front, above the hem. Straw hat, with removed brims, decorated on the side with a mess of red silk gauze.

Métrage: 8 mètres lainage rouge, grande largeur.

[regicidal-defenestration]

CHARLEY: The Tardis seems to have repaired itself.

DOCTOR: Yeah, everything's back to the way it was before.

CHARLEY: Before what?

DOCTOR: Time and place, Charley. Come on. Where to next? How about a spot of Commedia dell'Arte to cheer you up? Harlequin, Columbina. Of course, my favourite's always been II Dottore.

CHARLEY: How can you be like this?

DOCTOR: What?

CHARLEY: Doctor, C'Rizz is dead. He just turned to dust in front of us, and look at you, all smiles and where to next, Charley.

DOCTOR: I'm sorry.

CHARLEY: Sorry? Just now you said, back to the way it was before. You meant before C'Rizz, didn't you? It's almost as if you're glad. Glad he's gone. Is that it?

DOCTOR: Charley, | don't know what to say to you. | know what's happened is painful for you. CHARLEY: Painful for me? What about you?

DOCTOR: I-

CHARLEY: You never really cared for him, did you, Doctor. Well? Oh, come on, admit it. DOCTOR: Charley, that's just not true.

CHARLEY: Isn't it? Look at yourself. You're perfectly happy to just, | don't know, to carry on as if nothing has happened. How can you do that? Oh, it's because you liked it the way it used to be, before the Divergent Universe. Just you and naive little Charlotte Pollard hanging on your every word.

DOCTOR: Charley, Charley, stop it.

CHARLEY: The little girl you saved from the Web of Time.

DOCTOR: Stop, stop this now.

CHARLEY: The only thing you really care about is this wretched machine. (laughs) Look at you. Now you're hurt.

DOCTOR: People come and go. It's not. Look, it's not that | don't care about them, but CHARLEY: Oh, but what, Doctor?

DOCTOR: Charley, everybody leaves. Everybody. When it comes down to it, there's just me and the Tardis.

CHARLEY: Take me home.

DOCTOR: What?

CHARLEY: | think I've had enough. Yeah, I'm finished.

DOCTOR: Charley, home means somewhere over France, back aboard the R101.

CHARLEY: Does it? | thought this was home.

DOCTOR: Look, | think you just, you need

CHARLEY: I'm going to my room now to pack. | would appreciate it if you could let me know when we've arrived.

DOCTOR: Charley?

CHARLEY: No, Doctor. Remember, everybody leaves.

[ca-suffit]

I say "attempted to change it" (about the origin of the harlequin portrayal) because S2 ep3 promo I've seen so far treats the introduction of Lestat playing that character as super cool and awesome and Armand seems to have swooned over him via Lestat's attitude in portrayal of this character. Which is unhinged because Armand of all people would likely know the racism inherent to the harlequin.

And also I think I've seen an interview, but don't quote me here because it could very well be fandom bs, where Sam(?) talked about the difference between Lelio and Harlequin and the only thing he expressed was the trickster nature of the Harlequin vs the lover's nature of Lelio or smth. Nothing to aknowledge Harlequin is blackface and maybe Lestat had those racist biases as a human/fresh vampire (very possible) or etc.

Which is why I'm so serious when I say I hope he comments on the situation, least AMC are utter fools and trying to pull an "It's not racist when WE do it because, um, reasons!!!"

thank u for explaining! I don't want to doom spiral so I can't say anything before seeing the episode. It's a bunch of theatre ppl making the show tho and the racial commentary is usually good, I don't see why they'd skip over a mention of it. It's not surprising it hasn't been brought up in interviews before the episode has aired tho. Sam also is never gonna be the one to deep dive into racial topics lol.

Idk anything about this stuff so I went looking on youtube to see performances and general videos. This is *always* mentioned somehow when talking about the character and the mask, so it's not rly hidden info once u poke around the tiniest bit.

