#TA Williams

[coloursofunison]

Happy publication day to Murder in Siena by TA Williams #cozymystery #NewRelease

Happy publication day to Murder in Siena by TA Williams #cozymystery #NewRelease @BoldwoodBooks @TheBoldBookClub #NewRelease #CosyCrime

Here’s the blurb A cozy crime series set in gorgeous Tuscany… It’s murder in paradise! A lazy weekend in the country… Dan Armstrong and the new love of his life, Anna, are heading to a hotel deep in the gorgeous Tuscan countryside for a long weekend, looking forward to some time away from the stresses of their day jobs. With the beautiful and historic city of Siena just around the corner, it…

[atomic-chronoscaph]

Leonard Nimoy, DeForest Kelley and William Shatner in a recording studio for Star Trek: The Animated Series (1973)

[spaciebabie]

springtrap says the EVIL sex word because hes so so SCARY and evil and PURPLE AAAAA!!!!!! AAAAAA!!! SEX!!!!!!! MOUMMY!! HEEELP!!!!

[diioonysus]

red + art

[jgthirlwell]

2024 Year In Review

2024 was another intense year. It was the first time in twenty years I wasn’t scoring a show for TV, and I got to concentrate on finishing albums and starting new projects. The year began with the premiere of my chamber symphony for Alterity Chamber Orchestra in Orlando and ended with guest-vocalizing with the Losers Lounge Band on a Bowie classic at Joe's Pub in NYC. I completed new albums for Xordox and Venture Bros, to be released in 2025. I released an Archer Soundtrack album and scored a Harry Smith film for L’Etrange Festival in Paris. Worked with Laura Wolf on a new project and premiered my Ensemble project at the Big Ears Festival in Tennessee. Recorded many overdubs for the next Foetus album, also to be released in 2025. Began a new series of sculptural wall pieces. We lost Phill Niblock in January and Steve Albini in May. We lost my colleague Roli Mosimann in September. I still woke up 5am in a panic on too many occasions. As a cultural omnivore, many sights, sounds and stimuli penetrated me.

Albums that I enjoyed in 2024

Sleepytime Gorilla Museum of the Last Human Being (Pelagic) Present This is not the end (Cuneiform) Tristan Perich/Ensemble 0 Open Symmetry (Erased Tapes) Drew McDowall A Thread Silvered and Trembling (Dais) Warrington-Runcorn New Town Development Plan Your Community Hub (Castles In Space) Extra Life The Sacred Vowel (Bandcamp) Geordie Greep The New Sound (Rough Trade) D-en Haut D-en Haut (Pagan) Aksumi Fleeting Future + Lines (Tonal Union) Louis Cole Nothing (Brainfeeder) Uniform American Standard (Sacred Bones) Zeal and Ardor Greif (Redacted) Shellac To All Trains (Touch and Go) Bangladeafy Vulture (Nefarious Industries) Ekko Astral Pink Balloons (Topshelf Records) Kee Avil Spine (Constellation) Fennesz Mosaic (Touch) Marewren Ukouk Round singing Voices of the Ainu 2012-2024 (Pingipung) Elysian Fields What The Thunder Said (Ojet) Melvins Tarantula Heart (Ipecac) Blood Incantation Absolute Elsewhere (Century Media) Aoife O’Donovan All My Friends (Yep Roc) Anna Thorvaldsdottir Aerial (Sono Luminus) Grace Bergere A Little Blood (Casa Gogol) Bob Vylan Humble As The Sun (Ghost Theatre 2) Andy Akiho Kin (Aki Rhythm) Yannis Kyriakides Hypnokaseta (Unsounds) Big | Brave A Chaos of Flowers (Thrill Jockey) The The Ensoulment (Cinéola / earMUSIC) Beth Gibbons Lives Outgrown (Domino) Beak >>>> / Kosmik Musik (Invada) Sebastian Tropic OST (Ed Banger) Chaser Planned Obsolescence (Decoherence Records) Jesus Lizard Rack (Ipecac) Ex East Islander Norther (Rocket Recordings)

Some books I enjoyed

Yuval Noah Harari Nexus Chris Stein Under A Rock Bill Buford Among The Thugs Patricia Highsmith The Talented Mr Ripley Sy Montgomery Soul Of An Octopus Malcolm Gladwell Revenge Of The Tipping Point

Some films I enjoyed

Furiosa ZEF Story Of Die Antwoord Joker Folie A Deux Kneecap Bad Faith Rebel Ridge Hundreds Of Beavers Ministry Of Ungentlemanly Behavior Teachers Lounge

I saw hundreds of concerts in 2024. Some highlights:

