#Louis Phillippe

[bandcampsnoop]

12/3/23.

Hot on the heels of December 1st's joy of the new Maxwell Farrington & Le SuperHomard comes a new release from longtime English band The High Llamas. After Sean O'Hagan left Microdisney he began this band. Their sound has stayed relatively the same over the past three decades. Chamber pop a la Van Dyke Parks or later era Beach Boys has always been their calling card.

More recent bands like The Heavy Blinkers, Sweet Apple Pie or even MGMT have shown that they're influenced by The High Llamas. And of course we need to mention Louis Phillippe and San Francisco band Healing Potpourri, with whom O'Hagan has worked.

This will be released by Drag City Records.

[liliansknox]

fine... I'll forgive VV for s2 making the prince's route almost non existant because their first scene in s3 is so hecking cute 🥺

[faendan]

Crime Comedy Show Idea (yes, I know it's been done to death, but still): A detective with Tourette's (phonic and minor motor tics because major motor tics would likely result in this detective not being allowed a gun, etc.) struggling to deal with other cops, suspects, and an overprotective family, and to explain to the odd but REALLY attractive barista at the nearby Starbucks that 'no, my name -shit- isn't Angelie Fuck Barrens, I have -your tits look nice- Tourette's.'

For those confused, I decided that her name is Angelie Barrens, she's a lesbian, and she's going to have a slow burn romance with a Starbucks barista who comes from a rich family named Jack Rinnson.

NO, she will not have relationship issues. I fucking hate those plotlines. She and Jack will have a happy, healthy relationship after a torturously slow romantic subplot. There will be random parts of the show in which Angelie is brought by Jack into the rich world, and it will be fucking hilarious when the nouveau rich and the old moneys alike are shocked by her asking for a 'glass of -tits- -tits- -tits- champagne.'

Also, no sex scenes. I dislike sex scenes. Violently crashing into stuff while pulling off clothes and then fading to black is fine.

My largest exposure to Tourette's has been Sweet Anita, if you hadn't noticed, but that's largely what I'm going for anyway.

Feel free to use this idea, in fact, please do. I'd love to see this one day.

[giasesshoumaru]

"I was told this impostor was dead."

"You knew? You knew there was a man of such resemblance?"

"He is my brother."

"Brother?"

"My twin. My blood. A fact which has kept him alive until now."

"Phillippe. Louis... Please."

"You were a part of this too, Mother?"

"He's your brother! I love you both!"

"And your love has meant nothing to either of us!"

"It has meant something to me."

"Your Majesty, listen to me. Listen to me. Never once have I ever asked anything for myself. I ask you now: Spare the life of this man, this prisoner, your brother!"

"You have no right to ask me this!"

"Your Majesty... Every day of your life... I have watched over you. I have bled for you. I have prayed every day... To see you become greater than your office, better than the law. Please show me what my faith and my blood have purchased. Show mercy."

"And you take the side of traitors? Of this one, worst of all, my own brother, who's tried to do this to me!"

"And what have you done to him? For one moment, I thought you had become the king I always hoped you'd be."

"Please... My Lord, may I speak? I beg that you kill me. I release you from any sin in taking my life. In fact, I pray that God reward you for your mercy to do it. But, please... Do not, I beg you... Return me to the prison where I have lived for so long."

"D'Artagnan... You will hunt down Porthos, Athos and Aramis... And bring me their heads... Or I will have yours. And as for you, my brother, back to the prison you shall go... And into the mask you hate."

"Louis, don't."

"Wear it until you love it! And die in it." - King Louis XIV, D'Artagnan, Queen Anne and Phillippe (The Man in the Iron Mask)

[ellavei]

Queen Anne: PLEASE STOP DOING THAT, DEARS. I AM SO SORRY, MONSIEUR 😭😭😭

France: It is okay. They are chil-... OWWWW

Louis XIV: MINE. MINE. MINE.

Phillippe: AHHHHHHHHH (he can't talk yet, but yall can surely understand his needs 😭)

boys and their father figure

thank you @ellavei for giving me the idea 😋✨ always love ur yaps 👂🫶. one doodle is already out with (hopefully) many more on their way 🙂‍↕️✍️

[fibula-rasa]

(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.” 