I will say tho that I don't think ur supposed to see Lestat in that role as being very positive tbh. We've basically been told that it's Armand switching the roles for him in the play in his version of events and he's supposed to look goofy. I always took it to be intentional for Armand to try and downplay his desire while still clearly being overtaken by it. The plays are book canon so I don't see anything outright problematic about how this is set up in terms of what it means for Armand and Lestat. It doesn't suddenly make them good or bad ppl by itself. There's limited characters to pick from in the play. They're old, popular plays with multiple influences and versions. Pretty much *everything* is also rooted in racism tbh, especially hundreds of years ago in France. I'm not trying to tell u how to feel, I'm just saying I'm not gonna get angry ahead of time with a show that's already mentioning racial history in every scene we see. Daniel's always ready to blurt out some racist shit to Armand as it is and show off his white, liberal knowledge about history so I can p easily see this being a setup for that.

Sorry the part about Lestat "maybe" having racist biases made me lol too bcuz....of course he did. He still has them through the entirety of S1! He's white and French from 17whatever. He thinks racism is an American problem. He'd be saying slurs all over the place if this show wanted to be authentic about it. We're getting the toned down version of what would rly be "book accurate" for those who want that lol.

Anyways here's the videos. Most of the commentary about race stuff is near the end of all of them.

[imthepunchlord]

DaB Ch 2: Hero?

Ao3

It was so nice that the universe always provides. Lila stood on the rooftops, admiring an exclusive view. Enjoying a moment of being Paris' new hero. It was just what Lila deserved. And to a near window, she admired herself. 

Her long thick hair was in a ponytail, with two long ribbons acting as antennas on top. Her jumpsuit was black and vermilion, with black covering her legs up to her thighs, sparsed black dots over the vermilion section, and a black upper part, with white ovals over her color and a white star in the middle between them. Vermilion gloves stemming from her elbows, continuing the sporadic and few black dots over the warm color. Her mask was a simple vermilion, but had a black star in the center. Her olive green eyes made out to be darker, not clashing too much with the orange-red mask. 

She looked stylish and cute in Lila’s own opinion. 

But who should she be?

What name should she do? 

Ladybug was too on the nose. 

Coccinella was a mouthful, and would hint to her Italian origins. Lila’s not so certain she wants to give that away. Harlequin also came to mind, but that also hinted at her Italian origins. She was here in France so she should stick to a French name. But what… 

Humming coyly, she zeroed in on the stars on her, she thought of how she was a beauty and here to be Paris’ new star.

“Bella Stella,” she murmured. Humming, she murmured, “Or maybe Bella Stellata?” She shook her head. No, Bella Stella rolled off the tongue better. For hero names, they mattered. They said who they were, what they were about, and the aesthetic. The suit came with stars, best to play off it. And the beauty that she was. 

[joannerenaud]

Sylvia Baumgarten (aka Sylvia Halliday, Louisa Rawlings and Ena Halliday), 1933-2024

My friend Sylvia Baumgarten died on the morning of February 1rst. Our friendship began in the 1990s, when I wrote her a fan letter about one of her early Harlequin historicals, Wicked Stranger, and she wrote back a long type-written letter about her influences and research and sent me a copy of Stranger in My Arms as well. I interviewed her for my old blog in 2011-- sadly, that interview has been lost. But we also met in 2016 for dinner, and she sent me her collection of books about the French Revolution. She was a great talent, as well as witty, opinionated and immensely generous. I will miss her very much.

She graduated from Brown University in 1955, and from 1982 to 2015 wrote for a variety of publishers, including Pocket Books, Kensington Publishing Corp., Harlequin, and Diversion Books. She was also a President of the Romance Writers of America/ New York City Chapter, and her books were nominated for multiple awards. Forever Wild was a finalist for the RWA/Golden Medallion award, Best Historical Romance (1986). Stolen Spring (which I reviewed for Dear Author) received a Romantic Times nomination as Best French Historical (1988), while Promise of Summer [archive.org link] received the Romantic Times Reviewer's Choice Award as the Best Historical Romance set in France (1989). Wicked Stranger had also been nominated for a Rita Award by the Romance Writers of America.

