#an evening in paris 1967

[inmyworldblr]

An Evening in Paris (1967) | dir. Shakti Samanta

[boringkate]

Here’s a bunch of junk for you trans girls to watch

Update: there used to be a link to a mega folder here, but it got taken down.

///TGIRL FEATURE FILMS (alphabetical order)

Adam (2019) it's about a cis boy who's mistaken for a trans boy and rolls with it. Big cast of trans characters including a tgirl played by a tgirl who everyone wants to fuck. Directed by a trans dude. Highly legit. If you're still hung up on pre release speculation based on the novel then you're the most annoying person alive.

Assassination Nation (2018) The first half is Euphoria and the second half is The Purge. ONE OF THE BEST TGIRL MOVIES OF ALL TIME.

Bit (2019) Lesbian girl power vampire movie where the main character is a tgirl played by a tgirl. It's solid. I find it frustrating that they hint at her being trans without explicitly acknowledging it (and she's passing as fuck, so it's easy to not notice), but I know that's what some of y'all want.

Boy Meets Girl (2014) Cis dude for trans girl love story. Pretty normie, but also you see her fully naked (gock out) at the end.

Funeral Parade of Roses (1969) Extremely 60s. Cool as hell.

Lady Daddy (2010) South Korean romcom about a trans girl played by a cis girl who tries unconvincingly to back pass when she finds out she has a kid. Very cute.

Lingua Franca (2019) written directed and starring Isabel Sandoval. An undocumented trans woman immigrant in New York deals with a cis dude partner being a cis dude. Which is also the plot of The Garden Left Behind (2019).

Myra Breckinridge (1970) Raquel Welch is a trans woman and her goal is the destruction of the last vestigial traces of traditional manhood! It's Fight Club! It's Hackers! It's divisive, but it's probably my favorite movie!

So Pretty (2019) Literally the first scripted feature length (non pornographic tho it does have cock) film to feature two trans women played by trans women kissing eachother.

Something Must Break (2014) THE OTHER BEST TGIRL MOVIE OF ALL TIME. Drugs. Crimes. Gock. Slow motion pissing. Slow motion park Fucking. Genuinely the most beautiful sex scene I've seen in any movie. And she makes it to the end still alive and more sure of herself and at peace than ever.

Tangerine (2015) Groundbreaking and also a bunch of the secondary characters are real life pornstars (which I think is neat).

The Garden Left Behind (2019) This and Lingua Franca (2019) really are tgirl twin films, but (like with Antz and A Bug’s Life) the vibes and details make them distinct (I assume tho tbh I’ve never watched Antz).

///TGIRL DOCUMENTARIES

Bambi (2013) about a trans girl showgirl in 50s/60s paris

Paris is Burning (1990) basically it's Pose.

Shinjuku Boys (1995) Trans dudes working in a tokyo club that caters to tboy chasing cis girls. There's at least one trans girl in the mix too.

///FORCED FEMINIZATION

A Reflection of Fear (1972) They raised her as a girl and it made her do murders! It drags in places, but the girl in it is so ethereal and it has ageplay vibes and daddy issues.

Memory Run (1996) A very fun direct to video scifi action flick about fighting fascism by blowing up your pre transition self with a rocket launcher + it's based on a novel written by a trans woman.

She-Man A Story of Fixation (1967) Notable for being such a cliche sissy maid fantasy while also coming out so early + it was Bob Clark's first film lol.

Sleepaway Camp (1983) A more famous version of Reflection of Fear.

Surrender Dorothy (1998) A MUST WATCH. I personally bought a physical DVD and made an ISO of it for you because I was unsatisfied with the quality of the only copy that seemed to exist online. I ALSO PERSONALLY CREATED MY OWN SUBTITLES FOR IT BECAUSE EVEN THE DVD DIDN’T INCLUDE ANY! WHICH TOOK HOURS TO DO!

The Skin I Live In (2011) A rapist is kidnapped and turned into a girl by a mournful vengeful plastic surgeon. Which was also the plot of Victim (2010). I never really vibe with Pedro Almodóvar movies, but I recognize this is the preeminent forced feminization film.

///SHORT FILMS

Gender Troublemakers (1993) Some 90s Toronto trans girls fucking and discoursing. Explicit tgirl on tgirl action. This is the only one on the list that I haven’t actually watched yet. I’m hyped to watch it tho. Seems mindblowingly rad af.

Happy Birthday Marsha (2018) It's about Marsha P. Johnson.

I don't Know (1971) I'm obsessed with the trans girl in this one she just keeps popping up in all kinds of early 70s stuff. Directed by Penelope Spheeris (who is the sister of the cis gf in it).

Mesmeralda (2019) AN ABSOLUTE BANGER HOLY FUCK THE VIBES ARE OFF THE CHARTS! PLS WATCH THIS! I refuse to apologize for it being 15GB. It’s worth every byte.

Pat Rocco's Changes (1970) It's that same girl again!

Queens at Heart (1967) I can't get over that hairdresser girl thinking she's back passing. Most adorably weak boymode ever.

Shangri-La (2021) Another Isabel Sandoval joint.

The Yellow Wallpaper (2021) Freshly post op girl with a supportive boyfriend goes unhinged.

Undress Me (2012) Jana Bringlöv Ekspong did a few short films. Give janabringlove a google after watching this.

///JUST LIKE BTW

Some of these would be tough to find elsewhere, but most of the movies are also watchable on fmovies and/or can be torrented in higher quality.

After you've worked your way through the folder then just start doing Google searches for trans films. Look at IMDB keywords and letterboxd lists. There are so many more out there. These are just like my personal picks.

[crepesuzette2023]

Hi! Because someone just asked me, I'd love you hear your Top 5 favourite McLennon fics!

You made my day! Nothing could have made me happier than this ask.

I'm not going to evade your question. I will post my top-five, even though it hurts to choose. But you inspired me to finally write a longer (okay: very long) post about some (not nearly all!) of my favorites, which will be under the cut.

(Sorry for not knowing every writer's tumblr, by the way. Please feel free to let me know, so I can tag authors where appropriate. Thank you!)

My Top 5:

MIRACLE WORKER by @scurator. What can I say. Every time I need my heart broken and to feel an inkling of what grace truly means, I go to this masterpiece about Paul and Robert Fraser finding each other again at Cavendish in 1981.

COAST STARLIGHT by bookofapril is "Miracle Worker's" cosmic twin. The sun to its night. Paul and Robert Fraser on Fire Island in 1974. Nothing I can say will do it justice, so I won't try. This is the "other world" conjured in "Tug of War," so powerfully and joyfully imagined, it's real. (I'm always thinking of this story, but I did so extra hard when I came across a prompt recently: 'They aren't each other's first love, but they're each other's true love'.)

SAME AS IT EVER WAS by RedheadAmongWolves. My favorite Outsider's POV. An ageing newsstand owner from Liverpool remembers John and Paul as boys and young men. There's something magical about the relationship coming alive in these glimpses. A story filled with tenderness that reminds me to always look closely.

AN ORGASM OF SOUND by @pauls1967moustache. The insanity of John and Paul in 1967 got the tribute it deserves. I sleep easier since I read this story. It feels cosmically right that it exists.

PLANT A SEED by @eveepe. Paul in his slutty sailor outfit in Miami. He and John are into each other, and happy, and fuck slowly. Afterwards, Paul has an idea for a new song. That's it. Tender, glorious, hot perfection. Apply at least once a week for best results.

For more thoughts about some of my favorite stories, sorted into very much defined-ad-hoc categories, read under the cut.

Young Love:

I love the myth of their first meeting, and stories that speculate about the sexually loaded creative fireworks/gritty jealousies/tentative hand-holding/topping and tailing during the first years. Here are some faves:

Paul finds music, and John, and his life is changing. In STREETS OF OUR TOWN (@with-eyes-closed) you can taste the upheaval and promise of first love and growing up. Deeply sensual, even without on-page sex. The shaky, sweet, and all-consuming fire of John and Paul’s first kiss is immortalized in ALL I KNOW SINCE YESTERDAY (RedheadAmongWolves). In NON NOBIS SOLUM (@downtothe-lastdrop), art student John simply has to know how far grammar school boy Paul will go to please him. But Paul matches him play-by-play. In THE CAST IRON SHORE (@m1ssunderstanding) Paul earns extra money through music and sex. John finds out. They fall in love, and hide their mutual pining behind transactions—but in the end, they man up to pair up, and get their band back on track. (The first part is finished; I can’t wait for part 2.) John and Paul’s ’61 trip to Paris has been honored in fiction many times; WHEN YOU ARE YOUNG THEY ASSUME YOU KNOW NOTHING (@lilypadd23) is a slow-burning, blessedly long story that blossoms sweetly. DON’T THINK ABOUT IT is the concept by which Paul measures both his pining for John and their deeply satisfying (but surely not really queer?!) sex life. Perfectly realized Paul POV by @merseydreams. Finally: I NEED YOU DARLIN’ (verse) (by @beatlessideblog) would have fit many categories, but I put it here, because in the end, it’s about young John and Paul becoming friends, making music, having sex, and falling in love. No more, no less. Embedded in a late 50’s/early 60's Liverpool omegaverse in which there's a place for their bond. But, surprise (?!): It’s still complicated. I can’t overstate how charming and satisfying and funny and hot this work is.

