#about: samuel clayton

[vocesincaput]

ABOUT: Samuel Clayton

BIRTH NAME Samuel Benjamin Clayton

AGE Late 40s.

PLACE OF BIRTH London, England.

GENDER Male.

PRONOUNS He/Him.

SEXUAL IDENTITY Homosexual (closeted)

AFFILIATION(S) British Royal Navy.

RANK Midshipman.

FACE CLAIM Duncan Bell

HEIGHT 1.9m / 6’ 2.8”.

HAIR Light brown

EYE COLOUR Blue.

FANDOM Hornblower.

NOTE: Because of Samuel being gay (closeted) in the British Navy at the time he is in, there may some difficult subject matter in his threads/interactions. If you need any specific tagged, please let mun know.

SPOILERS FOR HORNBLOWER BELOW THE CUT

Clayton did not die after his duel with Simpson. When the doctor placed a sheet over him in the bed, he realised that he was still breathing. Upon looking him over closely, the doctor realised that he was in fact in a sleep like state.

Samuel stayed in this state for multiple months afterwards and when he did finally wake, he did so in a Naval hospital. He was kept under close supervision for several months afterwards as his strength slowly returned.

HEADCANONS

Samuel is an only child to a poor family.

Taught himself to play the violin.

He plays when he is feeling sad and melancholy. When he needs to calm his mind and sometimes when he needs to focus.

VERSES

TURN: WASHINGTON'S SPIES

Samuel isn't part of the British Navy but is a part of the army stationed in America. His rank is instead that of Lieutenant. He is unhappy in the Army and doesn't agree with things. But he has a strong sense of duty and feels fearful for his life if people were to discover his dislikes and preferences.

[astra-galaxie]

what are some of your LGBTQ headcanons for some of the CC characters?

My LGBTQ headcanons for CC characters? Sure, I’ve got some! I’ll also list some characters' canon facts since I support them, but let’s see what non-canon ones I can come up with!

And disclaimer! These are my current LGBTQ headcanons; there is a chance that they could change as my story progresses!

Sexuality-based LGBTQ Headcanons:

Main Characters

Heterosexual/Ally:

Samuel King

Eduardo Ramirez

Frank Knight

Elizabeth Ripley

Angela Douglas

Elliot Clayton

Arthur Wright

Issac Bontemps

Diane Parker

Gloria Hayes

Gabriel Herrera

Penelope Sage

Priya Desai

Felix Reed

Gay:

Nathan Pandit

Amir Devani

Orlando Ordelaffi

Ben Shepard

Lesbians:

Hannah Choi

Carmen Martinez

Michelle Zuria

Evie Holloway

Rose Zhao (She and her husband married for none-romantic reasons)

Bisexuals:

David Jones (Has a preference for women ((and hasn’t realized his attraction to men yet…))

Grace Delaney (She tried to get Jones to realize his sexuality in high school but couldn't get him to understand…)

Alex Turner

Andrea Marquez

Yann Toussaint

Jack Archer (With a preference for women, but unlike Jones, he recognizes his feelings toward men)

Lars Douglas (He likes to call himself and Jack bi-bros and bi-buddies)

Marina Romanova

Jonah Karam

Cathy Turner

Nebet

Christopher Scott

Jacob Arrow

Hugo Mercier

Pansexuals:

Amy Young

Roxie Sparks

Maddie O’Malley

Charlie Dupont

Deigo del Lobo

Martine Meunier

Janis Rivers

Jean-Philippe Delacroix

Gauthier Delacroix

Enzo Traoré

Léa Bonnet

Polyamory:

Zara Tien

Theo Moon

Kai Malano

Nadia Den Yamin

Demisexual:

Russell Crane

Ingrid Bjorn

Rupert Winchester

AroAce:

Dick Wells (This man called science his mistress once, and I have headcanoned him as AroAce ever since!)

Hope Newman

Acesexual:

Armand Dupont

Viola Pemberton

Questioning:

Rita Estevez: Thought she was straight but started having feelings towards a certain woman…

Luke Fernandez: He thought he was straight, but after everything with Fabien de la Mort, he started questioning

Carrie James: Unsure of her sexuality

Émile Bardot: Unsure of her sexuality

Other Characters

Olivia Hall: Lesbian

James Savage: Demisexual

Edward Dante: Pansexual

Karen Knight: Bisexual

Nigel Adakue: Gay

Asal Hawaa: Bisexual

Katherine Woolf: Lesbian

Jasper Everett: Gay

Mia Loukas: Bisexual

Arthur Darkwood: Gay

Geroge Mathison: Gay

Cody James: Pansexual

Gender-based LGBTQ Headcanons:

Nathan Pandit: Transgender (female to male)

Alex Turner: Demiboy

Hannah Choi: Demigirl

Jean-Philippe Delacroix: Genderqueer

(I don’t have many gender-based headcanons yet…)

That’s everything I could come up with! And like always, I am open to hearing about your opinions, headcanons and suggestions on this topic!

[nitrateglow]

Spooky Season 2024: 39-45

1408 (dir. Mikael Hafstrom, 2007)

A paranormal skeptic visits an alleged haunted hotel room. It turns out to be haunted. Moral of the story: when Samuel L. Jackson tells you a hotel room is evil, BELIEVE HIM.

1408 is emblematic of how I feel about most Stephen King anything: it's a mix of really potent, effective horror with the goofiest things I have ever seen (there's literally a scene that plays like Groucho's bit with the mirror in Duck Soup and I could not tell if it was supposed to be funny or not). It comes off like a Nicholas Cage movie without Nicholas Cage, though that's not to say John Cusack does a bad job in the lead. Despite Samuel L. Jackson being prominently placed on the posters, this is essentially a one-man show, with Cusack acting his heart out amidst silly CG ghosts in the hotel room from hell. I didn't think it was amazing, but it is fun at least.