Baumgarten's papers are available in the Manuscripts Division of Brown University, and include press kits, book reviews, news clippings, public relations material (including photographs), interviews, correspondence about her books, and the manuscripts of Stolen Spring and Dreams So Fleeting.

She also blogged extensively about her observations and experiences selling wedding dresses at Macy's in New York.

[eyenaku]

please tell about pierrot

holy shit this is gonna be maaaaddddd long i love you bryt

oh kay so. if u want easy to digest ver see my pierrot posters but ill go. bonkers and be abnormal and give u so much info under cut except i physically cant write serious tone rn so srry

picture this. it's the 16th century and commedia dell'arte is going nuts in italy everybody loves to watch silly little guys- one of which is the stock character pedrolino!! he doesn't wear a mask (unlinke many commedia characters) and has a loose white outfit, with ruff, cap, and large buttons down the centre of his shirt. he's a naive little guy- he's unlucky in love but it's endearing!! jovial! the youngest character!! pedrolino specifically is comedic and silly and happy!

ok now it's the 18th century and commedia dell'arte starts spreading across western europe. when it hits france, pedrolino becomes pierrot. pierrot being a diminutive of pierre, with -ot acting similarly to the spanish -ito which makes words smaller, often in the context of youth and endearment. in english, his name would be something like "petey" or "little pete". pierrot stays as a silly little guy, still the youngest role and a sideshow comedian, but don't you worry because he quickly becomes the sopping wet sad clown you know and love.

19th century comes along and BOOM. pantomine goes crazy in france and england. ppl cant get enough of watching these silly guys interact. jean-gaspard deburau, a famous mime, creates a rendition of pierrot during his time at the theatre des funambules, which becomes the stereotypical one everyone thinks of when they hear the name. he's pathetic, he's hopefully in love with columbine.

wait what? he's pining?? he's not being silly doing gags anymore? u heard that right folks there's a new storyline and it's a weird love triangle thing sorta kinda?? the melancholy recharacterization came with a new typical storyline of unrequited love between pierrot and columbine (columbine being his wife who is cheating on him with harlequin), though the story varies (sometimes they are not married, sometimes she is married to harlequin, etc). n e ways da general premise is that pierrot loves columbine, columbine loves harlequin, and harlequin loves columbine, so they both long for her affections and pierrot is a sad sopping wet lil bitch boy about it. very silly im love him anyways

oh yea deburau's super duper famous pierrot also switched up his costume- he got rid of the frilly collar/ruff (booooo tomato), gave him a skullcap instead of a hat, and made his blouse n trousers really big n wide-cut. he was no longer crude, timid, lazy, greedy, etc. etc. but rather a POET. a theatre kid. a melodramatic thing.

with pierrot being so intertwined to harlequin, naturally he was a pivotal character in the harlequin-centric "harlequinades", plays popular in england. however pierrot got displaced by the english clown :( dw tho he stayed popular in france

ok late 19th early 20th century. pantomime/commedia dell'arte makes a comeback????! oh em gee. new plays. many books of poems. 1884's pierrot lunaire saga was particularly famous, and was used as lyrics to a full orchestra composition. these poems are generally regarded as the first strong association between pierrot and moon motifs but they were seen before (supposedly around the deburau period) as a way to show he was "over the moon" in love with columbine.

oh yea pierrette also starts to exist during this time period. literally just female pierrot, who's sorta a rival for columbine but sorta not really? she's like. in love with pierrot, who's in love with columbine, who's in love with harlequin. they're all rlly dramatic about it. nobody wins (except columbine and harlequin lmaooo). they're both sad face emoji all the time and super melodramatic real for real.