01.24.24 The Chisel at Bowery Ballroom 02.15.24 Jack Quartet play Austin Wulliman at Roulette Intermedium NYC. 03.09.24 Louis Cole / Genevieve Artadi at Brooklyn Steel 03.14.24 Kate NV at the Atrium at Lincoln Center 03.18.24 Sleepytime Gorilla Museum at Elsewhere in Brooklyn 03.23.24 Secret Chiefs 3 at Big Ears Festival 03.23.24 Hatis Noit at St John’s Cathedral in Knoxville TN for the Big Ears Festival 03.24.24 Kenny Wollesen’s Sonic Massage at Knoxville Art Museum for the Big Ears Festival 03.24.24 Elliott Sharp’s Void Patrol (with guests Cyro Batista and Colin Stetson) at Big Ears Festival 03.24.24 Aoife O'Donovan with the Knoxville Symphony Chamber Orchestra at the Big Ears Festival 04.01.24 Caleb Landry Jones at The Sultan Room i 04.06.24 Lovely Little Girls at Hart Bar. 04.19.24 Keith Fullerton Whitman performs ‘Playthroughs’ at Ambient Church 04.23.24 Mandy Indiana at Elsewhere in Brooklyn 04.26.24 Knower at the Brooklyn Bowl 05.04.24 Oberlin Contemporary Music Ensemble, directed by Tim Weiss, play Alex Paxton at Long Play Festival 05.04.24 Fuji|||||||||||ta at Long Play Festival 05.05.24 Ligeti Quartet perform Ligeti + Anna Meredith at Long Play Festival 05.17.23 Swans at Music Hall of Williamsburg 05.23.24 The Rolling Stones played at Met Life Stadium in New Jersey. 05.24.24 John Zorn’s ensemble, the New Masada Quartet 06.08.24 Rebekah Heller’s Bassoon Ensemble 06.25.24 Mdou Moctar at Bowery Ballroom NYC 07.12.24 C.Gibbs Review at Barbes 07.23.24 Bangladeafy at The Sultan Room in Brooklyn 08.18.24 Kid Congo and the Pink Monkey Birds at Union Pool 08.23.24 Alarm Will Sound play Marcos Balter’s Code-Switching, 09.30.24 Uniform at Bowery Ballroom 09.04.24 King Dunn aka King Buzzo (Melvins) and Trevor Dunn (Mr Bungle etc) at Music Hall of Williamsburg + White Eagle Hall in Jersey City. 09.13.24 Steven Bernstein and Nels Cline with the Arturo O'Farrill Latin Jazz Orchestra, playing James Bond themes. At Bryant Park in NYC. 09.15.24 PJ Harvey at Terminal 5, NYC 10.11.24 John Zorn’s Cobra in a 40th anniversary performance at Roulette Intermedium in Brooklyn 10.17.25 The The played at the Beacon Theater 10.22.24 Die Antwoord at Brooklyn Steel, 10.23.24 Boris played at Racket in NYC. 11.01.24 William Basinski for Age Of Reflections 11.04.24 Growing performing for Abasement at Artists Space in Manhattan 11.06.24 Pioneer Works presented a concert of Louis Cole Choral Music. 11.08.24 Lankum at Warsaw in Brooklyn 11.17.24 sunn o))) at Lincoln Center for the Unsound Festival 11.21.24 Extra Life at TV Eye. 11.24.24 Zeal and Ardor at Le Poisson Rouge NYC 11.25.24 Axiom, comprised of Juilliard students and conducted by Jeffrey Milarsky playing Solstice Ritual by Augusta Read Thomas 11.26.24 Blood Incantation at Elsewhere 12.01.24 Pharmakon’s awesomely unhinged performance at Union Pool. 12.11.24 Jesus Lizard played a great set at Brooklyn Steel 12.28.24 Grace Bergere / Jon Spencer / Gogol Bordello Capitol Theater Port Chester

Honorable mention to the multiple concerts I attended at the Abasement series at Artist Space, as well as multiple shows by S.E.M. Ensemble and Wet Ink Ensemble

[antique-traveler]

i kinda feel bad for deforest kelly re: the animated series cause like. the animation style is pretty generic but with each characters’ most noticeable physical trait to distinguish them, so shitner has his jawline and tits, nemoy has the nose and cheekbones, but the animators took one look at deforest and said “oh what makes you recognizable? your huge fucking eye bags, you tired old man”

[forthelostones]

♡ black female reader x ellie williams (part one) ♡

synopsis: ellie is your TA for your english lecture at university and she pulls you aside for revision.

warnings. 18+ (mdni); switch!reader x switch!ellie, teasing, fingering, female cunnilingus, degradation, small boob appreciation, and n!pple play.

an: hi everyone! this is my first idek what this is called when i was coming up "one shot".... (is that even a thing anymore?). i am super nervous about this! but please enjoy x.

wc: 2.2k

PART TWO

It was the last few months at university and you were getting entirely tired of your English lecture. Your professor talked slowly, and quietly, and pointed out the obvious connections within the simple texts. You felt as if you were far too advanced for this 300-level college course. You answered all the questions, understood what the “deep” metaphors were, and made A’s on every paper. The only thing that kept you interested was the TA who graded all those papers. Ellie Williams was a senior English major with a specialty in Print Media. You heard stories about her, glanced at her from a distance, and saw her around but you could never gain the courage to speak to her outside of class. 

She sat in the corner, near the lecture podium, with her auburn hair pulled back, and a pencil tucked behind her ear as she looked out onto the hall. She sat slouched with her legs spread open, one foot taping the ground slowly, and the occasional eye roll at a stupid question. 

As you sat listening to the room share their perspectives on a Shakespearean text, you took quick glances at her over the corner of your laptop. Today she was wearing a loose, red, long-sleeve shirt, exposing her forearms. Her right arm was adorned with faded black ink that traveled all the way up her shoulder. The warmth that traveled to your cheeks fell between your thighs, as your eyes focused on her fingers that were now swirling that same pencil in a rhythmic motion. 

“Have a great weekend.” Your professor nearly shouted startling you. 

Your chest caved-in and your eyes bugged outward, you felt a nick of embarrassment hoping no one saw your body jolt. You close your laptop and see Ellie crack a smirk as she walks over to you. 

What could she want, you think. 

“Sorry y/n, I couldn’t get around to emailing you last night, but Professor said I should help you with your upcoming essay.”

Her low voice echoed in the now empty hall. 

“Oh? Really? Sure. I thought my draft was pretty good but—”

“It’s not that you’re being singled out, I have to work with everyone on theirs.” She interjected.

That knot of embarrassment in your chest tightened as you saw no sincerity in her sage eyes. 

“It’s last minute but it won’t take long. We can go to the office and work on it a little or we can reschedule, up to you.” She shrugged.

You pause in an attempt to act like you’re thinking. It’s Friday night, you should have something to do, but you don’t. “Sure. Let’s do it.” 

You gather all your things and follow behind her into your professor's office, just across the hall. In front of you were the large floor-to-ceiling windows that looked out onto the crowded quad lawn. Students soaking up the sun and lying in the grass chatting with their friends. The other walls were covered in bookshelves with every academic book you could ever imagine. She sat her bag down and pulled out your pristine rough draft, which was now slightly crumbled. 