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

---

☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

[inky-duchess]

I heard that queer people in medieval france had it easier in the rule of Luis XIV since his brother Phillipe was openly gay and liked to crossdress, so cracking down on them would have meant harming his brother too!

Is that true?

If yes, does that mean they had a good relationship or was it more along the line of "It's not good for the reputation of the royal line if I get my brother in trouble" ?

Cause it seems like something done out of love to me but maybe that's only through a modern perspective....?

I wouldn't say easier. Many queer people would have been persecuted during this time but most of them would have been lower class. Upper class and royal queer people had a lot more wiggle room and could have relationships as long as it was discreet. Phillippe d'Orleans was a very overt case and it did cause some trouble for the royal family, but since Philippe was also a war hero, nobody really complained that loudly. And there is the theory that Anne of Austria, their mother, encouraged Philippe's feminine side to ensure he couldn't be seen as a threat to Louis (which protected both of them).

[ordinorultor-if]

As the ruler of Akize, you have several advisors. Unfortunately for you, few were as qualified as your younger siblings.

Bertrand/Bertrada - The Marshal

The eldest of your siblings and only one year younger. They were trained by your mother (and your ‘Uncle’ Phillippe, after her death) on how to be a tactician and strategist. Even though they’ve always been somewhat jealous of you, they faithfully serve as your Marshal.

Albus/Albane - The Chancellor

The elder of the two twins, they are one of the ‘middle children’ of your parents and are about three years younger than you. They were trained on how to be a diplomat by your paternal uncle, Louis, and serve as your chancellor. They can be much more underhanded than most people expect.

Melanthe/Melanie - The Spymaster

The younger of the two twins, they are one of the ‘middle children’ of your parents and are about three years younger than you. They were trained in espionage by their father (and by Count Francois of Tolosa, after your father’s death), and serve as your spymaster. They are prone to overworking themselves, the result of a pseudo-inferiority complex combined with middle child syndrome.

Évariste/Enora - The Scholar

The second-youngest of your siblings, they are about four years younger than you. They were taught matters of scholarship by Bishop Rosalie, and advise you on scientific and historical matters. Despite seemingly having their head in the clouds a lot, they are perhaps the most emotionally intelligent of your siblings.

Phillippe/Perrine - The Steward

The youngest of your siblings, they are about six years younger than you. They were taught economics by Lady Eléonore, and advise you on economic matters. Though they are sweet and bubbly, they have always held a temper.

Your siblings' genders vary based on yours.

[tothedevilsshow]

he tenses when he looks at him. unsure of what to say. what had he done to make this mistrust grow more and more between the two of them? phillippe sounds almost paranoid, doesn't he? he feels a heaviness inside of him as he meets his brother's eyes. trying his best not to allow himself to fall apart then. there's anger but then there's also something so close to pain that he feels a crack starting to form inside of him.

"i want to fix this." quiet, a confession. they could be children again. briefly. hadn't his brother intended that when they spoke of the rock that no one had known he kept. he wanted him there. why was that really so hard to believe. a part of him was as angry and the other was yearning for the past. "tell what would you believe?"

It's a sharp feeling of suspicion that dawns over him as he stared at Louis. Did he actually mean that? Somehow he knew better than to simply agree and let this cycle restart all over again. He knew better than to slide back into routines of the past. Louis was never a man of his word. Not in the way that he assumed that he was. His word had been broken on numerous occasions and, still, Louis seemed to not remember and to simply believe in the honor of his own self. "You say the words." Philippe said simply, measuring the look in his brother's eyes. But he wasn't really his brother, was he? Had he ever been? It seemed likely that he never was and never would be. He was merely an image of a man and that image was unfaltering. "And yet I don't believe a single one of them. They sound stale." And he felt bitter speaking. Utterly bitter.