The Innocents (dir. Jack Clayton, 1961)

A governess fears her charges are possessed by ghosts, but her fervor to save them might be the greatest danger of all.

The Innocents is a dynamic chiller, one of the most atmospheric gothic thrillers I have ever seen. My perspective on the characters and story evolves every time I see it. The viewer is never told the "truth" of the situation. Are there actually ghosts possessing the children or are they merely traumatized? Is the governess a savior or an agent of destruction, unwitting though she may be?

If you haven't seen it, do not read the rest of what I have to say, because you'd be robbing yourself of a wonderful experience with one of the best horror films of all time. But I do want to talk about my current reaction to the central character, Miss Gibbens the governess.

SPOILERS

This time around, I found myself actually frightened of Miss Gibbens.

In the past, I found her sad and disturbed, but this time around, the danger she poses to those kids stood out more than usual. When she says she isn't a "cruel" person, I certainly believe her, but good intentions do not absolve her actions of psychological harm. If anything, the woman has a savior complex, likely augmented by her being a clergyman's daughter. At one point, she says her father taught her to "help people even if they refuse my help"-- basically to shove her brand of salvation on people no matter the harm it does because the ends justify the means.

And then there is the weird sexual undercurrent of her relationship with Miles. It's clear Miss Gibbens is enamored with her employer, the aloof bachelor who supports the children but otherwise wants nothing to do with them. She cannot be with the object of her desire for a variety of reasons (class difference, his disinterest, her own moral scruples, etc.), but her infatuation does not dissipate. Instead, she seems to transfer these affections onto Miles. Miles puts on a bit of an act, assuming he's quite grown-up compared to his sister Flora and flirting with Miss Gibbens (almost as though he were imitating Quint?), and maybe this act also influences Miss Gibbens to an extent. The dynamic between them gets really damn creepy and gross, with Miss Gibbens cloaking everything in her more amiable desire to help others and be needed. That final kiss she plants on his mouth after he dies never fails to make me shudder-- it's incredibly disturbing.

Miss Gibbens' lack of awareness-- of her own desires and of the real world-- is largely her fatal flaw. She is herself an innocent in many ways, thinking the uncle will care about her ghost theories, assuming her good intentions mean the children will not be harmed by her forcing them to confront their trauma head-on, seeing Miles as both child in need of help and corrupted, sexualized adult in a child's body. And yet, her innocence does not make her heroic or even good. It simply leads to more tragedy.

Deborah Kerr is amazing at channeling all of these contradictory elements of the character. Really, hers should be considered one of the great performances of all time, it's so good.

Candyman (dir. Bernard Rose, 1992)

Graduate student Helen is studying the urban legend of the Candyman. In life he was a Black artist named Daniel Robitaille, a son of former slaves who was brutally lynched after his affair with a white woman was discovered. A skeptic, she inadvertently summons him from beyond the grave. She is subsequently hurtled headlong into a nightmare scenario in which she is accused of several murders and her only salvation is offering her life to the Candyman as a sacrifice.

I knew about Candyman for years and it was sold to me as a slasher. It really isn't when you watch it-- with its mystery and crime thriller elements, it resembles a giallo, only far less goofy. While there are a handful of cheesy slasher moments, this is more of a gothic thriller with a dark romantic edge (romantic in the Mary Shelley sense, I mean).

But yeah, this was great. I really never knew where the film was going, and much of the imagery genuinely creeped me out. However, I also found the lore of the titular character fascinating. He essentially remains "alive" through the urban legends spread about him and resents the protagonist's efforts to make people disbelieve. The juxtaposition of the grounded, real world setting and the eerie, otherworldly images associated with the Candyman gave the film a rich sense of the uncanny. I can definitely see myself revisiting this one again and want to get a physical copy ASAP.

Also, Tony Todd's voice is just--- YES.

Bride of Frankenstein (dir. James Whale, 1935)

Following the events of the first movie, the Monster survives the burning windmill and seeks out companionship in the countryside. Meeting mostly fear and violence, he is driven to Dr. Pretorious, his creator's former mentor and an avid devotee to the idea of creating a new race of beings. Pretorious and the Monster join forces to coerce Henry Frankenstein into making a mate for the Monster, but their efforts do not end how they desired.

What can I say about this movie? It's absolutely brilliant. It takes all the strengths of the first film-- the pathos, the campy humor, the gothic production design-- and cranks it all up to eleven. Literally, my only beef is I WANT MORE OF THE BRIDE. She is so iconic and Lanchester gives her such an unsettling, alien presence. I wish she had been given more opportunities to play the character.

The Mad Doctor (dir. David Hand, 1933)

Pluto gets kidnapped by an insane scientist who loves cutting every living thing in sight into pieces. It's Mickey Mouse meets Saw, more or less.

One of the classic Mickey Mouse cartoons, the macabre humor is off the charts here, paying homage to the aesthetics of the gothic horror films of the period. It's a really good homage too-- the backgrounds and effects are astonishing. There's a sequence where the "camera" is following Mickey through a tunnel and the evocation of three-dimensional space is so cool. Part of what I love about Disney in the 1930s is how ambitious their work could be, even in short films like this.

Peeping Tom (dir. Michael Powell, 1960)

A shy photographer kills women while filming their deaths for a "documentary," but a burgeoning romance with a young woman threatens to both upend his mission and reveal his crimes to the authorities.

Disturbing and tragic, Peeping Tom remains a unique horror experience. It gets compared to Hitchcock's Psycho often-- both of them were controversial proto-slashers about disturbed, sexually repressed young men whose childhood abuse turns them into killers. Both films came out in 1960 and pushed at any notion of "good taste" with their sexuality and violence. However, Psycho became its director's biggest hit, while Peeping Tom permanently damaged Michael Powell's successful directorial career. While Psycho also provoked disgust, it was also more "fun" and humorous, while Peeping Tom has a sadder core. The ending haunts me in a way few other horror movies do.