Old John and Paul:

Is there anything as lovely as imagining John and Paul growing old together?

In HERE TODAY (@herspecialagent), John and Paul found happiness with each other in Scotland. On 8th December 1980, they invite friends for a party, and fight an inexplicable sense of doom. A reminder that our other lives can be closer than we think, and to keep our loved ones even closer.

GROW OLD WITH ME (@inherownwr1te): Old farmers and husbands John and Paul enjoy domestic bliss, deal with a broken arm, and make sweet love.

HAVING COFFEE (@feathersandblue): John Lennon and Paul McCartney, “one of the most iconic gay couples in history,” look back on their early love, the Beatles, and being outed in the 80’s, in this oh-so-glamourous, well-written 2020 portrait…

Magical re-tellings of J/P and/or the Beatles Story:

No matter where you come down on the blessed vs. cursed continuum—they were living through something magical.

In KISSING THE BLARNEY (@zilabee) the Beatles draw love and music from kissing Paul, and each other, until the stupid world interferes. But fear not, all ends well. How to tell the truth through whimsy: this story demonstrates it.

In WE ARE ALL TOGETHER (also by @zilabee), John and Paul switch bodies. It helps.

I WAS A YOUNGER MAN NOW (THEN) (POST HOC) BY @fingersfallingupwards: Paul is a time traveler and braids his life together with John’s, out of order, through the years. And yes, they do grow old together—but not without losing each other first. I’m in awe of this story.

A darker time-traveling story is A MATTER OF TIME (D12Fan), in which John and Paul love each other, over and over, and never manage to make it work—but Paul won’t give up.

FOR THOUGH THEY MAY BE PARTED (@downtothe-lastdrop): The misery of the 'Get Back' sessions and memory-stunting technology imported from “Severance” are not enough to kill off John and Paul’s attraction and longing for each other. Again, this is basically what happened, so.

John and Paul without the Beatles?

Yes, please! Sometimes, the best way to dissect and celebrate (and fix?) this mesmerizing and exasperating partnership is to lift it from its context and drop it elsewhere. Anything goes.

WHATEVER FATE DECREES by @dailyhowl: A gorgeous, finely spun, securely handled, self-contained vision of how John and Paul could have worked as artists in love, without a band to 'legitimize' and constrain their bond. I love this homage to their deep and complicated love that needed trust and breathing room.

1967 by @walkuntilthedaylight: What if John and Paul had gone to Spain together and not come back? This story not only explores their relationship layer by layer, it also dives into the the feelings of those who knew them 'before' and who now meet them again, as a couple. A fascinating alternate history. Not a fluffy one.

TOMORROW I'LL MISS YOU (@pauls1967moustache): Paul abandons John in Hamburg—or John stays behind without bothering to write, depending on who you ask. This "Before Sunset"—AU reunites them, years later. They ride a bus and write a song, and the love and tension are sweet and painful.

DOUBLE FANTASY (by @javelinbk): Modern AU in which John and Paul meet at John's flower shop and manage to ignore and creatively re-interpret their feelings for one another for a surprising amount of time, before fate has mercy. I love how their sweet, well-matched eccentricity makes the world a warmer place for both of them.

WE ARE STARDUST (Unchained_Daisychain): AU. John and Paul meet at Woodstock, fall hard and fast for each other, and have to decide what to do with it: Paul's life is back home in England...except...

Angst, darkness, and courage:

Pain, fear, grief, and other dark emotions are part of the real J/P story, so it makes sense to honor and harvest them in fiction. One of my favorite brands of McLennon angst is the one triggered by their feelings for each other, and the thing they become once they're together™. When they're scared of how much they need each other, and of what will happen next.

ONE AND ONE AND ONE IS THREE and MANAGING EXPECTATIONS (both by @pauls1967moustache), for instance. The first is a terrifying threesome with Yoko (at John's instigation, of course), in which trust is never rewarded and sex resolves nothing. The second is Paul wondering, in thoughts both messy and crystal clear, whether he exists independently of John. He turns to Brian for answers. They fuck. It feels like a human thing compared to what is going on in Paul's mind. Just astounding.

SUNDAY DRIVER (@boshemians) dives into the theme of Paul and John being afraid of themselves in the aftermath of Paul's accident (moped, sexual) with Tara Browne. This one, like "Managing Expectations," ends on a lovely grace note.

MACABRE (@dovetailjoints). Lennon and McCartney go too far.

OPEN HEART (@paisanas). Paul drinks John's blood. John lets him. But Paul starts to hate himself for how much he needs John, which John feels as rejection. I love how this story ends on Paul embracing his need. You can see the painful, bare bones of their malnourished love under the lush sensuality of the vampire sex. Raw and rich.

SILENCE (@ohjohnnysblog). Short and piercing. If there is someone you love—tell them. Don't wait.

THE LATE, GREAT JOHNNY ACE (@midchelle). Reeling with grief, Paul is recording an album in 1981. George and Ringo are there. John is not. But in the end—he is. And they touch. I've always admired Paul's resilience in the face of having to perform or "prove" his love of John in public, and this story showed me, without sugar-coating, where this resilience comes from.

Light, hope, and fixing things:

There is also much lightness and brightness in McLennon, because John and Paul were ridiculous, and horny, and weird. And also: they deserve a laugh. They deserve the fluffiest of happy endings. They deserve high-quality, life-affirming smut. They deserve silly, because silly is what they were. You know their names, look up their number.

1980. John is in BERMUDA (@scurator), Paul visits. Paul comes prepared, John just comes. Sometimes, it can be this simple. This story always leaves me in such a good mood. Paul is the (more) experienced one, and it...really works for me.

GOT TO GET DOWN (@eveepe): In praise of John's obsession with Paul's...precious. His small and perfect prick.

ADVENTURES IN TOTAL HONESTY (@merseydreams). Pithy and sexy, and, I quote from the tags: #Excessive Margarita Mixing.

ANINUT (@pauls1967moustache): The Beatles heal, together and separately, after Brian's death. Once more, I quote the writer: "The Beatles did not follow any of the Jewish mourning traditions, and frankly, they should have."

The unhinged weirdness of the Mad Day Out, with John and Paul escaping and Francie, Yoko and Mal not missing them...much, is rightfully celebrated in one of the insaner stories I read: JOHN, I'M ONLY DANCING (@skylikeaflame)

FAIR'S FAIR (@javelinbk): John and Paul are being silly during a press conference, resulting in acute arousal requiring John's skilled intervention. I love the unexpected care and tenderness in this one!

WHERE THE POETS WENT (RedheadAmongWolves): Tender and enchanted story in which Paul and John go to a bookstore, where they're not as famous as everywhere else. As delicate as the chiming doorbells and the pages murmuring around them.

TAKEN AWAY (@crumblingcookies) Extraterrestrial Intelligence intervenes to reunite John and Paul.

CAN I TAKE MY FRIEND TO BED? (manhattanvalleys). Paul fucks the band in sequence and gets off in the end, as is his due. This is a story like Prince's KISS. No filler, all effect.

THEY SAY IT'S YOUR BIRTHDAY (@ohjohnnysblog). Warm and nostalgic phone sex in the 70's.

KEEP THE LIGHT WE'RE GIVEN (@backbenttulips). Amidst the rise of Beatlemania, Paul and John expect their first child. This is Paul's 1962 diary.

More Outsider POV's:

STILL MATES (@pauls1967moustache): in 1968, Peter Asher takes the leap to act on his feelings for his sister's spiraling ex fiancé. This isn't about Paul as much as about Peter, and who he wants to be. Gutting character study. It made me love Peter.

ANOTHER GIRL (@boshemians): Astrid reunites with the Beatles during the making of AHDN and registers their words and deeds with the same stark objectivity as her camera. I love how she seeks the shelter of obscurity while they are being dragged into the limelight. But she sees them, wherever they are. J/P in this story feels incredibly real to me.