[joenateuser]

Deacon Phillippe | Louis Vuitton West Hollywood (Jan. 3, 2024)

[euripidesredux]

Extended credits for Museum at Tomorrow episode 5

Below the cut are all of the folks who I used (and asked to be credited) for recordings in Museum at Tomorrow episode 5- specifically, the "This is not for You" recordings.

(The list was too long for podcast episode descriptions)

These recordings were mixed into the soundscape of the show, heavily processed- so you may or may not be able to pick out your voice. Each unique recording is preserved as rhythem, timber, and shape within the episode.

Thank you for your work in creating the canvas of this piece.

Kate Bullen

K R Forsyth

Vega Jacobsen

Charlie

Rovi

Grace Gamble 

Wesley Lee Balete

Charlie Sloykowski

JC Hendry

Courtney Brothers

Arabella McDonald

Hanc Finestra

Katie H

Galacticguppy 

Beck Smith

GreenHeronHive

Micheal Vee

Mira Singer

Laurent J.L. Hall

Carley Mothersell

woaaah

cmt

November_Clouds

Elliott Neptune

Enrica Jossi

Ace

Jahan Shah 

Morgan Galagher

Niall LG

  Bates

Caroline Mincks

Daniel Kurtz

AJ Fidalgo

Tani

Shura

Zedek H

Halebop

Malia Northstar

Greg Ruddick

Solstice Hannan

Jessamy Thomison 

Cassie A.

Rachel Spokony

miss mr meow

Arti Richardson

Mattie J.

Geddy Cary-Avery,

 Ophelia Cary-Avery

Sophie Kaplan

X Speaks

Devin

Craux

Cap

Joe R

Ray Goldberg

Mog

The Marble System

Tina Case

Kate Bullen

Marionette

LD

Maddy Searle

Remi P

Meg Taylor

Beth

Evan Tess Murray

Amanda Jones

Amanda Ehrhardt

Nathan Fisentzou-Haji-Leonti

Johanna Andersson

Tess Huth

@faeriebullshit

Olivia Lion

Ange

Bridget M. Mueting

Wil Williams

Katie Utke

aceofgames

Savy Stay

Graham Rowat

Meredith

spaceacebreakface 

Molly Walsh

Belinda Parker

Erin Celovsky

liz

Caden Osojnak

Danniac 

Ray Schrader

Atlas Byrd

AJ. S.

JayseHasNoGrace

Fay Blackmore

Sharon Peterson

Katharina Abschlag 

Izzy

Ace Tayloe

kat B

Siz Hart

moth

Kathryn Cox

G. Honnigford

Pine Gonzalez

sisyphus

Essay

artie eigengrau

Rook Davis

Izzi Mata

grayson

Tamara Jones

Willow

G.F.

Leigh sharpe

Zelda MacFarland

Arkyn Wolf

Elany

Elaine Wiley

Mary Lewis-Phillipps

Claudia Elvidge

Kei Burke

Katie Vargas

Karleen Preator

Alicia Babich

Jonathan Sciance

Étoile

Hayden Laver

Barrett Vann

S Kramer

Maya Hiers-Lairson

judas

Archer Hickerson

Malinda

Nicole Liang

LF Haye

Louis Carroll

Stefanie K.

Autumn Wang 

jayvin

Badger Merriweather

Aiden

Sender Paulson

vexxervee

Rob Weiner

Peril

Lotte Schmidt 

fynn

Lor

Josie D. 

Jaryn Tyson

Common Blue Icarus

resplendeo

Claire Alpern

skelejor

Matt Weiss

M Zemlock

Kay Eileen

Callisto Holmes

Rhys

Noah Quinn

Sarah Elizabeth

Willow Belden

Amanda McCormack

Esrah Del Carlo

sunny

the Hartmans

Lee Ann Eden

Bob Proctor

Clueless

deda eliensis

Ohallo

Tara Schile

Marzi 

Flameheart Dryad

Sarah Lambrix 

JB Segal 

Ellis C

Ash

Autumn

Jaime Tamar

Haze Peers

Moose

Erin Bevan

Luci Tomich

Bryn

Michael W.