Sisters (dir. Brian De Palma, 1972)

Ambitious young reporter Grace Collier witnesses a murder in the apartment across from hers, but when she cannot get the police to believe her story (mainly due to their prejudice against her, as she's written articles critical of police brutality and racism in the past), she investigates the crime on her own. Her inquiries uncover a disturbing conspiracy involving a pair of previously conjoined twins and the emotional rift caused by their separation.

Sisters has become a staple of my Halloween viewing since I first saw it years ago. It's weird because I initially didn't like it very much, but now I count it among my absolute favorites. It's certainly a riff on Hitchcockian themes of voyeurism and violence-- movie geeks will easily spot references to Psycho and Rear Window-- but it has a very countercultural edge. Having seen De Palma's earlier, politically charged comedies like Hi Mom! really illuminates that element of the film, particularly its feminist themes and commentary on police corruption.

But that all sounds very academic, and this film is anything but a dry pamphlet on sociopolitics via 1972. This is a darkly funny and stylistically playful thriller with some visceral shocks, and the performances from Margot Kidder and Jennifer Salt are absolutely amazing. Actually, I love Salt's character Grace the most. She's abrasive but ultimately sympathetic and admirable, her aggressive personality hiding a great many vulnerabilities, namely her anxiety about going nowhere in a writing career her mother seems to view as a distraction from "proper" womanly goals like getting married before age 30. I find Grace a funny yet poignant character, her fate disturbing.

[opalescence-wolph]

Greetings everyone here on Tumblr. My name is Opalescence Wolph, but you may call me Opal if you so desire. I am a...tragically cursed angel who was forced to fall due to said curse. I will not be disclosing who cursed me as I do not wish to talk about it.

Ahem...little about me: I was a kaiju slayer in my youth...well, technically I'm still young given I died when I was 20 and that happened 4 years ago now so I am now 24. Yes, I am technically dead, tragic I know.

I go by he/him pronouns and I am bisexual

'Tags':

Posts: messenger scrolls

Reblogs: angel blessings

Favorites: wing feathers

Interactions with other 'RP' blogs: benevolent spirits

Interactions with Popcross fans: dove wings

Answers to 'Asks': angel's wisdom

[OOC tags: ooc posts, popcross rp, mvt rp, rp blog]

I was informed that there are blogs similar to my own that I will try to list out, if I miss anyone by mistake, please notify me. Ahem...

Professor Dresden Oakland @prof-d-oakland

Sir Jackson Bright @sir-bright

Their son Samuel Sparks...or Bright? Oakland? @thelaststarstriker

Samuel's boyfriend Jackie Blaze @rockandfire

Charlie the Biomech @charlie-the-biomech

Ylthar the dragon overseer @yltharthedragon

Harold the Herald...quite the interesting title @stickyhandscowboy

Alexis Jones the Reaper @thenewreaper

The last survivor of dimension B133 Dilwyn...does he have a last name? @dilwynlives

Clayton Costas the demon hunter @beefyglowstick

Jasper Morgan the cowboy @foundations-cowboy

His boss James Aaron Siegel @founders-faith

And...quite a few "archons" as they're called

Eldrorrok the horror archon @eldrorrok

Fantorrel the fantasy archon @fantorreli

Psychoperdelicth the psychological thriller archon who is...apparently dead? @psychoperdelicth

And apparently the child of Romillacect the romance archon is on here, her daughter Amara @amarathemoth

I believe that is everyone but let me know if I missed anyone...my my, there's a lot of people to keep track of on this site.

Anyways, feel free to ask me any questions, and I'll answer them as honestly as possible. Thank you reading, and have a good day or night

[racefortheironthrone]

What are your thoughts on Woodrow Wilson? It seems like depending on who you ask, he’s either the intellectual father of the current international system, or the man who brought American race relations to their post Civil War nadir by segregating the federal government.

As someone who primarily studies U.S domestic policy, I don't hugely care about Wilsonian foreign policy.

Yes, yes, international law and the roots of the U.N, but at the end of the day the League of Nations wouldn't have been fit for purpose even if Wilson had managed to get the U.S to participate, he got massively steamrolled at the Paris Peace Conference by Clemenceau and Lloyd George on everything from imperialism to anti-German revanchism, and you can't get away from the fact that his liberal pronouncements on national self-determination were sharply limited by his racism when it came to the self-determination of insufficiently white people.

When it comes to domestic policy, it gets harder for me because a lot of important and good stuff happened in his Administration - the income tax, the Federal Reserve, the Federal Trade Commission, the Clayton Anti-Trust Act ("labor's Magna Carta" according to Samuel Gompers), the Commission on Industrial Relations, the passage of the Suffrage Amendment for women, etc. - but most of that happened thanks to other people. Wilson was more of a cheerleader and promoter than a policy wonk, so I think any Progressive would have done as good a job.

On the issue of "American race relations," I think Wilson's impact was largely symbolic, but his impact was absolutely on behalf of segregation. The Jim Crow agenda of black disenfranchisement and discrimination had mostly been completed between 1890 and 1910 - by the southern wing of the Democratic Party that he came out of, I should add - and Wilson's personal contribution was to extend the latter principle into the Federal government as a final thumb in the eye to lingering Republican sentiment on civil rights. At the same time, between McKinley and Theodore Roosevelt, the leadership of the Republican Party had basically already surrendered on black representation in Federal employment (just as at least the Executive had on anti-lynching laws, civil rights, and voting rights), so the damage had mostly been done.

His public support for Birth of a Nation - whether or not he actually said it, the tagline "like history writ with lighning" was a useful boost to the film's marketing - was probably more impactful in the long run. His Administration's inaction during the Red Summer of 1919 was most impacful of all, and even if you buy the bullshit argument that the Federal government didn't have the power to do anything in most cases, Wilson absolutely had the power when it came to Washington D.C and it somehow took him four days to send in the Army to stop white mobs from making war on the black community.