“Hm,” slipped out. 

“What?” She asked smugly. 

“It’s just my paper was kind of thrown into your bag like… shit.” 

“Oh, sorry.” She says attempting to smooth it out by placing it on her chest and using her palms. 

She sat next to you in the large armed chair, her knees practically touching yours through her black jeans. Electricity sparked as you came in slight contact with her body. Her hands adjusted to the corners of your paper, her fingers fiddling between each page, spreading them open and moving up and down. You noticed all the notes and corrections she made, the red pen she used scribbled out sentences, rewrote phrases, and small notes on the margins like ‘too wordy’.  

“Are you sure this is my paper?” You asked, snatching it from beneath her hands. 

“Read it. Y/N, How Shakespeare Altered The English Language.” She read. 

“You scribbled out my title too?”

Your hands became damp with nervous anger. You were top of your class, your professors adore your writing and now a TA just a year above tells you how you’re falling short. 

“It was boring.” She said plainly.

“Simple language is good. It’s easier for people like you to understand.” 

You face her and notice how defined her freckles are. How full her lips are and you unfurl your eyebrows as you realize how close you are to her face. 

She snorted. “People like me? You mean the person who grades your shitty papers every other week? Who can absolutely give you any grade I want, that person?” 

You stutter in an attempt to get words out, but you know she’s right. She could tank your grades if she wanted to. Her face turns upwards in a challenge. 

“So now my papers are shitty? They’re shitty now?” 

Your two bodies are now completely turned towards each other, knees touching, and eyes locked. The air becomes thick when she doesn’t reply. Adrenaline rushes to your head quickly, as someone who regularly avoids conflicts this feeling is overwhelming. 

“If you read the notes… maybe you would understand. Clearly you don’t have the capacity to even do that.” She smiled. 

She thought this was funny, seeing you flustered, in a hard spot where you couldn’t comprehend why you were being judged so harshly. 

“I want so see everyone else’s papers.” You asked. 

“What?” 

“I want to see how much editing you did to others.”  

You stand up and grab her bag and run your hands through it, before you could pull anything out, she jumps up and grasps your wrist with surprising strength. Your heart beats violently as her she pulls your hand away from the fabric of her bag. As she shoves you away, the junk falls out onto the floor. 

“Really?” She muttered and stuffed her items back inside. 

She gave you her signature eye roll and huffed as she ‘reorganized’ her stuff. As she stood up she walks towards you without saying a word. Her eye contact burnt you as they became low with anger. 

“Ellie.” You sigh. 

You feared that she’d use her strength against you.

“Y/N, there are no other papers,” She smirked. “For someone so smart you can be so dumb.” 

Your breath caught in your throat as you heard her words. You peered over her shoulder, quickly observing the bright windows, afraid to be seen. 

Her fingertips wrap around your waist softly, pulling your closer to her hips. Your lips pursed tightly together as you fought to speak. 

“So you lied to get me alone?” You asked. 

“Can you keep up?” She tugged at you a little more. Naturally, your body resists her touch, but you became so wet at her criticism of your intelligence. 

“I can.” You reply sorely. 

Her hand slowly rises up your back, tracing your spine. 

“The thing is, you always leave class so fast. Rushing out. I never could catch you even if I tried.”  

Her fingers do a dance under your shirt and the coolness of them startles you. Then bring her palms down to your ass, which made you moan, surprising the both of you. 

“What can I say, I’m busy.” You lie. 

You spent your nights in your apartment reading and watching the same movies. Sometimes you’d think of Ellie and recall her face from class if she saw you laying in bed, practically naked. 

“Busy? I don’t know if I believe that.” She challenged with a grin. 

She unclipped your bra skillfully with one hand. You gasped at the release of tension, you pushed your pelvis against hers, you were so close you felt her chest rise and fall. 

“What’s not to believe? I’m top of my class, President of—“ 

“Don’t care,” She interrupted. 

Her lips came one inch from yours and all you could feel is her breath graze your lips. Her eyes jolt down to the valley of your cupids bow, which made her swipe her lips with her tongue.  

“I love your lips Y/N.” 

“Why don’t you taste them then?” 

She leaned closer but did not come in contact, her hands rubbed up towards your loosened bra and came in contact with your hard, brown nipples. She circled around them gently. 

“And give you the satisfaction after you insulted my intelligence?” She grimaced. 

You pushed her away and clipped your bra back and headed towards the desk to grab your things. She looked surprised as you gather yourself to head for the door. As you bent over the chair, she came behind you and thrust herself onto you. That tattooed hand slithered up your body, to your throat, and pulled you back into her body. 

“Do act so coy Y/N. The way you stare at me when I spread my legs open, when my fingers glide against papers, and when I show my arms you can’t help but stare.” 

Her hand travels to your pants, undos your button, and dips her fingers into your soaked panties. You gasp at the firmness of her calloused fingertips. You push your ass into her hips and feel her pelvis brush against you, she likes to feel you from this angle. 

“So?” You fought to say through moans. 

“So, fuck me Y/N. Why do you have to be so stuck up?” 

Her fingers traced your slit, plunging deeper into the slick she was responsible for. She pulled her hands out, dripping with your desire, and she raised them to your lips. She took her other hand and grabbed your jaw gently causing your mouth to open. She slipped her fingers in your mouth making you taste yourself. You wrapped your tongue around her thick fingers, unafraid of anyone who could see inside, you felt pure ecstasy of hearing her moans as you fulfilled her fantasy. 

You turned around to face her and finally kissed her. Her lips were soft with lust and her tongue slipped quickly into your mouth. She pushed your back into the desk, gripping your thighs to hoist you up on top, her strength shocked you. She wrapped her hands around your hips and pulled you deeper into her mouth. Your hands naturally fell around her waist and unbuckled her belt and desperately reached for her core. 