Kim Fukawa

Amy Strieter

Petra Hall

Mal

Charlie Rayshich

Susan Weiner

Everett Blackthorne

Vergess

Tor

ArionWind

M. Alti

N. B. Green

Aiden Nicholson

Jacky Rubou

Nura Lawrence

Gwen Clancy

Ollie M.

Caroline

Duo

Iris

ML Beck

Ray Makowski

Eljay Rich

MV8

Michelle Pigott

Rachel Pfennigwerth

Janika

Jamie Gump

Mason J Miller

Ella Watts

Cole

Mady Oswald

Valerie "ShinyHappyGoth" Kaplan

Anne Baird

Emily Ricotta

el-draco-bizarro

Ansel Burch

Nathan Sowell

LM Heß

Cy

Richard Peers

[alicedrawslesmis]

at this point I think there are regulars at the show because like. We do have a couple moments where the actors prompt the audience to react a certain way, to chant Long live the king! or to boo. At one point, and this started as a natural audience thing but then the narrator now starts the chant every time, people begin to hype Phillippe up to take over the throne from Louis XIV etc

But this thing of shouting 'guillotine' has happened 5 times totally organically

[queermtl]

QUEER MTL THINGS TO DO: December 2023

As the year comes to an end, Montréal’s LGBTQ+ community gathers together. This month, Montréal is stuffed to the brim with events, parties and unique experiences painted in all the colours of the LGBTQ+ rainbow. From drag to community, circuit to underground, here’s some of our picks for the best LGBTQ+ things to do in the city. For further announcements, including those not announced at time of publication, follow QueerMTL on Instagram, Twitter, Facebook and Tumblr! Got an event coming up? DM it our way!

En français : https://www.mtl.org/fr/experience/queer-mtl-quoi-faire

LEGEND

🎥 Cinema 👑 Drag 🥳 Parties 🎶 Concert ✊ Activism 🏳️‍⚧️ Trans 🏳️‍🌈 Community 😆 Comedy 🎭 Performance 💪 Sports and Dance 👯‍♀️ Dance 🎤 Karaoke 🎨 Arts 📚 Literary / Educational 👠 Ballroom / Vogue

Vendredi 1 décembre / Friday, December 1

🎥 VisualAIDS and Concordia Queer Film Club presents Day With(out) Art: Everyone I Know is Sick film screening with Carlos Soriano, Concordia University

🏳️‍🌈 Ellelui presents Holiday Night Market, La Sala Rossa

🥳 Butt Buddies Montréal, Cabaret Berlin

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

🎶 Jonas Brothers with Lawrence, Centre Bell

🥳 Bisous’ 1 Year Anniversary with Afem Syko, Bittercaress, K657, Esme, Lapa XII, Casa Kobrae, Meen Moreen and Mic Rob, Venue TBA

🥳 The Item Number, A Queer South Asian and Diaspora Dance Party with DJ Deep, Notre Dame des Quilles

💪 From the Ground Up: Strength Training for Newbs, Punks and Weirdos with Nadine Forde runs November 18-December 2, 2023, StudioEd

🤠 Club Bolo—Danse Country Montréal meet on Fridays at the Association sportive et communautaire du Centre-Sud

Samedi 2 décembre / Saturday, December 2

🥳 Love Dumpster with Vicki Powell, Taylor & Twan, Cabaret Berlin

🥳 Queer Cuffing SZN with DJ Simulat3human, Notre Dame des Quilles

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Jimmy Moore does Mariah Carey: Merry Christmas & All the Hits, Cabaret Mado

👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

🥳 HOMOHOP and Super Taste presents West End Gays [Vol. 5], Riverside St-Henri

🎤 Bareoke: Strip Karaoke, Café Cléopatra

😆 Roast France vs Québec with Beurguy and Kathy-Ann Giguère, Café Tuyo

🥳 Homegrown Harvest with Noncompliant, anabasine, Hellgrammite, Jade and Fantasy, Venue TBA

🥳 Céline est very amazing with DJ Phillippe, Ausgang Plaza

📚 Expozine 2023, 1025 rue Bélanger

🥳 Comité Queer Pointe-Saint-Charles hosts Queer Party sur Glace, 1050 rue d’Hibernia

👑 Jackbox Games with Uma Gahd and Selma Gahd, Bar Le Cocktail

💪 Rollerville MTL hosts the Rollerville's Roll Out—Roller Disco, Arena St-Louis

💪 From the Ground Up: Strength Training for Newbs, Punks and Weirdos with Nadine Forde runs November 18-December 2, 2023, StudioEd

👯 Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact tango.queer@hotmail.com or call +1 (438) 930-8529 for prices and signup information.