[heartsburstintofire13ghosts]

Royce Clayton Memorial High School Shooting Victims (Trigger Warning)

This is a subject matter that I intend to handle with as much gentleness and respect as I can. As someone who lives in America, though, it is something that I feel happens much too often, and this story is my way of getting my emotions about it out, without causing an argument. This story is not a political debate. Everybody is entitled to their own opinions on gun control/gun safety. 

When we get to this point in the story, there will, of course, be a trigger warning. These are fictional victims.

Proceed with caution. 

Students

Cameron Garwin, Age 13 Eveline Morgan, Age 13 Darren Hill, Age 14 Samuel James, Age 14 Alexander Timmons, Age 14 Daniel Stevens, Age 15 Serena Drake, Age 15 Milo Langdon, Age 15 Rose Ottokar, Age 16 Shilo Ottokar, Age 16 Samara Bishop, Age 17 Kalob Clayton, Age 17 Zeke Matthews, Age 17 Lance Dumont, Age 17 Elizabeth Collins, Age 17 Piper Valentis, Age 17 Leila Phillips, Age 18 Ryan Phillips, Age 18 Shane Michaels, Age 18 Jeffrey Lewis, Age 18 Alice Loveau, Age 18 Simone Dubois, Age 18 Ashley Korska, Age 18 Zach Montague, Age 18 Justin Danvers, Age 18 Mark Perry, Age 18

Faculty

Aspen Enriquez, Age 25 Colin Daniels, Age 30 Joseph Chanterelle, Age 43 Olivia Mills, Age 50 Sarah Reid, 53 Montgomery Hilton, Age 70

[alexsfictionaddiction]

Review: The Fellowship of Puzzlemakers by Samuel Burr

With a cover as charming and a title as whimsical and cosy as this, I think we all know that it was love at first sight. I was delighted to be approved for this debut novel and really excited to get started.

Crossword queen and founder of the Fellowship of Puzzlemakers, Pippa Allsbrook has recently passed away and she has left a final puzzle for Clayton, the boy who was abandoned as a baby on the doorstep of the Fellowship's HQ. He was raised by a band of clever, creative eccentrics within the tight-knit community of the Fellowship but Pippa's last challenge will take him on a journey outside of their walls and on a path to solve a puzzle that no one has ever been able to crack.

The Fellowship of Puzzlemakers is a book for outsiders. If you've always felt different and lost amongst human company, you'll resonate with the inner monologue of Pippa and the words of several other members of the Fellowship. I really enjoyed seeing the world through Pippa's eyes and reflecting on life in her unique manner.

Much of Clayton's chapters see him grieve Pippa and think about how her brilliant mind shaped his upbringing and the man he has become. There are several word puzzles dotted throughout the text, giving the reader a little something extra to enjoy while they're reading. I'm not sure they materialised quite as well in the eBook as they probably do in the print version but I thought it was a lovely, relevant touch.

Before the Fellowship is formally established, we learn that Pippa publishes her crosswords under the name Squire, obscuring her gender. As the world of cleverness and puzzles is dominated by men, everyone naturally believes that Squire must be a man. A woman couldn't possible devise such complex crosswords! Although Pippa makes herself known to those who become close to her, she is still undoubtedly uncredited under her own name by the majority of people who come across it. In this, Pippa represents thousands of clever, hard-working women all over the world.

There is a love story in both strands of the novel and to be honest, I didn't love either of them. I didn't think that Earl was good enough for Pippa and I was a bit baffled as to why she liked him. He wasn't nasty but I just found him very bland. I think the lack of depth within most of the characters was the book's biggest downfall. There is a large cast of characters and I only felt like I got to know Pippa and Clayton, despite some of them playing significant roles in the action.

The Fellowship is a warm, safe space for its members and the theme of found family and community was really strong. I'm not sure I could quite picture the layout of the house well enough to fully understand the logistics of them all living together but the vibes had a certain glow. I wish I'd cared about more of the characters, as there are some quite fuzzy, lovely moments towards the end of the narrative, which I think I missed due to a lack of connection.

The Fellowship of Puzzlemakers wasn't quite the addictive, charming read I thought it would be. It was enjoyable and aspects of the story, such as the idea of the Fellowship itself and the bonds between outcasts, were really lovely. However, I was bored by the plot and the two-dimensional characters didn't help it along very much. I would still recommend it, if you're looking for a gentle story about family and belonging. However, if you want something a bit more intriguing and interesting, it's perhaps not for you.

[project1939]

100+ Films of 1952

Film number 114: The Las Vegas Story 

Release date: January 30th, 1952 

Studio: RKO 

Genre: noir/crime

Director: Robert Stevenson 

Producer: Robert Sparks, Howard Hughes, Samuel Bischoff 

Actors: Jane Russell, Victor Mature, Vincent Price, Hoagy Carmichael 

Plot summary: Lounge singer Linda returns to Las Vegas with her gambling addicted husband Lloyd. While he loses thousands at the craps table, things heat up in a reunion with her ex, Dave, a police lieutenant. When Linda’s $150,000 necklace goes missing and a casino owner is murdered, Dave is left trying to untangle the mystery. 

My Rating (out of 5 stars): *** 

This is your basic three star “meh” movie. It’s competently made, generally well-acted, and has a fairly interesting plot... but it’s lacking something that would make it a really good film. It’s not a terrible way to spend 90 minutes, but there are many many 1952 films I’ve seen that I would recommend more. (Minor spoilers) 

The Good: 

The main mystery in the plot. Who killed Clayton and why? As things unfolded, I believed three different people were to blame, and I was genuinely surprised at who the big villain was. 

I liked Victor Mature in this. Sometimes he can be a little vanilla for me, but he was good here. He wasn't outstanding, but it worked. 

Vincent Price was an expert creep, as always. 