She pulled her shirt up to reveal her bare chest. You always noticed her perky nipples, wondering about her crude disposition against bras, you weren’t complaining though. She forced a nipple in your mouth and commanded you to suck. She grabs the back of your head and pulls you in more. They were the perfect size, smaller, but perfect to suck hands-free. She restrained her moans as your teeth wrapped around her flesh. You can tell she never could give up being in control, the stories confirm that. Always on top, always servicing others, so your image of her was different than the view here. 

“What if someone sees?” You ask nervously. 

“Windows are shaded from the outside.” She said as she used her arm to clean the desk. 

She pushed you back and began to lay warm kisses on your belly. You tuck your hands in her scalp when she gripped your wrist and slams it into the desk. You groan in pain but it excites you. 

Her fingers hook into the loops of your jeans and pulls them down. Her hand palms your warm panties and brushes upwards, you try not to show how much you need her, but she presses harder. 

“Say it.” She probes. 

“What? That I want you?” You ask. 

“Say it.” 

You don’t reply and she pulls your panties off aggressively and brings her lips to yours. She starts kissing your pussy so passionately you imagine you could cum from that. 

She lifts her head, “Watch me.” 

The tip of her tongue and dipped it into your crease, searching for your clit. Once she finds it, she takes her fingers and spreads you wide open. Her tongue enters inside of you and your back arches into her. Your body waves up and down from desperation, you know she posses more than she’s leading on. She gets a good rhythm going and feels you dripping down her chin, she stops. Leaving your body twitching from frustration. 

You stood up dripping, reaching for her. 

“Y/N, say you need me.” She commanded as she was reaching to slip her shirt back on. 

“I need you Ellie.” You break. 

You dropped to your knees tugging at the waistline of her jeans, pulling them down with her underwear. She was drenched too, so turned on from touching you. You dug your face into her wetness, your tongue meeting her delicious taste, sweet and warm, sliding down your throat. You bring your middle and ring finger to her entrance and she sighs out of pure passion. As you entered her, you felt her fingers gripping your shoulder, and her grunts tickled your brain. You arched your fingers inside of her and worked your tongue around her clit in circles. 

“Fuck.” She moaned. 

Her panting got deeper, faster, and her nails pinched into your skin. You sucked at her clit to bring her to a climax. As you pulled your fingers out her stickiness strung from her core and straight into your mouth. 

[she-posts-nerdy-stuff]

Literally not a single soul asked for more information about my idea for a Florence + the Machine jukebox musical of Shakespeare’s Othello (because, well, why would they?) but I have a lot of time on my hands so buckle up because you’re getting more information

(If you want to be able to better picture my mad rambling, I'd recommend playing the songs so you know what parts I'm referring to)

Opening number: 100 Years (from High As Hope)

We open on an almost empty stage with Desdemona slowly stepping into the spotlight as she sings the first few lines (I believe in you and in/our hearts we know the truth/And I believe in love and the/darker it gets the more I do); if we want to get super specific she’s wearing a white dress that’s a similar shape to the one Florence wears on the album art because just yes yes yes and also angel imagery for the win and ALSO over the course of the production her dress becomes pale pink or grey and then very gradually gets darker but in fact the nightdress she wears when she dies is back to white again. She does not bleed, people, she is the only character that dies without bleeding (!!!!!!!) and I will never shut up about that. Anyway, she sings up to the repetition of “and never, and never turn to night” with orchestral accompaniment and then when the “Then it’s just too much” line hits and the beat comes in things change. More lights come on and the chorus (wearing all black) move slowly into the stage; they’re tap dancing, creating the beat/ rhythm of the song. As they’re moving in Desdemona seems to show some level of fear towards them, constantly switching focus to see them approaching her on all sides; they represent the inescapability of her being the tragic hero. Notable: Desdemona is performing ballet and maybe some lyrical but I’m kind of imagining her en pointe for a lot of this; the chorus is performing tap. At natural breaks in the music and rhythm the tap dancers freeze in place for Desdemona to dance whilst she sings the next lines. On the second rendition of “then it’s just too much” vocal accompaniment to Desdemona’s melody begins and members of the chorus grab Desdemona’s shoulders and arms to pull her backwards, as she continues to sing she tries to break away from them and they follow her/she falls into other chorus members. They close in on her and she is completely covered until the rise in the music on the next rendition of “And then it’s just too much” when she reaches upwards and is lifted above the group, set down on the same line. The chorus continue to seemingly fight her through the next two lines. Then entrance of Othello comes on “I let him sleep, and as he does”. He does not sing yet. What we’re seeing here is more about Desdemona’s thoughts than it is actual events; Othello enters and takes Desdemona’s hand to briefly dance together, including him lowering her almost to the floor and then snatching her back to her feet again on “my heart bends and breaks so many, many times”. They stand opposite each other for “And is born again with each sunrise” and Desdemona reaches to touch his cheek. Othello catches her hand in the air and holds it so she walks with him as he begins to exit (he is walking backwards) and he sings the repeat of the line, but as they approach the wing he turns and exits alone, abandoning Desdemona on stage to be taken hold of by the chorus again in the following instrumental. For the final verse the chorus join Desdemona in singing but she is still the only main character on stage

Othello and Desdemona Duet: I’m Not Calling You A Liar (I should mention I’m not listing these in any particular order and also I do not have a copy of Othello with me rn to double check that I've got order right so I won't be trying just in case I get mixed up)

Gonna be so honest I feel like if you know the song then this one is self-explanatory, but I would also really love a quiet, sad, short reprise of it in the last scene with Desdemona on the bed reaching up to cup Othello's cheek and whispering "And I love you so much/I'm gonna let you kill me" before she dies