Dimanche 3 décembre / Sunday, December 3

👑 Bingo du Temps des Fêtes, Cabaret Mado

🎭 La gailaxie ligue d’improvisation, Cabaret Mado

👑 Le Tracy Show with Tracy Trash, Kiara, Bobépine, Pétula Claque and Kitana, Cabaret Mado

📚 Expozine 2023, 1025 rue Bélanger

Lundi 4 décembre / Monday, December 4

🏳️‍🌈 Queer Slow Dating, Bar MINĒRAL

🎥 Cinema Politica Concordia presents Queer Cinema for Palestine, Cinema Politics Concordia

📚 Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Mardi 5 décembre / Tuesday, December 5

🎥 REEL GAY screens The Twilight Saga: Eclipse, Diving Bell Social Club

👑 Full Gisèle : Full Céline with Gisèle Lullaby, Nana, Bobépine, Crystal Stars and Crystal Slippers, Cabaret Mado

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 6 décembre / Wednesday, December 6

👑 Lé-gen-daires with Nicky Doll, Keoina and Sara Forever, Cabaret Mado

💪 Soirée Queer, Horizon Roc

🎨 HommeHomo presents Drink & Draw, Bar Le Cocktail

🎨 Queer Sip & Draw, Blue Dog Motel

Jeudi 7 décembre / Thursday, December 7

👑 Armado with Pétula Claque, Laura Zepam, Vera Satile, Daya Rita, Paulette Pantoute, Bixi Bareback and Twinkerbell, Cabaret Mado

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑  Canada’s Drag Race Season 4 Viewing Party with Uma Gahd, Bar Le Cocktail

🎶 Pierre Lapointe, Salle Wilfrid-Pelletier, Place des Arts 

📚 Violet Hour presents Celebrating RM Vaughan and the launch of his final novel Purvatory, Stock Bar

👑 BMP DRAG Workshop and Show, BMP Co-op

Vendredi 8 décembre / Friday, December 8

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

🏳️‍🌈 Puces POP—Édition hivernale 2023, Église Saint-Denis

🥳 Cerise Noire goth night with DJ Elizabeth Leslie and UN, Notre Dame des Quilles

🤠 Club Bolo—Danse Country Montréal meet on Fridays at the Association sportive et communautaire du Centre-Sud

Samedi 9 décembre / Saturday, December 9

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Jimmy Moore does Mariah Carey: Merry Christmas & All the Hits, Cabaret Mado

👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

👑 Lady Gaga—Art Pop with Démone and Esirenna, Bar Le Cocktail

🥳 Queen & Queer—Édition Nuit Afro 2 with Ms. Baby, San Farafina and DJ Sam, La Sala Rossa

📚 The Violet Hour Book Club reads Armistead Maupin’s Michael Tolliver Lives, Archives gaies du Québec

🏳️‍🌈 Puces POP—Édition hivernale 2023, Église Saint-Denis

👯 Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact tango.queer@hotmail.com or call +1 (438) 930-8529 for prices and signup information.