WHY BUY THE COW (RedheadAmongWolves). The milkman sees everything on his early morning rounds: the arrival of a nice new family, the McCartneys, the mother's illness, the sadness after her death...and the arrival of a new love in the older son's life. He shouldn't approve—should say something, in fact. But a small inner voice holds him back.

SLEEPLESS IN WALES (thinkpink20). Mike overhears Paul and John whisper in bed. He doesn't understand everything they say. I do. Adorable.

Not each other's first love, but each other's true love

THIS YEAR'S FOR ME AND YOU (@skylikeaflame): After a long life, after deep and loving partnerships with other people, John and Paul, encouraged by their grown-up children, finally meet their mutual love head on. A festive story about waiting the perfect amount of time.

THERE ARE ALWAYS FLOWERS (tarenas): The Beatles are in the past; John and Paul's love is in ashes. Paul, who is fragile and bereft, lives with George, who is content. The four ex-Beatles unite for the second wedding of Mike McCartney. At times, the aching grief in this story is almost unbearable. But the love between George and Paul is unusual and real. This is unfinished. I'll keep waiting for the final chapter.

Beyond J/P

WANT ME WHEN I'M NOT THERE (@backbenttulips): Linda catches Paul cheating on her with John. She divorces him. Finally: a story that puts her most likely reaction front and center, with no mercy for the messed-up geniuses.

In the Rebecca-AU LOVE LIKE GHOSTS (@backbenttulips), Yoko becomes Mrs. Lennon. Soon, she discovers that her husband is haunted by the ghost of his first love. It's pleasing how well this re-telling matches the events as they (alas) (almost) happened. The ending is chilling. Genuinely horrifying. I love seeing Yoko as the sensible one and as the focus of empathy.

THE BASS LESSON (@aquarianshift). Paul and Stu fool around without letting go of their mutual resentment for even a moment. And it works. "Let's never do this again." I don't think so.

TELL ME ALL MY LOVE'S IN VAIN (@midchelle). Forget about quote unquote platonically obsessed male rock stars: This about about Maureen and Patti through the years. The web weaving continues.

SPOTLIGHT ON JOHN AND STU (@dailyhowl) A love story in letters—too brief, like Stu's life, but sounding as if the writer transcribed their dictation. Some of the best descriptions of what it must have been like to play on stage with the Beatles during the mania are in NO I IN THREESOME (@with-eyes-closed). George finds himself in the beam of attention between John and Paul, and nearly loses his mind. But he's determined to stay and become part of them. Paul is daddy and "fucks like music" as seen through George's eyes. The whole story is vicious and hot and uncomfortable—until there's the love and quiet at the eye of the storm.

Not for the faint of heart! WHAT THE CIGGIE CARTON SAW (@waveofhand): Paul McCartney having his way with cigarettes.

This is getting out of hand...but I'll stop here. There are so many more stories I love. And I can think of many other categories that would deserve their own post.

So, who knows: To be continued?

[yoursweetvalo]

List of books and movies mentioned by Acchan!

Might post an anime version of this soon <3

BOOKS:

仮面の告白 “Confessions of a Mask” by Yukio Mishima (1949)

生きるヒント “Living Tips” by Itsuki Hiroyuki (1993)

斜陽 “The Setting Sun”  by Osamu Dazai (1947)

“The Picture of Dorian Gray” by Oscar Wilde (1890)

こころ”Heart” by Natsume Soseki (1914)

“Crime and Punishment” by Fyodor Dostoevsky (1866)

人間失格“No Longer Human” by Osamu Dazai (1948)

死霊“Death Spirits” by Yutaka Haniya (1948)

猫鳴り “Neko Nari” by Numata Mahokaru (2007)

“Coin Locker Babies” by Ryu Murakami (1980)

グロテスク “Grotesque” by Natsuo Kirino (2003)

“Notes from Underground” by Fyodor Dostoevsky (1864)

“The Brothers Karamazov” by Fyodor Dostoevsky (1879-1880)

“Salomé” by Oscar Wilde (1891)

破局 “Catastrophe” by Tono Haruka (2020)

新宿鮫 “Shinjuku Shark” by Arimasa Osawa (1990)

堕落論 “Discourse on Decadence” by Ango Sakaguchi (1946)

五分後の世界 “The World Five Minutes from Now” by Ryu Murakami (1994)

*Manga*悪魔の花嫁 “Bride of Deimos” by Etsuko Ikeda, illust. By Yuuho Ashibe (1974-1990)

九月が永遠に続けば “To Continue Forever in September” by Numata Mahokaru (2005)

彼女がその名を知らない鳥たち “Birds Without Names” by Numata Mahokaru (2006)

怒り”Rage” by Shuichi Yoshida (2014)

悪人 “Villain” by Shuichi Yoshida (2007)

MOVIES:

The Green Mile by Frank Darabont (1999)

Bohemian Rhapsody by Bryan Singer (2018)

The Godfather by Francis Ford Coppola (1972)

Pierrot the Fool by Jean-Luc Godard (1965)

The Elephant Man by David Lynch (1980)

老ナルキソス Old Narcissus by Tsuyoshi Shouji (2023)

時計は生きていたThe Clock was Alive by Seijiro Kouyama (1973)

The Mission by Roland Joffé (1986)

Poongsan by Juhn Jai-Hong (2011)

Midnight FM by Kim Sang-man (2010)

Pusher by Nicolas Winding Refn (1996)

Misery by Rob Reiner (1990)

From Paris with Love by Pierre Morel (2010)

異人たちとの夏 The Discarnates by Nobuhiko Obayashi (1988)

Purple Noon by René Clément (1960)

Bonnie and Clyde by Arthur Penn (1967)

狂い咲きサンダーロード Crazy Thunder Road by Gakuryuu Ishii (1980)

Undo by Shunji Iwai (1994)

犬神家の一族  The Inugami Family by Kon Ichikawa (1976)

The Shawshank Redemption by Frank Darabont (1994)

The Brave by Johnny Depp (1997)

Here is the link to my actual twitter thread, I update it every time I run into a new book or movie he has mentioned! The information to make this list was taken from several inerviews, radio programs, and even some of the Fish Tank Bulletins. If you know any other book/movie he has mentioned but is not here, do not hesitate to let me know!

ENJOY!

[girlactionfigure]

THURSDAY HERO: Princess Alice

Amazing story! Princess Alice was an unconventional royal who prioritized helping others over wealth and privilege. She devoted her life to good deeds and spiritual growth, and was notable among European royalty for taking Jews into her home during the Holocaust.

Princess Alice stood out for another reason: she was deaf from birth.

Born in 1885 at Windsor Castle, Alice was the great-granddaughter of Queen Victoria. She learned to lip read at a young age, and could speak several languages. Alice was widely regarded as the most beautiful princess in Europe.

At age 17, Alice fell in love with dashing Prince Andrew of Greece and they were married in 1903. Alice and Andrew had four daughters and a son. Their son Philip would later be married to Queen Elizabeth II. Alice communicated with her children mainly in sign language.

Political turmoil in Greece forced the royal family into exile. They settled in a sleepy suburb of Paris, where Alice threw herself into charitable work helping Greek refugees. Her husband left her for a life of gambling and debauchery in Monte Carlo.

Relying on the charity of wealthy relatives, Alice found strength in her Greek Orthodox faith. She became increasingly religious, and believed that she was receiving divine messages and had healing powers. She yearned to share her faith and mystical experiences with others, but instead was dismissed as mentally unhinged.

Alice had a nervous breakdown in 1930. She was committed against her will to a mental institution in Switzerland, with a dubious diagnosis of schizophrenia. Alice did not even get a chance to say goodbye to her children. Her youngest, 9 year old Philip, returned from a picnic to find his mother gone.

Alice tried desperately to leave the asylum, but was kept prisoner in Switzerland for 2 1/2 years. During that time, her beloved son Philip was sent to live with relatives, and her four daughters married German princes. Alice was not allowed to attend any of their weddings.

Finally, in 1932, Alice was released. She became a wanderer, traveling through Europe by herself, staying with relatives or at bed & breakfast inns. In 1935, Alice returned to Greece, where she lived alone in a modest two bedroom apartment and worked with the poor.

The Germans occupied Athens in April 1941. Alice devoted herself to relieving the tremendous suffering in her country. She worked for the Red Cross, organizing soup kitchens and creating shelters for orphaned children. Alice also started a nursing service to provide health care to the poorest Athenians.

In 1943, the Germans started deporting the Jews of Athens to concentration camps. Alice hid a Jewish widow, Rachel Cohen, and her children in her own apartment for over a year. Rachel’s late husband, Haimaki Cohen, was an advisor to King George I of Greece, and Alice considered it her solemn duty to save the remaining Cohen family.