Emilia and Iago Duet: Back In Town

Iago and Emilia are alone on stage. The song begins after the exit of Desdemona at stage left and Emilia, who followed her almost to the wings, is subsequently standing alone at down or centre stage left and does not immediately know that Iago is standing somewhere behind her upstage right. Emilia steps slowly away from where she was been watching Desdemona leave and slowly starts to approach the audience as the music begins, and sings the first two lines believing she is still alone - Never really been alive before/I always lived in my head. Iago steps forward from the shadows and sings the next two lines (And sometimes it was easier/Hungover and half dead) taking Emilia by surprise, as though he is simply stating fact to her and she is forced to nod along and accept them . At this point Iago takes over the song and from now on sings most of it as a solo. He approaches Emilia across the stage and takes hold of her - notably by the wrist, not by the hand, to pull her in as he sings “I’m back in town why don’t we go out?” and on “spin” of the next line twirls her across the stage and straight into him so she falls against his chest and he is holding her up. The choreography continues in a relatively similar fashion as the song goes on; it is a slow dance, they are constantly close together, it is not entirely believable that Emilia wants to be there. To a casual eye it may appear that they are simply dancing together, but when you actually watch them you can see that her movements are always half a beat behind his, and always in the direction that he moves her. He never lets go of her for long, and in the brief moments of freedom that she catches she tries to move away as though it is part of the dance, as though she thinks she can hide her true intent beneath fluid motions that mimic his own, but every time he notices and forces her back. This is both a metaphor for their entire relationship and foreshadowing of her death. By the time he’s sing “And if you get spat on that’s just your big city baptism, you’re the star of the show” it is plainly evident that he is trying to convince her to do something for him. On this line Emilia finds herself with her back pressed against Iago’s chest as they both face out to the audience, his hand raised as though showing her a name is glowing lights, and she follows the movement of his hand with her head and with awe, eagerness, and the slightest edge of terror in her eyes. From here, as the lines continue, Iago turns and dips her slowly towards the floor. Emilia’s leg extends and he reaches his free arm to force her raised foot into pointe/demipointe; she is not committed to this dance, but he will force her to be. On the final lines Iago lifts her back to standing and pulls her close to him, moving her hands so she is clasping them together and he is clasping hers to his chest. He lifts her chin with his fingers so she is forced to look up at him as he sings “‘cause it’s always the same”. Still holding her chin, he looks out to the audience when he sings “I came for the pleasure but I stayed,” and it is Emilia who sings the echo “Yes, I stayed,” not at first looking at the audience but directly up to where his hand is now retracting from where he moved her to. She slowly turns her face towards the audience as they harmonise together for the final words: For the pain. On the final, low beats of the music Iago paces away and Emilia stumbles as she realises that he truly was the only thing holding her up. He exits stage right and Emilia sinks to her knees, watching him - a direct reflection of her watching Desdemona leave just three or four minutes ago on the other side.

Emilia Song 1: What Kind of Man

This will immediately follow on from the one above, thus beginning with Emilia knelt on the stage alone somewhere near centrestage right, looking out into the wings. She will sing the very opening lines exactly where she is, I envision only a very brief pause between these songs, and then slowly begin to stand and brush herself off so that she is ready to start walking towards centrestage by the time she is singing “I’d already had a sip, so I reasoned I was drunk enough to deal with it”. She sings alone at first; the stage is dark but for a spotlight on her, the orchestral accompaniment is relatively low to add emphasis to quite how complete her loneliness is in this moment - she is not safe, she does not know what to do, and the one person she can usually confide in and trust (Desdemona) is not only not here but also the very subject of the terrifying questions Emilia must now grapple with. On the higher background notes surrounding the line “and with one kiss” Emilia raises her hands and thrusts them towards her chest as though there is a blade between them, as though these hands belong to someone other than herself. She is both foreshadowing her own death with this movement, in the very pattern that her husband will commit it, and also presenting the image of her very first kiss with Iago being the thing that sealed her fate rather than anything within the content of the play: Emilia was doomed from the start, perhaps arguably doomed by the narrative, because her marriage is not one that she would have ever been able to survive. On that note I would really like to emphasise the youth of these characters so I would probably change “a fire of devotion that lasted 20 years” to “the fire of devotion that’s lasted all these years” so that we don’t get confused and tangled in the numbers of it. On this line (You inspired the fire of devotion/That’s lasted all these years) Emilia looks towards the wing where Iago exited with longing in her expression, but as she turns away her face hardens and her voice gains new vigour for the disgust and outrage with which she spits “What kind of man loves like this?”. And now we get the beat dropppppp. The music swells and gets louder; the lighting change is remarkable - lines spotlights running up and down stage, overlapping each other in places, and through them we can see the chorus moving into place. The slow, balletic movements of Emilia that have been the remnants of the control Iago instilled in her during Back In Town are abandoned completely in favour Contemporary as she paces backwards and the lights settle to illuminate the entire stage. The chorus are two lines of people all in black and Emilia, dressed in either red or grey I haven’t quite decided yet (maybe she is in grey and Bianca is in red??), is at the centre of the front line. The take up various positions with arms raised at strange angles and on the low notes of the background music turn their wrists until the beat hits - when they stamp their feet and snap their wrists into position. (Pls note I am not looking a score of anything I’m just listening to spotify so I might be badly screwing up musical terminology/details but I’m hoping you can gather which parts I mean) All participate in this until the lyrics begin. The “oohs” are sung by the chorus. When the lyrics begin Emilia steps forward to sing them, maintaining the same energy, and the chorus continue the same choreography until the repetition of “What kind of man” begins. As the repetition of these lines begins Emilia paces backwards and the two lines of chorus morph into a crowd that semi-circle close around her back. They grab Emilia on each beat, releasing her in between, and pull her in different directions as she sings (+the chorus are providing vocal accompaniment).At first it doesn’t particularly appear that she’s fighting them but as we exit the chorus to approach “You’re a holy fool all coloured blue” she does; she throws herself forwards on this line and the chorus are forced to relinquish her. She spreads her arms and the chorus are thrown backwards