ok now it's the 1920s. MORE PIERROT RESURGENCE. ppl in the 20s LOOOVEEED pierrot and pierrette. bibleots- french trinkets were super popular and were often pierrot/pierrette motofed, usually with moons. they were figurines, boxes, decanters, bookened, lamps, all sortsa stuff. their designs are a mash-up of all the previous iterations, typicalls looking very much like deburau's version but with a very prominent ruff added (WOOOOOOOO RUFF YAY) the modernism movement (art) has him as a reoccurring subject (picasso and dalí r some famous modernist artist who painted/drew him).

even charlie chaplin was a pierrot- little tramp, his most famous character and what u think of when u think of him was described in his biography as a type of pierrot.

david bowie described himself as a pierrot ! ! ! ! ! TWIGGY PLAYED A PIERRETTE IN HER FIRST MOVIE!! ggrarhhh

21st CENTURY HATSUNE MIKU PIERROT SONG. PIERROT IN FASHION.... pierrot was called a symbol for th epresent during covid...

anyways y yea im a huge fan. im abnormal about pierrot. thas a brief history. mwah kisses xoxo

oh also im making a game rn. commedia inspired. pierrot is in it. hoo ray

[dolphin1812]

Out of everything in today’s chapter, I was most intrigued by the “harlequin convent.” While it is reassuring to know that nuns whose orders were destroyed have a place to stay, Hugo allows them space for their tragedy. He describes them as “relics,” implying that they no longer have a place in the world, and in a way, that’s true. As we’ve seen from the nuns of the Petit-Picpus convent, their lives revolve around the strictures of their order and the other nuns; these nuns, who are completely separate from their order and their fellows, have none of that. Instead, “each followed her own rule” individually, not having anyone to share in these practices with her. The Petit-Picpus convent is scarily strict, but the nuns do have each other (and their pupils); conversely, these nuns may not be as strict, but their lives are very lonely.

In addition to tying them to the past, the term “relics” renders them objects. This idea is repeated again when they’re described as “souvenirs” for the students. Without the context of their orders, these nuns aren’t seen to fully exist as people, even though they’re still alive and are carrying out their practices to the best of their abilities.

“Relic” is also interesting because we typically associate it with something very old, often from antiquity. The orders of the ancien régime are so recent that these nuns are still alive (with it being implied that many died during the Revolution, not just of age or sickness). Labeling them “relics” distances France’s monarchical, absolutist past, as well as France’s Revolutionary past, from its present, even though we know that the Bourbons drew on both of these, at least in theory (a return to monarchy, but with the idea that citizens had rights). These nuns haven’t been abandoned, exactly. The state pays for their care. Still, their marginalization and consignment to the past speak to a desire to utilize only the convenient parts of France’s history (”the monarchy will bring stability! But don’t worry, this isn’t old-fashioned absolutism, there’s a charter!”) while ignoring (and even hiding - this is the least accessible convent) those that are more complicated.

The contrast between the nuns and the noblewomen is fascinating as well. On the one hand, the convent likely genuinely serves a purpose for elderly nobles with no other place to retire. On the other, nobles have much more flexibility than the nuns, and not just because of their practices. Madame de Genlis, for instance, was able to leave for the seemingly trivial reason that “there was no shade in the garden,” underscoring that her presence in the convent was a choice. The nuns had no alternative. Their orders have been destroyed, and they may not have had families outside of the Church. While Mme de Genlis could be an exception, it seems that even the convent isn’t immune to status, with rank influencing who can get in and out. This is especially notable with how difficult it is to do so; Hugo reminds us of this by telling us how distanced the nuns are from the public even in the church. The church itself isn’t particularly welcoming, either, with its entrance for the public resembling that of a “lazaretto,” as if the public were possibly diseased and in need of quarantine. Overall, the convent is a shelter for them all, but the divisions of the “outside world” are still evident in their circumstances.