Alice lived yards from Gestapo headquarters. When the Germans became suspicious of her and started asking questions, she used her deafness as an excuse not to answer them. Alice kept the Cohen family safe until Greece was liberated in 1944.

After the war, Alice founded her own religious order, the Christian Sisterhood of Martha and Mary, and became a nun. She built a convent and orphanage in a poverty-stricken part of Athens. Alice dressed in a nun’s habit consisting of a drab gray robe, white wimple, cord and rosary beads – but still enjoyed smoking and playing cards.

In 1967, after a Greek military coup, Alice finally returned to Great Britain. She lived at Buckingham Palace with her son Philip and daughter-in-law, Queen Elizabeth II.

Alice died in 1969. She owned no possessions, having given everything to the poor. Before she died, Alice expressed a desire to be buried at the Convent of Saint Mary Magdalene on the Mount of Olives in Jerusalem, but instead was laid to rest in the Royal Crypt in Windsor Castle.

In 1988, almost 20 years after she died, Alice’s dying wish was finally granted. Her remains were sent to Jerusalem, where she was buried on the Mount of Olives.

In 1994, Alice was honored by the Holocaust Memorial in Jerusalem (Yad Vashem) as Righteous Among The Nations. Her son Prince Philip said of his mother’s wartime heroism, “I suspect that it never occurred to her that her action was in any way special. She was a person with a deep religious faith, and she would have considered it to be a perfectly natural human reaction to fellow beings in distress.”

Video

[got-ticket-to-ride]

hi sorry but do you have any soft mclennon moments to share too :') the post you made about 22 seconds of longing hurt oh my god

Sorry for the delay in reply anon. I'm actually just a corporate collar acting my way as a temporary secretary every hard day's night, jobbing like a dog, 8 days a week in an English garden to afford a tan in the rain.

Hope this finds you well! Here are 22 McLennon moments as compensation for Johnny's 22 agonizing seconds in the pining video.

1.) "I'm Happy Just to Dance with You" scene when they both looked at each other at the same time. And the director had to pan out the scene because it would've been too straight. I know dilated pupils when I see it.

2.) Inviting your favorite boy to a solo trip to Spain but you stayed in Paris because it was so romantic, sharing a bed, picking out clothes for each other, slurping all the banana shakes, you know normal roommate things according to historians.

3.) Getting a solo invitation from a hot photographer and bringing along your best boy because you are attached to the hip and can't be separated.

4.) Their need to constantly touch each other

5.) Scene in Help (1965), where John is using all his strength to carry George and Ringo's weight and not crush Paul (because boyfriend things)

6.) Holding hands for mental support during a recording. (John is needy, please forgive him)

7.) Walking Martha like a couple in 1967 - outfits coordinated and all

8.) Impressions by people who met them:

"[John and Paul] sort of had their own way of communicating. Hardly anything was spoken, they just knew what the other wanted or was getting at and they had the most amazing talent."

"He was like a different animal with Lennon. When they were together they became something else, more than just the two of them together. That communication was incredible. It was like two high-speed computers just fizzing between each other."

9.) John is hiding his cigarette behind him, because he doesn't want to bother Paul with the smoke. (You know, boyfriend things).

10.) A portrait, king and princess up front. John's thigh just casually resting on Paul's (yet again).

11.) The spider fingers during a press conference, because they are actually both 12

12.) That very flirty jam session in Austria in 1965 that was cut short, but they probably continued after anyway

13.) The way they talk about the day they met sounds like "how I met the love of my life" Happy Honeymoon <3

14.) Quote from Emerick

The lights in the studio were turned off to set the mood; the sole source of illumination was a table lamp next to the wall. The two beatles, lifelong friends and collaborators, sat on high stools, facing each other, studying each other’s lips intently for phrasing.

15.) When they answer each other's songs

Paul in Can't Buy Me Love: "If it makes you feel alright?"

John: "I Feel Fine"

17.) “I could even hear what they were saying off-mike; ‘Oh Paul, you’re so cute tonight’ was met with the reply, ‘Sod off, Lennon.’” — Joan Baez on accompanying the Beatles to their concert in Red Rocks Amphitheatre, Denver. 26 August 1964

18.) Paul looking at John like he wants to eat him later after finishing with "I'm a Loser"

19.) Giving instructions on how John's hair needs to "look"

20.) Paul acting as John's walking stick

21.) Paul's heart eyes during this 1966 conference (also that lip bite... eat you later?):

22.) John the worried boyfriend who checks on Paul in the middle of an interview and doesn't believe him when he just says : "oh, yeah..."

John internally: "come on now, why aren't you laughing at my joke babe? You're unwell!!!"

The Bottles over and out.

Thank you for this ask. This was quite fun! Would love to hear your thoughts too <3

[franklyimissparis]

hi there can i ask what are your favourite fics??

ahhhhhh this was so hard to narrow down since i think i have something like 300 beatles fics bookmarked on ao3 (plus a ton saved from livejournal but i’ve only included ao3 ones here). at first i was gonna pick a top 5 or top 10 but that was too hard so here are my top 24-ish i think? could have picked a lot more tbh. i only included fics that are completed, even though there are a lot i love that are either WIP or abandoned. also didn’t include any modern AUs though there’s a lot of those that i love as well! if anyone has any specific requests for other fic reqs i’m always happy to suggest more :)

on our way back home by kathleenishereagain

this fic has the most kudos in the fandom for a reason! old paul time travels back to the touring days and his relationship with john changes from there. love the way they integrated the magical realism into this and it’s just such a beautiful, touching story.

knowing that the sun is there by tarenas

john comes out after brian dies. lovely look at john’s individual relationships with all of the beatles and cynthia (but especially his relationship with paul of course)

cutting water with a knife by savageandwise

may’s perspective on john and paul. love love love. heartbreakingly realistic and so poignant. feels like it could have been a cut chapter out of loving john.

i’m so tired, my mind is set on you by dornfelder

god how i wish this is what would have happened in india. i’ve read this fic so many times, it just feels so real i keep coming back to it.

india, actually by inspiteallthedanger

jane notices that john’s india tapes are all of paul a la love actually. love jane in this and paul and john’s dynamic is great.

grow old with me by inherownwrite

john and paul in scotland in the 80s - paul breaks his arm and gives john a fright. such a tender picture of what could have been had things not ended how they did.

i was a younger man then (now) (post hoc) by fingersfallingupwards

using the time traveller’s wife premise in quite literally the best way i have ever read. the way it unfolds is…. stunning.

having coffee by dornfelder

old paul and john reflecting on life and being outed in the 80s through an interview. lovely.

to lead a better life by downtothelastdrop

1966 ringo mistakenly thinks john and paul are together, leading to a revelation of paul’s own.

going nowhere by inspiteallthedanger

fix-it where after surviving the shooting, john moves back to england.

if i could choose my own name, it’d be the one that falls best from your lips by kandakicksass

one of my favourite reincarnation fics ever. i really enjoyed how simple it was, how the pieces just slid into place so naturally.

the birthday party by merseydreams

everyone reunites for ringo’s 40th in july 1980. an excellent look at the dynamic between all the bugs and how things could have gone.

something old something new by inspiteallthedanger

john shows up to pattie and eric’s wedding causing a beatles reunion for the first time in years and some shenanigans and talks with paul. this fic is hilarious and THIS is my george, i love him so much

1967 by please_dont_wake_me

paul and john stay in paris after their 1961 trip. they return to liverpool in 1967 as a couple. this feels so real, the way every minor character is written… the dynamics between them all - every detail is excellent.

the beatles holiday au series by econhomework

an AU that follows john and paul (and george/ringo) being a committed couple in the 60s/70s and having their children via surrogacy. i’ve been subscribed to this series for years now and it’s a lot of fun getting an update that builds upon the last around every holiday, giving a little snippet into their lives as the kids grow up chronologically. (they also have other fics set in this AU in their beatles fic requests series)

the brother dearest series by javelinbk

jim and mimi get married, causing john and paul to become step-brothers (sort of). interesting premise and an even better execution of it. not to mention the idea of jim and mimi getting together will never fail to make me laugh (but also sort of makes a lot of sense???)

how much was mine to keep by mynamesbetty

paul is ‘unstuck in time’ and lives his life out of order a la slaughterhouse five (one of my favourite novels). done very well.

take a sad song and make it better by javelinbk

1980s paul moves his ex-boyfriend into his house because he’s an idiot but i love him. great fix-it.

christmas lights (keep shinin’ on) by distinguished_like

paul invites john to the mccartney family christmas party, leading to some discussions between the two. very cute early years fic.

here today by herspecialagent005

december 1980 except john and paul are hosting a dinner party for some friends in scotland, with magical realism elements. ugh loved this so much, especially linda and just all the little details of john and paul settling into a life together.

kissing the blarney by tikk

paul is the blarney - this turns into a superstitious ritual in the band which emotionally complicates things but ends very satisfyingly.

writing letters (on my wall) by 15clubsaday

70s paul writes to john under a pseudonym while they aren’t speaking. newly finished and wonderful!

the jumper by merseydreams

john sees denny laine wearing HIS jumper and flies back to england to retrieve it. this fic has everything: miscommunication, john being a dumb shite, jealousy, confused denny laine, paul in all his 70s glory, and lesbian linda. truly could not ask for more.

back to where you belong by sleeprettydarling

george on johnandpaul throughout the early years. i’m a big sucker for the george & johnandpaul dynamic and how complicated and devastating it can be so naturally i loved this.