Damn I just reached text block maximum whoops

The chorus are thrown backwards and spiral out to create a larger curve. Two chorus members take hold of Emilia’s arms to lift her and carry her a short distance upstage as she sings, raising and lowering her within the confines of the line “You do such damage how do you manage?” At the end of which Emilia is briefly lost in the crowd before she appears trying to force her way between two chorus members who are creating a wall in front of her, reaching out towards the audience as she sings “trynna crawl in back for more”. She gives in at the end of this line and sways sidewards as though fainting, caught by chorus members and lowered to her knees as she sings the repetition of the “and with one kiss” refrain. This time she remains on her knees for the first “What kind of man loves like this?” and then bound to her feet and continues to dance for the following. The chorus sing the following lines as Emilia dances I don’t have super specific moves in mind for this but continuing the same energy and the same style, I want everything about this to both vastly contrast and deeply reflect who she was in the previous song. Emilia begins to sing again for “But I can’t beat you/Cause I’m still with you” and the following verse, for which the chorus continue to provide vocal accompaniment. The chorus join her again when the What Kind Of Man chorus begins again. The dance and choreography continue in a similar fashion until the very last line; the chorus exit in a whirlwind and leave Emilia alone on stage as the music dies down to sing much quieter “What kind of man?” She has fallen still, her hands clutched closer to her stomach as though she is already holding the wound that will kill her

Ensemble song with Othello and other solos (maybe even to close act 1??): Howl

Starts with the stage empty except for Othello. The chorus slowly move in, all wearing flowy white costumes. The dance is one of slow, consistent movements during the intro music but on the accented notes they make sharper hand or leg motions before continues the same smooth line much slower as the music relaxes. Othello is mostly still during this but he does pace slowly into centre stage. Desdemona also slowly walks in during the intro, having returned to a long white dress instead of the pink or grey or something like that that she'll have been wearing in her previous scene. She moves very much like the chorus do, whilst Othello moves just as he usually does. Othello takes Desdemona's hands and pulls her in to dance with him as he sings the opening lines "If you could only see the beast you've made of me/I held it in but now it seems you've set it running free". It is very much that Othello is controlling the dance and Desdeoma is following him, an eerie parallel to Iago and Emilia during Back In Town. He spins her beneath his arm on the lines "Screaming in the dark/I howl when we're apart" and she leans back with her weight on one demi-pointe and in the arm he has around her, the othr leg extended. Othello sings "Drag my teeth across your chest to taste your beating heart" and leans into her, his other arm wrapping around her so the audience can barely see her. Desdemona drops into him and to her knees, now facing the audience kneeling directly in front of Othello, who takes tight hold of her shoulders and leans down towards her ear as he sings "my fingers claw your skin/try to tear my way in/you are the moon that breaks at night for which I have to howl". For most of this the chorus have been in pairs mimicking a similar dance to Othello and Desdemona, but now they have turned and are watching them, moving slowly closer. When Othello repeats the last two lines his voice is more desperate, clinging to Desdemona whilst she stares blankly out at the audience, barely seeming to notice his presence. On the rising repeat of "howl" the chorus closes in around them and pull the pair in opposite directions. Othello and the entire ensemble sing the word "howl" together. The following two lines are a repeat of this word, during which the dance becomes more rhythmic and Othello and Desdemona are moved to face each other on opposite sides of the stage. Though the chorus still appear to be attempting to separate them, they sing to each other across a gap that has formed down centrestage and are fighting to reach other. They exchange lines of the next verse as follows:

Desdemona: There's no holding back

Othello: I'm making to attack

Desdemona: My blood is singing with your voice

Othello: I want to pour it out

Desdemona: The Saints can't help me now, the ropes have been unbound

Othello: I hunt for you with bloodied feet across the hallowed ground

During this exchange they break free and meet in centre stage, taking up a dramatic dance that is mostly in hold. However, Desdemona pulls away from hold on her "The Saints can't help me now" line, and Othello draws her back in on his. Desdemona steps forwards, as though telling the audience, when she sings "like some child possessed, the beast howls in my veins". Othello grabs her by the shoulders and pulls her in, leaning over her almost as though he would go to kiss her neck as he sings "I want to find you, tear out all your tenderness". Desdemona throws herself free as both of them sing the repeated "howl" lines, joined again by the chorus, but this time Desdemona's voice can distinctly be heard differently from the rest because she is not singing from any kind of power or passion but from genuine terror. By the end of this chorus Othello and Desdemon are in an almost violent dance together, half in hold and half out, big sweeping arm movements and I'm imagining that Desdemona's skirt would unpin to fan out and show a gorgeous wide black or dark red skirt that would properly like swish around whilst they were dancing and stuff (does that make sense???). They continue to dance without singing whilst the chorus, who are back in their pairs and dancing faster, more intense dances than before but none quite to the extent of the main couple, sing "Be careful of the curse that falls on young lovers/Starts so soft and sweet and/turns them to hunters". I'm imagining that the chorus' skirts could also unpin in the same way so either Desdemona's would turn black and all of theirs would turn red or vice versa, but I want to kind of see some variety in the chorus outfits maybe (??) instead of them all being identical so I might have to put a bit of thought into that. Anyway the point is that after this line we get a big rhythmic chorus dancing moment and it looks super cool, they're singing the low "hunters" "howl into your heart" repetitions and moving their swishy skirts and dancing and then they part to show Othello and Desdemona again and Desdemona is now dressed in a super dramatic dress that is entirely the colour that was hidden inside her skirt and the skirt of this new dress is insane and Othello all but carries her to the front centre stage and he is all over her as he sings "the fabric of your flesh, pure as a wedding dress/Until I wrap myself inside your arms I cannot rest/The Saints can't help me now" and everything kinda continues in a similar style with some gorgeous choreography. I'm kind of imagining there being a table on stage by the end because I want Othello to lift Desdemona onto it and her to lay down on it, don't ask me how the table got there I don't know, but this happens with the massive dramatic flowing over the sides of the table and onto the ground whilst the chorus sings "A man who's pure of heart and says his prayers by night/May still become a wolf when the autumn moon is bright" and I'm picturing that they would sing these lines like they were a Church choir gathered around Othello and Desdemona, and they continue to sing the closing lines of the song as Desdemona stands up and Othello climbs onto to the table after her. He unpins the skirt and the fabric all falls away (removed from the stage by chorus members) like a waterfall so that he and Desdemona (who will be wearing trousers/leggings/a leoptard) beneath the skirt) can dance together on the table top whilst the chorus continue to sing, moving away from the choir-imagery and back to the earlier style. This continues right up until the very last line ("I hunt for you with bloodied feet across the hallowed ground") where Othello drops to his knees and clasps his arms around Desdemona's legs on the word "ground" and the curtain falls.