The penultimate part of the chase scene at the end was pretty thrilling, even if the very end wasn’t as good (see below). The scenes with roadblocks and a helicopter chasing a car were good. 

Thighs! Can I say it again? I love that 1950s female movie stars actually get to have fuller softer and larger thighs. (At least compared to today.) Jane Russell looked scrumptious in a bathing suit scene. 

The Bad: 

First off- the title! Calling it The Las Vegas Story made it seem like it might be fictionalized history about the city’s origins, but that wasn’t it at all. Why not call it Las Vegas Story, or even A Las Vegas story? Putting The in felt wrong. 

Jane Russell. Sorry to say it, but she is just not good in this. It seems like she’s perpetually sedated and can barely open her eyes or actually move her mouth. She didn’t really even smile. I’ve seen her in two other 1952 films so far, and this is always kind of the case with her, but here it was particularly bad. 

Jane Russell’s costumes. She is a stunning woman known for her beautiful curves, but you wouldn’t really know it from this film. Nothing she wore flattered her or accentuated her assets. (Except the swimsuit mentioned above, and only marginally) 

A weird Hoagy Carmichael “comedy” song about monkeys. It completely ground the plot to a halt in the middle of the movie, and it wasn’t funny at all. 

The final part of the chase scene at the end didn’t thrill me. Sometimes taking non-diegetic music out of high-tension moments can work (see the final sword fight in Scaramouche), but here it felt kind of tedious. 

The ceaseless objectification of Jane Russell. There isn’t a man alive in her films (or her radio and tv appearances) who can refrain from ogling her and verbalizing all of their thoughts about her body. Examples? When one guy who briefly knew Russell’s character said, “I never forget face,” her own husband turns to her and says, “That man obviously has no eye for figures!” Another time when Linda was basically carjacked, one cop asks if he were the bad guy, “Where would you head to?” another one answers, “With a dish like that, I’d probably park first!” Ughhhhh. 

The little side plot of an underage couple wanting to marry. It just didn’t work for me. 

Another casualty of the Hollywood blacklist. The main writer on this, Paul Jerrico, had his name taken off the credits because of ties to communist organizations. He was blacklisted in Hollywood for nearly the rest of his career. 

[mirandamckenni1]

Liked on YouTube: Meeting this Syrian toymaker was nothing like I expected it to be || We Were Here || https://www.youtube.com/watch?v=RoWbPi1EEDI || I'm so excited for you to meet my new friend Mohammad. Thanks to everyone who helped make this happen, here's more information on the project: In support of World Refugee Day, We Were Here is an original documentary series from YouTube and UNHCR, the UN Refugee Agency, that seeks to challenge stereotypes and perceptions about refugees by focussing on what unites us rather than sets us apart - our shared passions. You can see the other episodes in the series here: The Permaculturist - on the Gaz Oakley YouTube Channel - https://www.youtube.com/channel/UCF-ACPYNN0oXD4ihS5mbbmw The Musicians - on the Jax Jones YouTube Channel - https://www.youtube.com/channel/UCj95pmTj8-hClQPPc972VOw All episodes of the series are also featured on the YouTube playlist - http://yt.be/wewerehere Learn more at https://ift.tt/v4SsQHd #worldrefugeeday Directed by: Mahmoud Al Massad @massada Contributors: Mohammad Waheed Hussein Asaf, Simone Giertz Production Company: Uncommon Creative Studio @uncommon_london In Association With: Lief @we.are.lief Producers: Shananne Lane, Margo Mars, Rosie Woods @shanannelane @margomars @rosie_esme_woods Executive Producers: Alma Har’el, Nils Leonard, Charlie Gatsky Sinclair @alma.harel @nilsleonard Series Director: Laura Checkoway @laurachecks Casting Director: Six Minutes @sixminutes_casting Production Managers: Luke Tilbury, Laura Jenkins @thetilla Director of Photography: Ahmad Jalboush @ahmad_jalboush Editor: Simon El Habre @simonelhabre Additional Editing: Lewis Noll @lewisnoll Colourist: Yoomin Lee @yoominleecolourist Sound Designers: Patch Rowland & Nigel Mannington @patchland Music Supervisor: Bridget Samuels @bridgetsamuels Jordan Unit Producer: Faris Halaseh @faris_halaseh Service Production Company: Where To Film 1st AD & Translator: Leen Hamarneh @leenwithit 1st AC: Hussein Qadan @hussein_qadan Camera Operator / AC: Amr Khaled @_amr_khaled Location Manager: Ahmad Shehdeh @ahmad_jello Art Director: Ayoub Nahhas @ayoub.g.n Sound Recordist: Hussam Sabanekh @hussam.sabanekh DIT: Saif Abu Rabear @saif.aburabeea Sound Assistant: Bashar Khawaja Production Assistant: Hamzeh Hamidah @hamza.o.hamida Driver: Rashed Zghool @rahidzgh Assistant Editor: Patil Aynedjian Audio Post-Production: Machine Sound @machinesound.co Audio Executive Producer: Rebecca Boswell @rebeccajboswell Audio Producer: Amber Clayton @amberimogen1 Machine Music Supervisor: Brice Cagan @@bricecagan Audio Assistant: Chas Langston @chaslangston Colour: Company3 @company_3 Colour Producer: Kerri Aungle @kerrilondon Post-Production Company: Jam VFX @jamvfxuk Online Post Producer: Angus Berryman @angusberryman Title Design: Uncommon Creative Studio @uncommon_ldn Translations / Subtitles: Wael Joudeh @donotgooutside Production Assistant: Gaaron Clarke @gaaron_clarke Director Assistant: Tally Francis @tallyfrancish Director Assistant: Sasha Nicolas @sashanicolas Junior Researcher: Ethan Elliott @ethyweathy Photographer: Emily Garthwaite @emilygarthwaite Uncommon Creative Studio Creative Director: Shaun Savage @shaunsavage_ Uncommon Creative Studio Creative: Luke Carlisle Uncommon Creative Studio Business Director: Johnny McManus @johnny_mcmx Uncommon Creative Studio Legal: Murray Taylor Uncommon Creative Studio Head of Production: Goldie Robbens @goldie_robbens Special Thanks To: Meshal Elfayez Syrian Refugee Affairs Directorate Annemarie Jacir Roland Schoenbauer Peter Sripol Extra Special Thanks To: Osama Sabbah MUSIC CREDITS Emsallam, The Archiducer - Licensed c/o Keife Records Arabic Trap - Harry T Croxford, Theo Golding, Primetime Productions Ltd, licensed ℅ Universal Production Music Plant Hope - Cavendish Music, licensed ℅ PRS Major With Oohs & Ahhs - Taz Conley, Music Bed, licensed ℅ PRS Drifting With The Current 2 - licensed ℅ Machine Sound