[haveyouseenthismovie-poll]

End of month update - April

Hello, all! This is the end-of-month update, where I post Tumblr’s current top four films that have received the highest percentage of “yes,” “no,” and “haven’t even heard of this movie” votes.

As of today, the top four films with the highest percentage of “yes” votes are:

Finding Nemo (2003) | Shrek (2001) | Monsters, Inc. (2001) | The Lion King (1994)

Next, the top four films with the highest percentage of “no” votes are:

Sausage Party (2016) | Sharknado 2: The Second One (2014) | All Quiet on the Western Front (1930) | Bonnie and Clyde (1967)

Finally, the top four films with the highest percentage of “haven’t even heard of this movie” votes are:

Monica and Friends: Bonds (2019) | Monsturd (2003) | Heroic Losers (2019) | Death Trance (2005)

There were no changes in the top fours between this month and last month’s updates.

Currently, The Incredibles (2004) is the still the only film to receive absolutely zero “haven’t heard of this” votes.

That’s it for April’s end-of-month update! Remember that you can view last month’s update by clicking here. Additionally, you can view the full ranked Letterboxd lists of movies that have come up on this blog by clicking the following links:

This list is ranked from highest-to-lowest percentage of “yes” votes.

This list is ranked from highest-to-lowest percentage of “no” votes.

This list is ranked from highest-to-lowest percentage of “haven’t even heard of this movie” votes.

Remember to vote on the polls that are currently running: Seven Beauties (1975) | Starfish (2018) | The Changeling (1980) | Cronos (1992) | Notting Hill (1999) | Mulholland Drive (2001) | The Grand Budapest Hotel (2014) | Legend of the Guardians: The Owls of Ga'Hoole (2010) | Bionicle: Mask of Light (2003) | Don’t Look Now… We’re Being Shot At! (1966) | The Adventures of Buratino (1959) | The Rescuers (1977) | Memories of Matsuko (2006) | Hellraiser (1987) | Spaceballs (1987) | A Fish Called Wanda (1988) | Summer Days with Coo (2007) | Her (2013) | Barton Fink (1991) | Hot Rod (2007) | The King of Comedy (1982) | Maurice (1987) | Planet of the Apes (1968) | The Beach (2000) | Frankenstein (1910) | Jack Ryan: Shadow Recruit (2014) | George of the Jungle (1997) | Bride of Frankenstein (1935) | Dracula (1931) | The Mummy (1932) | Paris, Texas (1984) | Ghost World (2001) | The Long Goodbye (1973) | Casablanca (1942) | Ponyo (2008)

[mclennonlgbt]

What happened in India? Tarot reading

I asked my friend to do a Tarot reading about what was going on between John and Paul. Here is an excerpt about India:

At some point (in 1967 or 1968, as the context suggests) there was a flowering of romantic feelings towards one another. This feeling was in a sense one-sided, because one of them was trying to cultivate it, while the other was focusing on other issues at the time. In any case, this romantic feeling was sent by fate, they didn't expect it.

Later (the timeline suggests that the Beatles were in India at the time) there was a soul-merging of some sort on various levels. Perhaps it was about sex, perhaps about mystical experiences. John and Paul probably became closer to each other then - something new was born, there was something fresh in their relationship, a different perspective. My friend made this assumption based on the World card. This card is related to sex and connection on a gender level. A kind of protectiveness was also born. One of them saw the other as his savior and idealized him very much, he even saw him as an angel. He was dependent on him, he saw him as someone better than himself. Anyway, they experienced something really special together. They felt like lovers, fulfilled in all aspects of their existence.

But at some point one of them started to get paranoid because the other one started seeing someone else. It's easy to guess that Paul started dating Linda, which John didn't like. This is my interpretation. According to my friend, John was trying to control Paul and Linda's relationship which wasn't simple because Paul felt good with Linda.

Then the friend pulled out the Five of Pentacles card - which means bankruptcy. One of them (I'm guessing John) started to deteriorate mentally and didn't want to accept help from other people. He felt that something had died. He was mourning. A mysterious figure appeared (I'm guessing Yoko) who John didn't recognize as anyone important at first, but that was about to change. Later, the figure of the Empress appeared - we know who she was. Yoko "devoured" John, in a sense. She possessively took him. The paths to a new relationship have opened; Yoko wanted to be on a pedestal all the time. John wasn't sure whether to start this relationship, but he was smitten with Yoko.

And then it all fell apart, as we know lol.

Reading about Paris in 1961

[signorinaclaudiacardinale]

Claudia Cardinale and Frank Zappa:

The following photographs taken by the renowned photographer Richard Avedon, were published in October/December 1967 by various magazines such as: Epoca (Italy), Paris Match (France), Cavalier (USA), London Times (England), Vikan ( Iceland), SE (Sweden).

The story of this iconic meeting and portrayed in photographs between Cardinale - Zappa began in the studio in Los Angeles, California when Claudia was filming the summer movie "Don't make Waves" on June 16, 1967 at the request of the magazine "Época" as the fame of the eccentric Frank Zappa was rising among the hippie crowd.

"Overnight music began to be valued. Even the London Times asked me to pose with Claudia Cardinale for a photograph! -Frank Zappa in his memoirs.

As always, there was never a lack of gossip about whether Zappa had something more than a photographic encounter with Claudia but there was never anything, except a beautiful friendship.

"I know you want me to explain some little post-photography adventure, but you don't have to compromise the good name of an Italian lady." - Frank Zappa.

Here Claudia posing with Frank Zappa and his "Mothers of Invention" but there is a story behind those fringed ankle boots that Claudia is wearing…

"The departure of Elliot Ingber (who offered his boots to Claudia Cardinale for a photo session) requires FZ to be the only guitarist…"

Here is the photo by Alain Dister from August 1966 (taken from Urban Gwerder's book Im Zeichen des magischen Affen) with Elliot Ingber on the foreground. Now in "Epoca" you can see Claudia is wearing Elliot's boots. And Elliot himself is barefoot.

Claudia Cardinale was in California to make a movie "Don't Make Waves" and met protesting students...

housewives in supermarkets...

Hells Angels...

and working woman...

Pictures from the same sessions were published later in October 1967 in US magazine Cavalier – "Claudia Cardinale on the California pop circuit".

The photos speak for themselves; If we look at their outfits we can understand that the late 60's was a time of liberation, rebellion and Hippie protest and yes! Eternal summer!

📷 Photographs by Richard Avedon, 1967.

*Please, don't crop the source of my photos*

[mifhortunach]

Horror Short Films You Can Watch For Free - Right Now!

Just a 'small' post collecting some less well known horror short films that you can find mostly on youtube & vimeo! All worth a look!

------------------------------------------------------------------------------

SUNGAZER 9min, 2020 (You'll have to log in to vimeo to watch this one!) "A short, wordless horror film about the terrors lurking just beyond the veil of reality." - Or, a man waits, and performs a ritual. Wicked atmospheric, manages to really paint a world despite the run-time. Looks great as well. [TW: flashing lights, body horror, harsh noise]

The Color Out of Space 5min, 2017 "A meteorite, strange vegetation, a colour: an experimental take on H.P. Lovecraft's spiral into madness, shot with a vintage camera on truly unique LomoChrome 16mm film." <- All accurate! Eerie little film.