I am wondering if this would work for the act 1 closer????? But I'm not 100% sure where the interval would be

Emilia Song 2: Which Witch

If this isn't Emilia questioning herself for "betraying" Desdemona and whether or not she should give Iago the handkerchief then I don't know what is. I don't have loads to say about this one but the most potent lyrics for it in my opinion are these ones:

And it's my whole heart/deemed and delivered a crime/I'm on trial

Who's a heretic now/ am I making sense?

I'm miles away/He's on mind/I'm getting tired of crawling all the way

I'm not beaten by this yet/You can't tell me to regret/Been in the dark since the day we met/Fire help me to forget

And it's my whole heart/while tried and tested, it's mine

And it's my whole heart/burned but not buried this time

We'd have all of these lines (ie most of the song) whilst she's weighing up what she ought to do and she'd feeling really strong but then there's a small musical interlude where Iago comes on stage without her expecting him to, they speak briefly and she hands the handkerchief over; he walks away as she tries to ask him what he intends to do with it, chasing after him until he physically shoves her off and keeps walking. Emilia falls to the ground and as the music sweels again she sings the closing lines "Chained and shackles, oh/I'll unravel, oh/It's a pity, oh" [she gets to her feet] "Never to return/But I never learn/It's a pity, oh" and then repeats it with particular emphasis on the transition from "Never to return" to "Say I won't return". By the time she finishes the final rendition of "it's a pity, oh" the orchestra has almost completely died out and she wanders alone offstage humming the final few notes to herself

I could keep going...

Maybe I will at some point but I'm tired now

[kemetic-dreams]

[coloursofunison]

Happy publication day to Murder in Florence by TA Williams #cozymystery #NewRelease

Happy publication day to Murder in Florence by TA Williams #cozymystery #NewRelease @TAWilliamsBooks

Here’s the blurb A brand-new cozy crime series set in gorgeous Tuscany…It’s murder in paradise! A glamorous film star… Life as a private investigator in the suburbs of Florence isn’t always as glamorous as Dan Armstrong imagined it to be, until he is asked to investigate a recent spate of violent attacks on a Hollywood movie set in Florence. The star of the show, movie-star royalty Selena…

[spaciebabie]

i dunno i never draw him from the back so i did that

[dykeomania]

you know that one scene in 21 jump street where channing tatum and jonah hill are trying to buy off of dave franco's character ("you're the uh.. the dealer????? dealer???????????????? guy???" "yup." "oh cool so like do you make this stuff??? or???" "what do i look like, a fucking scientist? no, i just sell it.") yeah that's dealer!ellie x firsttimeweedbuyer!reader

[crowandthefics]

Headcannons/information about my Titan army killer au!

-this au takes place between the last Olympian and the lost hero.

-in this au, Ethan does not die in the battle of manhattan. He survives after being found by Drew. Only to die a week later by the titan army killer.

-Tanaka/nakamura family is cannon to this.

-many half bloods in the TA were given pardons and welcomed back to chb

-the titan army killer is an unidentified camper at chb. They are killing ex-titan army campers for an unknown reason.

-Chiron is negligent to all of this, passing off every death as an accident of some sort.

-Drew Tanaka and Valentina Diaz are the ones actually stepping up and searching for the killer.

-there is a group called “the crew”. Which was formed after the second death (Margret smiths). The crew consists of: Lou Ellen, Valentina, Neil, Milly, James, marrie, desire, Jessie(before death), Clovis and Drew. Notably, Chris is not in the crew

-there are supporting campers who are not part of the crew but are upset about the murders, including: Will solace, Cecil markowitz, and the stolls

Important characters

Ex-Titan army campers

Lou Ellen blackstone, Hecate counselor; alive

Ethan nakamura, son of nemesis; dead

Margret smiths, daughter of Hephaestus; dead

Chris Rodriguez, son of Hermes; alive

Valentina Diaz, daughter of Aphrodite; alive

Neil, son of Nike; dead

Milly Anderson, daughter of Demeter; alive

James step, son of Athena; alive

Marrie jones, daughter of Aphrodite; alive

Desire brown, daughter of tyche; alive

Jessie Williams; unclaimed; dead

Regular chb campers

Drew Tanaka, Aphrodite counselor

Damian White, son of nemesis

Will Solace, Apollo counselor

Cecil Markowitz, son of Hermes

Evan Winks, son of Hermes

The stoll brothers, Hermes counselors

Other

Alabaster Torrington, son of Hecate, exiled

Chiron, camp director

Clovis, Hypnos counselor

This will be updated as the story goes on

And please, ask questions! Make theory’s, try to find the killer,

[antzonian]

Final Short Treks is out!