👠 Bring It! and Ballroom4Community present The Naughty List Kiki Ball, Ausgang Plaza

Dimanche 10 décembre / Sunday, December 10

🎭 La gailaxie ligue d’improvisation, Cabaret Mado

👑 Le Tracy Show with Tracy Trash, Lady Boom Boom, Sasha Baga, Krystella Fame and Marla Deer, Cabaret Mado

🏳️‍🌈 Puces POP—Édition hivernale 2023, Église Saint-Denis

😆 A Very Pretentious Comedy Show—One year anniversary with Eve Parker Finley, Maxime Ève Gagnon, Dan Carin, Yumi Blake, Trevor Thompson, Elie Gill, Molly Brisebois, Steve Patrick Adams, Elspeth Wright, Lauren Mallory, Florence Trépanier and Raquel Maestre, Diving Bell Social Club

Lundi 11 décembre / Monday, December 11

👑 Daisy Wood presents Le Noël de Dolly Parton with Lady Boom Boom, Prudence, Clay Thorris, Mister Daniels and Mimi Mosa, Cabaret Mado

📚 Trivia Mondays hosted by Bambi Dextrous, Diving Bell Social Club

Mardi 12 décembre / Tuesday, December 12

👑 Full Gisèle : Party de bureau with Gisèle Lullaby, Pétula Claque, Jessie Precieuse, Lady Boom Boom and Victoire de Rockwell, Cabaret Mado

👑 Garden of Shade: Christmas with Lily Shade, Sarah Winters, Prudence, Spiked Corona, Soleil Levant and Enigma, Bar Le Cocktail

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

👠 Twice a month on every second Tuesday, Bring It! hosts an OTA night of ballroom and vogue with commentator and DJ. Follow their Instagram for dates and details.

Mercredi 13 décembre / Wednesday, December 13

👑 Le coeur a ses raisons … en chanson, Cabaret Mado

🎨 Queer Sip & Draw, Blue Dog Motel

Jeudi 14 décembre / Thursday, December 14

👑 Sashalicious : Spécial Noël with Sasha Baga, RV Métal, Esirena and Augusta Wind, Cabaret Mado

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑  Canada’s Drag Race Season 4 Viewing Party with Uma Gahd, Bar Le Cocktail

🎶 Debby Friday with Backxwash, Bar Le Ritz PDB

😆 Sleazy Christmas with Abby Stonehouse, Naghmeh, Mina Minou, Tara McGowan-Ross, Morgan O’Shea, Alo Azimov, Avery Jane and Andrew Jamieson, Bar Biftek

😆 Le Show Queer—Spécial des Fêtes with Joëlle Prudhomme, Anne-Sarah Charbonneau, Andy St-Louis and Marla Deer, Place des Arts

Vendredi 15 décembre / Friday, December 15

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

🏳️‍🌈 Puces POP—Édition hivernale 2023, Église Saint-Denis

👑 COVEN Drag Show—Last Breath Edition with Selma Gahd, Uma Gahd, Seyoncé, Infernal Desires, Charli DeVille, Korra Anarchy, La Freak du Show, Esirena, BiG SiSSY, Anaconda LaSabrosa, Niko Lubie, Demone LaStrange and Moxxi Hollow, Diving Bell Social Club

🏳️‍🌈 Souper des fêtes du Centre de solidarité lesbienne, Centre St-Pierre

🏳️‍🌈 (P)réparer le solstice // (P)reparing the solstice, feminist open mic and poetry night, URSA

🤠 Club Bolo—Danse Country Montréal meet on Fridays at the Association sportive et communautaire du Centre-Sud

Samedi 16 décembre / Saturday, December 16

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Jimmy Moore personnifie Taylor Swift: The Eras Tour, Cabaret Mado

👑 Jimmy Moore does Mariah Carey: Merry Christmas & All the Hits Souper/Spectacle, Complexe Sky

👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

🎤 Bareoke: Strip Karaoke, Café Cléopatra

🏳️‍🌈 Puces POP—Édition hivernale 2023, Église Saint-Denis

👑 Miss Butterfly! Il était une fois with Miss Butterfly, Bar Le Cocktail

👯 Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact tango.queer@hotmail.com or call +1 (438) 930-8529 for prices and signup information.