My House Walk-through: 12min, 2016

Short, sweet, and unnerving!! The person who made this has done a tonne of other (more classical) 'internet horror' shorts, but this is a really wonderful & understated piece. Visually it feels very PT inspired, but its even more about atmosphere and repetition. Worth checking out the making of as well, pretty much the whole thing was done practically!! [TW: unsanitary conditions, blood]

Possibly in Michigan 12min, 1983

Cecilia Condit mostly does weird, dreamy short films. They have a kind of cake with a worm inside feeling, if you get me; things are rotting inside. This one is a cannibal musical! [TW: cannibalism, unreality, insects, murder, animal death]

The Black Tower 23min, 1987

More unsettling than scary. A man finds himself followed by a mysterious building. I really love how this one gets built up visually. The most like a tma episode out of all of these, or something out of Blue Jam. You can read more stuff about it here! [TW: unreality, talk of mental institutions, disordered eating]

Heck 29min, 2020 If you've seen any of these, I think it'll probably be this one. Its the short that originally inspired Skinamarink. I personally kind of prefer this. Digitally gritty and mean. [TW: Same warnings as skinamarink for the most part, there's a kid in danger, a little body horror].

Juliet in Paris 18min, 1967

Juliet moves to Paris for college, is lonely, and keeps losing blood. Kind of a vampire thing? But also not a vampire thing. Vibes and vignette heavy.

[TW: blood, animal death, self harm]

Dawn of an Evil Millennium 20min, 1988 (in 3 parts!)

A palette cleanser! Getting a honourary nomination through me hearing about it on a found footage podcast (lol). A trailer for an 18hr movie that doesn't exist; staring demons, 'olds mobiles', space-travel and cops. Deeply 80s, kind of ooey-gooey, pretty fun! [TW: some vomiting, a lot of fake blood gets splashed about]

Thanks for reading!

[inmyworldblr]

An Evening in Paris (1967) | dir. Shakti Samanta

[javelinbk]

Wholesome McLennon* Asks

*I chose ‘McLennon’ for ease even though I rarely use it myself, but feel free to substitute with ‘John & Paul’, ‘John/Paul’ your term of choice!

Why do you love McLennon?

What made you start shipping them?

What fact would you quote to a friend to get them to understand the Lennon-McCartney dynamic?

What’s the one fact/quote/event that you can’t believe actually happened (but it did!)?

What’s your favourite picture of the two of them together?

What’s your favourite part of the story of how they met?

What’s your favourite early days anecdote?

What’s your favourite Hamburg anecdote?

What’s your favourite Paris (61) anecdote?

What’s your favourite Beatlemania anecdote?

What’s your favourite summer of love (1967) anecdote?

What’s your favourite post-breakup anecdote?

What’s your favourite thing that John has said about Paul?

What’s your favourite thing that Paul has said about John?

What’s the thing about them that puts the biggest smile on your face?

What’s the thing about them that makes you want to pull your hair out?

What’s the thing about them that makes you tear up?

What’s your favourite song that John (possibly) wrote about Paul, and why?

What’s your favourite song that Paul (possibly) wrote about John, and why?

Which (non-Beatles related) songs always make you think of them?

Favourite Paris trip – ’61, ’64 or ’66, and why?

Why do you enjoy reading McLennon fic?

Do you write fic? If so, what made you decide to start, and what do you enjoy about it?

What is your favourite type of McLennon fic to read, and why?

What is your favourite type of McLennon fic to write, and why?

What is your favourite type of McLennon content to view on tumblr (pics/gifs/text etc) and why?

What is your favourite type of McLennon content to make on tumblr (pics/gifs/text etc) and why?

What’s your favourite head-canon (that’s at least somewhat based in reality)?

What’s your favourite head-canon (that’s complete fantasy/wishful thinking)?

How would you have fixed them?

[humbledragon669]

S1E3 – Hard Times Write Up P4 - London (1941) and Soho (1967)

So, was anybody actually fooled into thinking that our angel was really working for the Nazis in this scene? It was a little confusing at first I’ll grant you, but the moment we see him giving away books, particularly first editions, and especially first editions of books of prophecy, that should have given the game away to all and sundry. I do love how much Aziraphale is enjoying himself in this scene though, like it’s all just a big, exciting game that he’s winning at.

His use of the phrase “our side” is interesting to me, particularly if we take into account the conversation he has with Crowley about sides at the end of this episode. But I’m getting ahead of myself. In truth, I’m not sure whether he uses the phrase as part of his own Heavenly cover story or because he really does believe that his “side” is now with the Allies in the war. If it’s the latter, it would suggest that his allegiances sit more squarely with humanity in deference to Heaven at this point. That said, he very quickly switches to it being “your people” when he realises he has no control over the situation. I’d just like to take a moment to appreciate the extreme reaction we see on Aziraphale’s face at that point – it actually feels like it’s over-reacted to the point of falsity, but it’s clear from the following dialogue he was not aware he was being double crossed. I can’t help but laugh every time I watch this little clip:

Ah, what a surprise! Crowley has arrived to save Aziraphale at exactly the right time, despite not having seen or spoken to each other since their disagreement over the holy water in 1862 (as confirmed in the Script Book). It’s like he somehow knew exactly where the angel was and that he was getting himself into trouble… Not only that, he’s putting himself through some severe discomfort to come and save the day. (Side note: anybody else find the image of Crowley walking on a hot beach in bare feet extremely amusing?) Aziraphale genuinely appears surprised to see him, so as with Paris I don’t think he knew the demon was within his proximity - although there is a look of recognition on his face as he realises who it is walking down the aisle towards him (and what a cute image that is), his first question is to demand to know why he’s there.

Crowley is more than happy to declare that the ONLY reason he’s in that church is to stop the angel getting into trouble. No excuses, no stuttering, just a flat-out statement – I am here for you. I’d really like to think that we might get a bit of backstory about how Crowley is always in the right place at the right time for Aziraphale in season 3 – it’s just one of those little bits of canon I’d like to have more detail about (I know, I know: “what and see”).

I have to hand it to Crowley in this scene – he still has the dignity to be insulted at the suggestion that the Nazis are working for him even, not lose his temper that the suggestion has been hurled (rather thoughtlessly) at him by his only friend, and reiterate that his reason for being there is for Aziraphale, all whilst trying to preserve the skin on his feet. Having seen how quickly the demon can lose his patience (and temper), this feels like it would have taken quite an effort to achieve.

We find out two things from Glozier here: first, that Crowley is “famous”, presumably amongst the Nazis, though we don’t find out what he’s famous for. Whatever it is, it’s not so impressive that they’re not prepared to kill him. Second, that he has changed his name again – retaining the “Crowley” as a last name, implementing a first name (Anthony) and a middle initial (J). I’m sure I’m not the only one that enjoys the lovely bit of small talk that goes on between them both as Crowley hops around, as if discussing this bit of news were the only thing on either of their minds. I also love that the demon seems genuinely invested in whether Aziraphale likes his choice or not, and Aziraphale’s response that he’ll “get used to it” says so much about how he feels about their relationship at this point. He actually doesn’t look particularly impressed with the new name, and perhaps it’s telling that we never hear Aziraphale refer to him as Anthony (even though he did adapt the new name when it was changed from Crawly).

Crowley’s realisation that there’s a whole font of holy water, completely unguarded, serves as a poignant reminder of the previous scene, despite the fact that he’s still hopping around in a now vaguely irritating way. It makes me wonder if this is where he gets the idea that he can get hold of his “insurance” without Aziraphale’s help by robbing a church (as will be seen in 1967).

We’re back in the land of hidden communications in this next exchange:

This feels like the angel and demon partnership that we have, so quickly, come to love. Teamwork, understanding, and a little bit of sacrifice to achieve a common goal, without the need for explicit declarations of intent. It’s so very different from the strained conversation we saw in 1862, but this definitely feels like it’s a truer representation of their partnership.

I want to take a moment here to talk about something that feels inconsistent to me in the scene that follows the explosion. I had initially wondered about the fact that the ground no longer appears to be consecrated after the bomb has hit the church (Crowley has stopped hopping around like a madman), but having done some (very shallow) research it would appear that churches can only be considered consecrated if they are suitable for worship. Seeing as that bomb pretty much obliterates the building, I think we can probably declare the ground now deconsecrated. My brain however is focussed on that font of holy water. When the church was blown up, that font, including its contents, would have gone everywhere. And I mean, everywhere. There’s no way that Crowley was getting through that explosion without some of it getting on him, or something that he touches (like the book bag he’s about to tear out of a dead Nazi’s hand). I have supposed that there is a possibility that it would have evaporated in the heat, but I’m not sure that fixes the problem – water evaporated becomes steam and Crowley would likely have inhaled some of it. So we’re left with two possibilities here – either Aziraphale did something that would cover these eventualities in his own miracle or Crowley actually can come into contact with holy water. Not that he’d ever be able to test the latter theory of course, it’s a pretty deadly experiment for a demon to be carrying out. I think the former of the two possibilities is probably the right answer, even then it seems like a bit of a stretch – what exactly did Aziraphale’s miracle do?