And it's great! :D

[forthelostones]

♡ black female reader x ellie williams (part two) ♡

synopsis: ellie is your TA for your english lecture at university and she pulls you aside for revision.

warnings. 18+ (mdni); switch!reader x switch!ellie, teasing, fingering, grinding, and spanking.

an: hi everyone! thanks for liking part 1, hopefully the conclusion is satisfying enough. enjoy x. if u have requests let me know!!

wc: 700

PART ONE

She watched your tongue lick strings of cum from her clit. Her hand still toiled in your curls while she silently begged for more of your touch. She pulled you up and placed soft kisses around your lips but never came in contact with them. You yearned for her bursted lips, that she had been biting to suppress her moans. She slaps your ass and startled you so much you yelp in pleasure. You reach for her neck as she grips your ass tighter, spreading your cheeks, exposing your wetness. You place your lips on her neck, dragging your tongue lightly against her pulsing veins. She moans your name with one simple touch. She squeezes your hips and turns you around to be bent over the desk. You notice the name plaque of your professor in front of you and toss it to clatter on the floor. 

She walks around to the other side, completely naked, and tilts your chin upwards still with your ass exposed. You didn’t even dare to move as she looked at you like her prey. She bent down and slid her tongue inside of your mouth, wrapping her lips around the tip of yours, sucking softly. She left you drooling, mouth wide open, exposed. 

“Pathetic.” She muttered. 

Her hand caressed your ass as she ran her tongue down your spine. She circles your opening, toying with the idea of sticking two fingers inside. Naturally, you widen your stance to welcome her. One finger enters roughly, without warning, but you’re so wet you can barely feel it. But once the second finger enters you can finally feel how tight you actually are. You raised your ass slightly as you felt her thumb reaching for your clit. Instead of sliding in and out, she forces her curved digits to place pressure on your g-spot by pounding downwards. You can’t hold it anymore, your moans are obnoxious, vibrating against the desk as she holds your waist down. 

“Els—“

“Huh?” She whispered, in between the claps of your ass. 

Her voice alone was enough to pull you over the edge. 

“You’re gonna cum? Tell me you’re going to come for me y/n,” 

You remained quiet, not wanting to give her the satisfaction. 

“Don’t be like that.” 

Your hands wrap over the edge of the desk, unable to formulate a word, dumb off the pleasure. You lifted one leg on the desk to feel her reach deeper, she snickered under her breath. She liked seeing you so weak for her, sloppy, dripping on the tabletop. 

“I’m close,” you groan. “Ellie, I’m close.” 

She pushed her hand deeper into your core and spread her lips open on your ass. She was grinding herself to finish using your body. You both moan in unison, hers more sultry and low, while you squeal from the pressure, creating a perfect tonal harmony. 

“Y/N, I love seeing you like this.” She sighs. 

You could feel her eyes watch your ass recoil with each plunge taken. Her eyes were drinking in every inch of the image of your pink hole wrapped around her fingertips. She pressed her clit harder into the firmness of your ass, making her moan louder at each stroke. She slapped you one more time, even harder, actually bruising your skin. 

“You close, baby?” She asked gently. 

Baby, you thought. 

“Fuck.” You muttered. 

You belly turns in knots as the pressure travels up from your toes to your core making your body twitch. You move your hands to push her out. 

“Please, Els.” 

She takes your wrist and presses it into your lower back. Your orgasm takes over and you fight back by jerking your body, but she pushes you deeper into the wood under your body. You can’t help but scream over her stifled laughter. She quickly pulls her fingers out of you and you just lie breathless. She rubs gently over your clit, which makes you twitch. 

You muster up the energy to sit upright, legs slightly shaking from the release of tension in your muscles, you see her smirk and the sight of your naked body. You arched your back and perched your sensitive nipples up, showing off your body to her lustful face. She strides over to you and plants a soft kiss on your neck with her hands wrapped gently around your waist. 

“Don’t think this will change anything about that shitty paper.” She whispers in your ear. 

[fancoloredglasses]

[RERUN] Star Trek, Part 2: TAS (TOS Season 4)

[All images are owned by Paramount and Filmation. Please don’t sue me]

(Thanks to Intro Master)

In my last review, I covered the original series starring William Shatner, Leonard Nimoy, and DeForest Kelley. However, thanks in part to fan support, Gene Roddenberry managed to pitch to Filmation a continuation of the series in animated form for the Saturday morning crowd.

Please note that I said “animated” and not “cartoon”. That was a deliberate choice that Filmation and Gene Roddenberry made in marketing the series. They believed that if they called Star Trek a “cartoon” it would be panned by their fans, and they put a lot of effort into making the series as close to the original series as children’s programming would allow (sorry, there were no Redshirt scenes, but surprisingly there was a death!)

Another note is that, with the exception of Walter Koenig, the entire cast was present (with James Doohan and Nichelle Nichols providing voices for most of the “extras” in the series). Added to the cast were 2 aliens:

Lt. Arex is a member of a race known as the Edosians with 3 arms and 3 legs (you never saw him walk as the animators couldn’t figure out how that would work) who serves as navigator.

 Lt. M’Ress, a member of a race known as Caitians who serves as Communications Officer when Uhura is...busy? They never gave an explanation where Uhura was while M’Ress was on duty.

Despite the fact that Filmation did not have access to the original music from the Original Series, they did compose some music that they have reused in other series over the years.

(Thanks to Grim2)

Despite the fact that it was Saturday Morning fare, the series was not written with kids in mind. While the series wasn’t as preachy as some episodes of the original series were, it did have a more serious tone (even the sillier episodes didn’t feel “dumbed down”. They felt like some of the sillier episodes of the original series), and at least two episodes did tackle some pretty weighty subject matter.

Most importantly, despite a lot of Trekkies not believing the animated series to be “official canon”, several canonical facts have come from the animated series (including Vulcan emotions, Sehlots (the typical Vulcan pet), the Kzinti (a race of aggressive felinoids), and Capt. Robert April, the Enterprise’s original captain)

The series ran for two seasons (though the second season was just two additional episodes) before being cancelled (to be honest, I’m surprised it got a second season, given it was on Saturday mornings). However, this would not be the end of Star Trek, though fans would have to wait a number of years for new content.

If you would like to watch the series, it's available on Paramount+ or behind your favorite paywall.

If you have an episode you would like me to review, please let me know.