🤠 Club Bolo—Danse Country Montréal's Christmas Party, Association sportive et communautaire du Centre-Sud

Dimanche 17 décembre / Sunday, December 17

👑 La Revue Drag 2023 with Rock Bière, RV Métal, Crystal Starz, EmmÖtional Damage, Érica, Eva Moist, Lisa Santana, Tracy Trash and surprise guests, Cabaret Mado

👑 Le Tracy Show with Tracy Trash, Pétula Claque, Kelly Torrieli, Jessie Précieuse and Victoire de Rockwell, Cabaret Mado

👑 Les succès oubliés de Noël 2023, Bar Le Cocktail

🏳️‍🌈 Puces POP—Édition hivernale 2023, Église Saint-Denis

Mardi 19 décembre / Tuesday, December 19

👑 Full Gisèle : Joyeux Noël with Gisèle Lullaby, Sasha Baga, Ruby Doll, Serge Ladrag and RV Métal, Cabaret Mado

🥳 Staff party de Noël du Cocktail with Michel Dorion, Bar Le Cocktail

📚 Club de lecture queer discuss Lou Lubie and Manon Desveaux’s La fille dans l’écran and Obom’s J’aime les filles, Bibliothèque Saint-Charles

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

Mercredi 20 décembre / Wednesday, December 20

🎶 Fleece, La Sala Rossa

🥳 L Nights / Holiday Bash with DJ Marina Gallant, Le Saint Édouard Bar de quartier

🎨 Queer Sip & Draw, Blue Dog Motel

Jeudi 21 décembre / Thursday, December 21

🎭 Les Folies Draglesques with Miami Minx, Uma Gahd, Banana Splitz, Roxy Torpedo, Scarlett Fever, Yikes Macaroni, Zero Lee Vanity, Cabaret Mado

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑  Canada’s Drag Race Season 4 Viewing Party with Uma Gahd, Bar Le Cocktail

Vendredi 22 décembre / Friday, December 22

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

Samedi 23 décembre / Saturday, December 23

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

👯 Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact tango.queer@hotmail.com or call +1 (438) 930-8529 for prices and signup information. 💃

Mardi 26 décembre / Tuesday, December 26

👑 Full Gisèle : Jour de l'an with Gisèle Lullaby, Marla Deer, Tracy Trash, Lady Guidoune and Lana Dalida, Cabaret Mado

😆 Stand Up St. Henri Open Mic focusing on women, non-binary, queer and allied comedians, Impro Montréal

👠 Twice a month on every second Tuesday, Bring It! hosts an OTA night of ballroom and vogue with commentator and DJ. Follow their Instagram for dates and details.

Mercredi 27 décembre / Wednesday, December 27

👑 Jimmy Moore personnifie Lady Gaga, Cabaret Mado

🎨 Queer Sip & Draw, Blue Dog Motel

Jeudi 28 décembre / Thursday, December 28

👑 Bingo Disco with Rainbow, Cabaret Mado

👑 Butterfly de nuit with Miss Butterfly, Bar Le Cocktail

👑  Canada’s Drag Race Season 4 Viewing Party with Uma Gahd, Bar Le Cocktail

Vendredi 29 décembre / Friday, December 29

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Vendredi Fou with Michel Dorion, Bar Le Cocktail

🥳 District presents Frosty: New Year Party with Las Bibas and Ben Bakson, Bain Matthieu

Samedi 30 décembre / Saturday, December 30

👑 Mado Reçoit with Mado Lamotte, Cabaret Mado

👑 Jimmy Moore personnifie Britney Spears, Cabaret Mado

👑 Drôles de Drags with Miss Butterfly, Ciathanight, Crystal Starz or Emma Déjàvu in rotation, Bar Le Cocktail

👯‍♀️ Tango/Salsa Queer holds lessons every Saturday, visit queertangomtl.com for information or contact tango.queer@hotmail.com or call +1 (438) 930-8529 for prices and signup information.

Dimanche 31 décembre / Sunday, December 31

👑 Bonne Année 2024! with Mado Lamotte, Nana, Marla Deer, Tracy Trash, Rainbow, Peggy Sue, Manny, Ruby Doll, Bobépine, Kitana and Johnny Jones, Cabaret Mado

🥳 The Dark Eighties NYE Party, Church of St. John the Evangelist

OTHERS / LES AUTRES

🏐 Les Ratons-Chasseurs (Montréal’s LGBTA dodgeball group) holds regular events. Keep an eye on their Facebook for upcoming opportunities to join in and play. 