Moving on, we have another instance of Aziraphale calling Crowley a name that the demon would not wish to have as a label – “kind”. And as with Paris, the reaction is a very different one from what we see from him at Tadfield Manor, this time simply attempting to brush it off but this time the exchange happens without his glasses.

Not only that, there’s a little smirk on Crowley face suggests he’s actually rather pleased with the outcome of his actions.

Aziraphale seems very humbled by Crowley’s intervention here too, which is not something we’re used to seeing from him. I suspect he knows that he was in genuine danger during the meeting with the Nazis and is well aware of what a huge favour he’s just been afforded. And I’m sure he’s probably thinking about how badly things ended between them the last time they met. He also knows that thanks and appreciation are not something that Crowley does, so tries to make light out of it pointing out the most trivial of the consequences that this act of kindness has granted him – the paperwork.

But Crowley’s not done with his gifts, is he? If we set aside the question hovering around how he even knew there were any of Aziraphale’s prized books to be rescued in the first place (no seriously, how does he know? Maybe he saw them on the table before Harmony bundles them into the bag in the church, but he doesn’t seem to be paying that much attention), there’s no doubt that this is probably the most thoughtful gift someone could ever give the angel. And Crowley knows it very well – the relish on his face when he knows he’s about to deliver something that will give Aziraphale so much joy is absolutely previous.

And here we are. You all know what’s coming. In fact, there has so much coverage been done of the rest of this scene, that I’m not even going to bother talking about it.

What kind of fan would I be if I didn’t gush about the finger touch and Aziraphale’s look?! I’m going to try not to spend too much time on it though, purely because it really has been talked about by every single person before me, and will continue to be discussed by many.

So, the things I love about this are everything the fact that neither of them flinches when their fingers touch (this despite us not having seem them physically touch in any of the previous historical scenes); that they establish and maintain eye contact for the touch; and (last, but most definitely not least) that Crowley actually lifts his thumb to stroke Aziraphale’s finger when their digits meet. Seriously, that last one really gets me – it says so much about his knowledge of his feelings and his intent with the saving of the books. In all honesty, I watched that GIF about 10 times before moved on with the rest of this write-up, this tiny moment genuinely makes my heart sing. I also happen to love the extreme nonchalance of Crowley asking Aziraphale if he wants a lift home, as if none of the previous 5 minutes has just happened. Side note: this will be the first time that Aziraphale will meet the Bentley. He likely doesn’t even know that Crowley has a car, so being asked if he wants a “lift home” will be a first in their 6000 years of friendship.

And then of course, there’s Aziraphale’s look as Crowley leaves the scene.

He’s so adorable isn’t he? Only finally realising how important he is to Crowley, and that the feeling is mutual, after he’s been handed a bag of old books prised from the hands of a dead Nazi. Silly angel.

So the first thing I’ll point out about this scene involves a bit of gazing into the future (as far as the series was concerned anyway) – the pub that Crowley meets his cronies in is the Dirty Donkey. Which means he was conducting this meeting directly across the road from Aziraphale’s book shop. And has probably been hanging around in the general area of Aziraphale’s book shop. Like, a lot. It’s never talked about (or not yet anyway) so we have no idea of how frequently Crowley is in the area or why he picks this particular pub to conduct his criminal activities from, but it’s certainly worth noting.

Let’s give David Arnold another tip of the hat for his treatment of the theme tune for scene setting. This time we hear it in the stripped back tones of a 60s guitar sound, not so dissimilar to Buddy Holly’s style (apologies, that’s another bit of future gazing, unless you’ve read the Script Book, in which case you’ll know that Buddy Holly should have featured very prominently throughout season 1). Holly actually died in ’59, but that doesn’t stop this piece of soundtrack doing what this soundtrack always does so beautifully – enhance the setting of a scene.

I also quite enjoy the fact that the format of this scene appears to mirror the one from 1941 – opening with just one of our heroes, who appears to be getting themselves into potential danger, with the other coming to rescue them. There’s also a symmetry in the giving of gifts – Aziraphale’s presentation of the holy water mirroring Crowley’s saving of the books. It’s a lovely way to communicate to the audience that we are meant to view them as equals, and that they balance each other out (just as Crowley says way back in the Kingdom of Wessex).

We shouldn’t be surprised that Crowley refuses to tell his “employees” what exactly it is they’re going into the church for – I should think they would consider there to be something highly suspicious about breaking into a church to steal holy water after all. And I would dearly love to know what it was that Shadwell spent time in prison for, I mean I know he’s a distinct oddbod, but criminal? I wouldn’t say he had it in him. And for the record, £300 (the amount being paid to each criminal to do this job) equates to about £5.5K in today’s money. Not a bad little earner.

Let’s talk geography for a moment, shall we? Specifically, I’m talking about the alleyway that Shadwell has squirreled himself away down. Which looks suspiciously like the alleyway that runs down the side of Give Me Coffee or Give Me Death in season 2 (again with the crystal ball, I know. There is a point, I promise).

The picture doesn’t make it painfully obvious, but the ramp, steps, and barrier that you can see on the left-hand side of the alleyway are a match – 1967 on the left, season 2 present day on the right. Not only that, we get a glimpse across the street from the alleyway entrance when we see Crowley turning towards his car.

Knowing what we know about Whickber Street from season 2, the positioning of the Bentley would appear to be directly outside Aziraphale’s shop, though the shop fronts tell a different story. What would seem to confirm that Crowley has in fact parked his car directly in front of the angel’s shop is the entrance to the corner unit – again 1967 on the left, season 2 present day on the right:

Perhaps this is just “the magic of television” and the need to re-use the same set for multiple different settings for cost purposes. I’m not so sure about that, but it seems almost too obvious for Crowley to be hanging around Soho in such a blatant way if he was trying not to be seen by Aziraphale. After all, the angel has been in the Bentley in 1941, so would know what it looked like, and it’s not like they would have been a common car in 1967.

I also want to take a quick moment to consider that Shadwell is hanging around an area in London that is painfully at odds with his views on sex workers, as we see in the way he speaks to Madame Tracey later. Perhaps those views are established later in his life, maybe even as a result of his spending time in London’s Red Light District (or at least, it was in the 1960s).

If you didn’t know something was about to happen as Crowley opens the car door, you should perhaps feel a little ashamed of yourself because… it’s the magical miracle noise! We know it’s not Crowley doing it because we can see him getting into the car, so I think it’s fair to say we should be assuming it has something to do with Aziraphale before we see him on camera. What I don’t understand is why he apparates inside the car. Or possibly why he bothers to apparate at all – as he’s about to point out, he works in Soho so it would be easy enough to simply approach Crowley on the street at any time. Perhaps it’s to ensure that the demon can’t make a hasty get-away? That doesn’t make a lot of sense in the declared canon of the series at this point. However, it’s my belief (and that of most of the fandom I think) that something happened between them after the scenes we get to see of 1941. I also think Aziraphale got spooked by it and left sharpish (more of that in the 1941 apology dance fanfic when I get to it). If we take that as canon, Aziraphale’s cautionary tone and covert apparition, along with Crowley’s look of surprise and longing at Aziraphale’s appearance make a lot of sense all of a sudden.

It looks as if Aziraphale is really struggling to say what he knows he must here, and the way Crowley reacts when he realises that the angel knows exactly what he’s planning makes it pretty clear that he’s not exactly comfortable with the topic of conversation either. I actually find it painful to watch this whole conversation (and I don’t think I’m the only one, though it’s not as tough as some we’ll come to later in both seasons). From the subtle revelation of how much Crowley has taken Aziraphale’s refusal to provide him with the holy water to heart (seeing as he knows exactly how many years have passed since that disagreement), to the searching look Aziraphale gives Crowley after he hands over the thermos (almost as it he’s trying to memorise his face), and everything in between, this is the most emotionally available we’ve seen the couple being with each other. And it takes its toll on them both – Crowley is rendered speechless and Aziraphale almost in tears, breathing heavily to try and stave them off. The angel is making a personal sacrifice to ensure Crowley stays out of danger here and Crowley knows it. What really is there to say, other than “thank you”? Alas, Aziraphale draws the line there (in a vaguely symmetrical fashion to what we say in Paris, when he asks Crowley if he can say thank you for the rescue), so he has to come up with something else. It’s such a desperate little gesture too - the only thing that he can offer to show any sort of favour in return is to offer Aziraphale a lift.