[darnellafrica]

Year Of Africanization (2020)

Note: This post was originally typed on December 26, 2019 on Medium.

Video explanation of the Year of Africanization (2020). The audio file below for those who prefer to listen.

The Next Step…

After being enlightened about my African Ancestry in 2018 (aka the Year of Enlightenment)…

…& returning to the land of my ancestors in the following year in 2019…

…I am determined to take the next step by obtaining citizenship from an African country on the continent & become actively involved in helping improve the regions where my ancestors originated from centuries ago.

As far as land ownership goes, most African counties only allow foreigners to lease land but not own property (which is understandable due to the history of colonization).

Currently, Ghana offers the best option when it comes to leasing land (courtesy of the Asebu), with a $0/99 year lease option for those of African descent. The land lease deal is excellent if someone wants to establish a business or home on the African continent.

https://www.asebuman.com/

Criteria of Asebuman

While permanent residency is excellent, obtaining citizenship is preferred as it would make it easier to travel throughout the continent without the hassles of Visa’s applications.

While Ghana is offering a right to abode based on African Ancestry, Sierra Leone is offering a right of return for those who prove ancestral links/lineage to one of the tribes presently in Sierra Leone (which Isaiah Washington took advantage of years ago).

God willing, I will be able to obtain citizenship in Sierra Leone since I share genetic ties to both the Mende & Temne tribes in the country.

To my knowledge, Sierra Leone is the only African country granting citizenship based upon DNA tests. However, Gabon might be granting citizenship based on DNA as well since they recently gave Samuel L. Jackson citizenship after he traced his roots back to the Benga people.

Obtaining citizenship will also make it easier to travel throughout the continent, especially with the African Continental Free Trade Area (ACFTA) becoming realized in 2020 (which will allow those with African passports to move & do business throughout the continent easily).

I am looking forward to embracing my long lost heritage, & God willing to be able to invest/improve in the region of my forefathers & foremothers, as well as the continent as a whole.

[adamwatchesmovies]

Cell (2016)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

Stephen King has published over 260 stories. You can’t expect them all to be gems but he’s got that brand recognition. Some people will check out any project with his name attached to it. This is the only reason the 2016 horror film Cell was released. This picture does nothing new, the acting ranges from mediocre to passable and there are so few scares you’re likely to falling asleep while watching.

While waiting for a flight, Clayton “Clay” Riddell (John Cusack) is trying to recharge his cellphone’s battery when everyone using their mobile device suddenly begins acting strangely. As the people around him turn into mindless killers, he and train driver Tom McCourt (Samuel L. Jackson) escape. While looking for shelter and weapons to defend themselves – and wondering what exactly happened – Clay cannot let go of the idea that his son is out there, helpless.

It’s a zombie movie except the undead horde isn’t undead - they’ve been reprogrammed by some mysterious signal broadcast through their phones. From there, you can predict the film beat-for-beat. Characters join our two heroes, get a couple of scenes to themselves, only to be dispatched in a gruesome manner. People moan about the situation they’re in, gather up their things and move on. Clay wonders about his son. Rinse and repeat. The one angle that might be interesting – that the only means of communication along long distances has now become humanity’s enemy – is never explored adequately. We've grown more and more comfortable sending people text messages rather than speaking to them. You expect this idea to come up at some point - particularly when it becomes obvious the zombies are being controlled by someone not of this world – but no. There's so little innovation the only surprise would’ve been if Clay and his son found each other, single-handedly discovered a cure for the bleak scenario, saved the world and lived happily ever after. This picture’s idea of “mixing it up” is to have every human Clay and Tom meet actually be helpful.

I have great respect for Stephen King, who’s done far more with his life and has more fans that I could ever dream of earning but he’s got quirks that tend to seep into his stories and add unnecessary complexity to it all. This picture is a great example of his writing at its worst. At one point, Tom, Clay and their companions all have nightmares centering around a mysterious ghoul in a red hoodie… the same man Clay was drawing in his graphic novel months before any of this happened. Woah. What does it mean? Absolutely nothing. We never find out what is triggereing the cell signal (something I’ll actually credit the film for, as the unknown is much scarier than any concept they could’ve thrown our way) so it’s not as though aliens purposely targetting him. This must mean the drawing's similarity to Phoners's mascott is a pure coincidence or that the Phoners got incredibly lucky the one guy they really wanted to torment happened to not be on his cellphone at the time of the attack. Either way, that’s some crappy writing.

Cell actually played in theaters, which is a shock to anyone who watches it. This is bargain-bin zombie trash. It might catch your attention due to the casting of Samuel L. Jackson and John Cusack - back again from the excellent 1408 but stay away. Cell is a film composed entirely of clichés with a thin spread of what passes as innovation in the land of non-imagination on top. It’s never frightening, cheaply made and boring. (On Blu-ray, November 16, 2018)

[a-merman-not-a-guppy]

Lena's 2023 RPer Resolutions!

Write your RPer Resolutions for 2023! (What are some goals for yourself as a writer? Improve descriptions? Plot with more members? Etc.)