🕹Montréal Gaymers hosts regular gatherings including board game nights and gaming gatherings. Check their Facebook for what’s next!

🏃🏾Join the Out-Run run and workout club for people relating to the queer / sapphic experience. Details on their Instagram!

🐦 Bird lovers should keep their eye on Queer Birders' regularly scheduled birdwatching events and excursions. Join the Facebook group and get those binoculars at the ready.

[mbti-sorted]

Royal Grand and Great-Grandkids

Here I go making some wild predictions.

At the back:

Louise Mountbatten-Windsor - INFP (confirmed). James Mountbatten-Windsor - ENFJ.

In the middle row:

Lena Tindall - ISTJ, Prince George - ENFP, Princess Charlotte - ESTJ, Isla Phillipps - ISFP, Prince Louis - ESTP

In the front:

Mia Tindall - ESTJ, Lucas Tindall - ESFJ, (the Queen), Savannah Phillipps - ESFJ.

Not pictured:

Archie & Lilibet Mountbatten-Windsor - ISFP & ISFJ.

August & Ernest Brooksbank - ESFP & ENTJ

Sienna Mapelli Mozzi - ESFJ

Here are all the great-grandkids:

[fleursdesmorts]

every time louis or phillippe have sex in versailles they always end up talking about each other during it like at this point i think it's some kind of anger induced horniness they keep seeking out

[aaronburrdaily]

July 12 [sic], 1809

Note: Burr fucks up the dates and it takes him a few days to figure it out. Post scheduled on the day it happened.

Couche at 1. Having taken half a dish of tea, slept not a wink till past 5. Lev. 9. Young Gahn was to have called at 10, but came not at all. Sor. at 11. To Jacobi’s; got back the ring; nothing can be done with it here. To Ulrick’s, bookseller; bought Bentham's “Principes,” 4 1/2 rix dollars banco. He took in exchange for 2 1/2 rix dollars a silly book, “Sur l’Imagination,¹” which I foolishly bought on my arrival. Home. At 6 went out with Auguste. To Mesarie, manufacture de toys. Nothing done. To Wennerquiest’s; out. To Breda’s, where passed an hour looking at your picture. I was exceedingly struck and alarmed to see it pale and faded. Why was not this perceivable before? Perhaps it may arise from being placed among his portraits, which are very high coloured. Yet the impression that it is faded is fixed on my mind, and has almost made me superstitious. Home. Fillibonk at 5. At 6 to Helvig’s; sat an hour; gave to her servant a note to Breda requesting him to bring the picture for her inspection. Passed 1/2 hour in the cabinet of the General H. qui est militaire scientifique.² Two telescopes for measuring distances where an object of known dimensions (a man for instance) is visible. A beautiful invention. Also a watch for measuring distances by sound; the watch gives the sixtieth part of a second; every artillery officer is obliged to have one. At 1/2 p. 7 to Poppius’s. There was company; was much urged to stay to sup, but refused, though M’lle Hoschell and Madame Yjarta were there and Madame P. is very handsome and amiable. You have before known that I admire M’lle H. But my object was to talk law with Mr. P. and he was at the card table. Home 1/2 p. 9. Read “La Destruction de la Ligue ou la Reduction de Paris” piece national en 4. acts; a Amsterdam, 1782.³ This is in form a dramatic piece, but has not any dramatic merit or character. The author, however, has talents, observation, and foresight. It may be read with pleasure and approbation. The preface is 45 pages; the play, 210 octavo. The author advertises that he should shortly publish two other pieces of the same kind—“La Mort de Louis XI., Roy de France” and “Phillippe II., Roy d’Espagne”.⁴

1   “On the Imagination.” 2  Who is a scientific military man. 3  “The Destruction of the League, or the Reduction of Paris,” a national (patriotic) piece in four acts; at Amsterdam, 1782. 4  “The Death of Louis XI., King of France,” and “Philip II., King of Spain.”