The first thing is I really really want to get better at descriptions. I always get so in character's headspaces and not enough in describing. I'm hoping my next muse will kind of force more of that out of me anyway because of the way I plan on writing them but it is definitely one of my main goals.

Go for plots that I want without thinking about what others might think! I feel like I used to hold myself back from telling some stories I might want because I didn't think others would think it was good or like it like I do. But now I kind of feel like...hey if I like it then I like it and that's good. Gotta get out of my own head a bit with that. If I really like shippy things and romantic stuff or any other sort of plot type thing I want to embrace that more without second guessing myself.

I want to involve myself more in other people's stories even if it's in the smallest ways. I feel like I got more awkward and distant and I want to get away from that and plot with more people again. Let's do some wild and fun stuff!

Write at least one resolution, or “goal,” that you have as an RPer for your character(s)

My current goal for Finn is to focus on bringing him back into the college world and get him actually involved in more things. Clubs? Sure! Weird friendships he wouldn't anticipate? yes! Gonna force my more antisocial muse to be more social.

Also [redacted] muse coming up I intend to really develop the magic side and like go into it more than I have with a number of characters I used to write. That's my goal.

Write at least one resolution IN CHARACTER for your characters. What do THEY want to accomplish or change in the New Year?

Finn wants to be a better friend and figure out how to balance school stuff better. He has so many things he likes he wants to figure out what his real dream is. Where he wants to be after college. That's kind of his big focus is figuring that out.

List one or more characters you have never interacted with that you would like to do so

oh man so many. I feel like so many new characters came in after I had to leave for a bit. Lightning McQueen Paul Leonard "Doc" Hudson James "Hook" Jones Cruz Ramirez Grace Tilly Reba Stray Luca Paguro Milo Young Jeremy Johnson Sophie Hadder Marcel Hare Samuel "Smee" Smiegel (my old Tad muse would get a kick outta his name lol) Gaston D'Avanant Cecil Clayton Kiig’nc ‘King’ la’ornh

Talk a bit about your plotting style – what plots are you most drawn to? Do you prefer to come with a fully-formed idea and plot off that, or throw stuff at the wall and see what sticks?

Honestly I think it kind of depends. With some muses I have a fully formed idea and try to find the people that would really go with that idea, but sometimes I do throw things out there. It depends on what my plans for the muse are. Like Finn I feel like I have more flexibility with him because he's a college student. His future is out in the open and so I feel it's more open to go different directions. With my upcoming muse I have more formed ideas that I'm ready to direct at people which is kind of exciting.

I do think having some more formed ideas can be helpful with a direction but as I said it really depends. I sometimes like to plot too based on something I want to do or a plot type I've been craving and just reach out and see if anyone else has been craving that sort of plot.

I love romantic stuff, but ironically I don't tend to plot that a lot. Or like I was often very hesitant and awkward about it even though I do love it. I think that goes with my resolution earlier wanting to embrace the things I like without getting into my head. I also like friendship stuff and found family. And then of course...I do love to create chaos. In different avenues but if one of my muses isn't causing a little bit of trouble...it doesn't feel right lol.

Talk a bit about character relationships – what relationship are you most drawn to? How do you prefer to approach shipping (if at all!)? What, specifically, are you looking for right now for your character relationships? 

I think I kind of mentioned this, but I like romantic and friendship and enemies. I like a lot of those. At heart I am a cancer and i do love love I can't deny, but I'm very slow with committing to that usually. It really depends. Sometimes muses just click and that's great! As far as shipping goes to me it's like, if we're both feeling it and the muses are interested then I'm all for trying it out and seeing where it leads. For Finn he's still sort of figuring out what he likes, but I do want to explore that side more for him. I want him to find his comfort zone in it.

[redacted] will not be seeking romance, though ngl I think it'd be funny to see someone try with them.

Talk about your dash reply style and your Discord reply style! (And if applicable, also your doc reply style). What do you like about each type of interaction? What is something you feel is difficult? 

As far as the dash goes, rn with one muse I've kinda just done them all when I'm on at once. I think with the beta editor it feels weird/almost impossible to queue since I don't want the posts to look stupid if I queue middle of the day and then like it posts weird you know? So mostly just gonna post when I'm inspired and do it right then.

Discord wise kinda depends. I tend to get a little more overwhelmed with those events sometimes. The fast paced of it is both great and not great to me. If I do throw myself in I'll be pretty quick to it and it's a nice back and forth that doesn't require too much planning.

I don't really love docs. I think it's nice to try to keep plot stuff secret, but I forget about these easily and often need to be nudged.

Plotting Exercise! Pick one of the resolutions/goals in #3 and plan a rough guideline to how you could accomplish it.

FINN decides to try to be a better friend and goes to meet NEMO and TAE and hang out with them more.

NEMO is struggling with school stuff and FINN goes to OLAF to see if there's anything he can do to help or to change things for him.

NEMO and FINN have a disagreement and try to figure out where their friendship/relationship is now.

FINN chooses to support Nemo in a new way.

(idk i'm bad at these dsdfsf)

[imrtale]

karisa was more than ecstatic to be an aunt again. "don't y'worry, it could have been worse, you could still be feelin' mornin' sickness," karisa tries to reassure her best friend, clinking her glass of wine with the fellow blonde as karisa shakes her head. "it's a different kind of excitement now, we know what we're doin' now! think of all the fun things we can do now that we've actually got our shit together." karisa laughs, crinkles her nose and waves a hand in the air to dismiss the thank you. "nikki wants to name the baby roni. think it'll get a rise out of benji."

johnny walker had came back with a vendetta. he was determined to inflict the same harm that had been done to him. and how else could he find samuel arlen if not by the girl who he had adopted? how else could he send a message to clayton warren if not, here? walking up the steps in stride, the much, taller and muscular male knocks three times before meeting who he presumed was eden with a smile. "be a dear and call karisa for me will you?" is all he offered, revolver pointed as he motions for her to enter the apartment so he could cross the threshold. karisa quickly comes from the kitchen and her glass slips from her glass, wine spilling everywhere as her breath hitches. "oh canary, you look like you've seen a ghost!" a taunt, nickname from childhood - a horrible one, a reminder how she'd sing like a canary on the nights where it was worst. "winnie - stay in the kitchen, call tommy, tell 'em - tell 'em uncle john's back." a hushed yet firm order as she quickly moves forward to place herself between her father and eden.

"i spent the last sixteen years waitin' for you karisa, thought about all the ways i could use you to get back at samuel. and the opportunity has finally presented itself to me." he starts, cocking the gun as karisa urges eden to retreat to the kitchen behind them. "i ain't afraid of you no more. and i ain't gonna let you go after uncle sammy like you're some mad man." she countered, waits to see that eden is to safety and keeps her father's attention on her. "i'm the mad man? all i ever wanted to do was to protect you and jackie, that's why i did what i did canary, i was doing it to make sure you and jackie had the funds to go through those fancy schools you all wanted to go too. i kept my promises, samuel ruined them. he ruined us. our family." he explains, waving his gun around as karisa goes rigid. "no, no, you did that. you ruined us. you were never the same after mama died, you hated us, if you loved us - you would never, you would've never did all those horrible things you did to us." karisa replied, through clenched teeth as tears brim the corner of her hues. "i was getting you ready for the real world that's all baby, i could've did better. i know that, i know i could. and i'm here to fix that - after i get rid of samuel for good, i can be here, we can be a family again. you, me, jackie and nikki."

her blood boils, trembling raised hands turn to fists as she points a finger at him. her free hand motions for the girls to take off to her room, so she could follow behind them. "no, you don't get to talk about my son! you're not going anywhere near him! you hear me! i'll kill you before you even tried to get within a five hundred mile radius of my boy."

girls night was everything she needed right now, eden was tired and really hadn't felt herself for the week prior. she'd felt heavy, but then she was heavily pregnant now, and somewhat tired of the sore ankles, the difficulty of getting up and down, the need to go to the bathroom at every inconvenience, as she was doing now. "oh you know what girls?" she sighed as she closed the bathroom door behind her. she might have felt crappy right now but she was glowing, her hand moved her top over her bump. "i will not miss needing to pee, all the time." she half groaned over it and rolled her eyes.

"i'd love to say i have any advice, but i've never been more excited for someone to give birth— well, i was excited for you risa! obviously, but like, now we're older and i've some idea what to do if someone hands me a baby!" winnie swirled her wine in hand, though she did feel a little bad that eden couldn't drink with them. apparently orange juice was everything to her right now. "i mean, we've boy experiecne now!" winnie exclaimed. "i still can't say thank you enough for those clothes 'risa and honestly winnie, when this boy can learn to read, we all know you will end up being the favourite."

with the knock at the door eden waved her hand to them and popped one of the plates little pastries into her mouth. "ive got it, already up." she went to the knuckles rasping the door and as she opened, she was sure her heart stopped. all she saw was the gun, the barrel of a gun pointed right at her. air had been stolen from her lungs and she stared, wide eyed and petrified at the face before her. she'd never been so still. "'risa..." you could hear it, that something was very, very wrong. the male eyes gestured for her to say it again. "k—karisa." her voice broke. @imrtale !

[vocesincaput-arc]

tag drop - about muses

[vocesincaput-archive]

Muse Added

MIDSHIPMAN SAMUEL CLAYTON ( Hornblower, Canon, formerly @mrclayton​​ )

GOOGLE DOC

[dragoneyes618]

Who all do you think are in Harriet's crew?

A lot of this is my own headcanons, with the occasional original character:

Harriet Hook, of course, as captain.

Samuel "Sammy" Smee, who is both first mate and medic. He's currently trying to find someone else with the aptitude for healing, since it's dangerous for two positions to be held by one crew member-if he dies or is otherwise out of commission then the crew has no first mate AND no healer-but so far he hasn't found anybody.

Big Murph. His last name is Murphy. I have no idea what his first name is. Everyone just calls him Big Murph, because, well, he's big.

Molly Murphy (original character), Big Murph's younger sister by one year. The two of them have five younger siblings (also original characters) whom they've basically raised. All of their names start with M. They're all on Harriet's crew. One of them, Mark, died when he was climbing the rigging and fell. The rest of them are fine, though.

Jade, Jay's cousin. Her mother, Nasira, is chronically ill; she joined the crew in exchange for being paid only in whatever medicine the crew manage to find or buy or "liberate," not in money or food or anything else.

Claudine Frollo, who didn't so much "join the crew" as much as "suddenly find random members of Harriet's crew looking out for her and Harriet herself talking to her and reading between the lines and helping her and offering her a spot on her crew, should she ever take Harriet up on her offer." Because Claudine is in one of the worse home situations on the Isle, and Harriet is going to do something about it, because she's a pirate captain who clawed her way up and fought for everything she has and if she can make life a tiny bit easier for the other children of the Isle, then she will, and because she's the oldest child born on the Isle so the children of the Isle are her responsibility and she can't save everyone on the Isle but she can try.

Clay Clayton, who joined in exchange for protection for his younger brother and sister, twelve-year-old twins Clark and Clara Clayton (original characters).

Squeaky and Squirmy Smee, who are basically the crew's mascots. They idolize their older brother, as well as the three Hook kids.

Hunter de Vil, who doesn't exist in Descendants canon, but does exist in Disney canon, and I like to pretend he exists in Descendants canon anyway; Diego de Vil's older brother.

Anthony Tremaine, who is unofficially allied with Harriet in exchange for her letting him drop off his sisters/cousins, before they were old enough to make their own arrangements, at her ship to stay for a while whenever things at home got too out of hand.