There’s a little reflexive noise from Crowley in response to Aziraphale’s refusal of his offer that really does convey how disappointed he is, and for once the angel is paying attention. I suspect he tells him not to look so disappointed because he finds it very hard to deny Crowley anything when he knows he really wants something. He even offers an alternative, something with promise and future in it, something that sounds suspiciously like a date.

Perhaps one day we could… I don’t know… Go for a picnic… Dine at the Ritz…

Crowley’s not done though, he’s going to keep trying to string out this meeting as long as he can. Let’s just bear in mind that his offer to take Aziraphale anywhere he wants to go is rather a moot point – they’re in Soho, a very small area of London, which is where Aziraphale works and lives. Even if we ignore the fact that the Bentley appears to be parked within 6 feet of the door to the book shop, there really wouldn’t be any need to drive to get from one place in Soho to another place in Soho. As such, I think this offer is simply Crowley wanting to spend time with Aziraphale, and it’s something he wants so much that he almost pleads with the angel to reconsider the invitation.

Tiny side note: the bullet holes you can see in the driver side window are referenced in the book. They’re actually a sticker, tied to a James Bond film promotion. The only time Crowley has ever put fuel in the Bentley he did to get it.

Aaaaaand we’re here. At the line. You all know the one.

Hnnnnnnnnh.

The first time I watched this show, I was only half paying attention and I just thought he was talking about Crowley’s driving. It wasn’t until I rewatched prior to bingeing through season 2 that I realised he really isn’t, and I can tell you it hit me like a tonne of bricks. If we assume it’s likely they haven’t seen each other since 1941, which makes sense if we’re also assuming that something happened between them at that time, Aziraphale has only been in the Bentley once before this (well, maybe multiple times in one evening, but you get the drift). What’s to say that one experience was typical of Crowley’s driving? Decades have passed since that evening, so it’s not out of the question to consider that his driving style might have changed in that time. And why not just say “yes thank you, but do you think you drive a bit slower”? Or even for Crowley to offer to drive slower on his behalf? No, this heartbreaking line has nothing to do with the driving at all, and Crowley’s lack of resistance to it and look of resignation says he knows it but has no idea who to talk the angel down from his position. This scene ends in the Script Book with Crowly driving away and Aziraphale watching him go, but my head canon has given me a different outcome here (which fits with what we actually see in the show), which I’ll be writing a fic about in the future.

This one has run a little long (hardly surprising given that it covers the 1941 AND 1967 historical scenes). I toyed with the idea of splitting into two parts but that felt excessive, particularly given I still have to deal with, what I think, is the first of the ineffable divorces later in this episode. As always, questions, comments, discussion, all welcome!

[justforbooks]

Françoise Hardy

Icon of 60s music who sang of love as a source of ‘wretched, profound, endless questioning’

Françoise Hardy, who has died of cancer aged 80, shot to fame as part of France’s génération yé-yé, the jaunty transatlantic and cross-channel collision between French chanson and American rock’n’roll that also produced Johnny Hallyday and France Gall. But from the start, there was something that set her apart: a wistfulness, a sentimental self-reflection, a poise that belied a lifelong shyness and insecurity. A 60s icon, as big, for a while, in London as in Paris, Hardy was, in many ways, the antithesis of that restive, revolutionary decade.

Unlike her contemporaries, when she sang of love it was about “suffering and frustration, illusion and disillusion; wretched, profound, endless questioning”. Her songs, she told Le Monde, were a necessary outlet: “I wrote about my experience … A beautiful, melancholic melody is what best transcends the pain.”

Men fell, in droves, for her timid beauty. Mick Jagger described Hardy as his “ideal woman”. David Bowie, “passionately in love” for years, courted her backstage, in dressing gown and embroidered slippers. In 1964, the sleeve notes of Another Side of Bob Dylan featured a whole poem “for françoise hardy/at the seine’s edge”. (Two years later, after a concert at the Olympia music hall in Paris, Dylan invited the singer to a party in his suite at the George V, one of the capital’s grandest hotels. In his bedroom, he played her two tracks from Blonde on Blonde: Just Like a Woman and I Want You. Hardy always insisted she was so starstruck she never got the message.)

But the love of Hardy’s life, the father of her son and the agonising inspiration for many of her songs, was the French singer and actor Jacques Dutronc, whom she met in 1967 and married in 1981. The couple separated in the 90s, but never divorced, remaining on good terms. “Love is a remarkable force, even if its price is perpetual torment,” she said. “But without that torment, I would not have written a single lyric.”

Hardy was born in Nazi-occupied Paris, in the same maternity clinic at the top of the rue des Martyrs in the ninth arrondissement that had delivered Hallyday a few months earlier. Her mother was Madeleine Hardy, an accountant, and her father, Pierre Dillard, was a company director who was married to another woman. Françoise grew up in a two-room apartment nearby with her sister, Michèle, born 18 months later, and a solitary mother with whom Françoise had a “fusional, symbiotic relationship … I loved her probably too much – exclusively, unconditionally”. The girls rarely saw their father, who often neglected to pay his share of their upkeep and was regularly late with the modest fees for their Catholic education.

Weekends were spent with grandparents – notably an “egocentric, narrow-minded, frigid and emasculating” grandmother – outside Paris; many childhood holidays with friends of her mother’s in Austria, to learn German. Shy, dreamy, deeply ashamed of her unconventional family, Hardy turned to the radio, where in the late 50s, on the English service of Radio Luxembourg, she encountered a music – Presley, the Everly Brothers, Brenda Lee, Cliff Richard – that “affected me more than anything else. That ended up changing my life.”

Aged 16, she asked for a guitar for passing the first part of her baccalauréat. A year later, having passed the second part with honours, she taught herself a handful of chords “that produced most of my songs over the next 10 years”, and began writing. At the Sorbonne, studying German, she auditioned, unsuccessfully but not disastrously, for one record company, and started singing lessons.

Hardy’s contract with Vogue Records – who wanted “a female Johnny Hallyday” – was signed on 14 November 1961. She made her first TV appearance, in black and white on the state broadcaster’s only channel, six months later, and released her debut EP, featuring three songs of her own and a cover of a Bobby Lee Trammell song.

Her breakthrough came, rather incongruously, on the night of Charles de Gaulle’s October 1962 referendum asking voters whether France’s future presidents should be directly elected. In a musical interlude while the nation awaited the result, Hardy performed a track from her EP, Tous les garçons et les filles. The nation loved it. The song (sample line: “I walk down the streets, my soul in sorrow”) became a monumental hit in France, spending a total of 15 weeks at No 1 between October 1962 and April 1963 and becoming a million-seller. Within weeks Hardy was on the cover of Paris Match, plunged, still in her teens, into the whirlwind of the swinging 60s (which she detested: she disapproved of casual sex, avoided drugs, and could only ever remember being drunk twice).

Her first boyfriend, the photographer Jean-Marie Périer, ensured her picture – miniskirt, white boots, long hair, signature fringe – went around the world. Courrèges, Yves Saint Laurent and Paco Rabanne competed to dress her, for seasons at the Olympia in Paris, the Savoy in London, and shows in Germany, Italy, the Netherlands, Denmark, Spain, Canada and South Africa. In New York, William Klein photographed her for Vogue. Roger Vadim, Jean-Luc Godard and John Frankenheimer cast her in films.

The hits flowed, recorded – some in London, produced by Charles Blackwell – in French, English, German, Italian, some written by Hardy, others not.

But at the end of the 60s, barely five years after she began, Hardy abruptly gave up performing live, and the cinema. “I hated what it all involved,” she explained. “Being separated from the man I loved, the waiting, the solitude, depending on the phone. And I’ve never been able to act. I can’t simulate, or lie. Songwriting, on the other hand … dives deep.” Life in the fast lane, she declared, was “a gilded prison”.

But she continued recording, releasing a dozen bestselling albums in France, of which she always cited La Question (1971), a sophisticated collaboration with the Brazilian musician Tuca, as her favourite. She duetted with French artists Henri Salvador, Alain Souchon and Benjamin Biolay, and later with Damon Albarn and Iggy Pop.

Hardy was never very interested in politics (she decamped to Corsica with Dutronc for the duration of les événements of May 1968, whose student leaders she distrusted), although she had strong opinions about questions such as abortion. Hardy was, however, fascinated by astrology, writing two books on the subject.

She continued to work in later life, despite claiming that her 1988 album, Décalages, would be her last. A string of new recordings in the 1990s and 2000s, a 2008 autobiography, Le Désespoir des Singes (the title apparently derived from a monkey puzzle tree in the Bagatelle gardens near her Paris flat, because its sharp, spiky leaves reminded her of “men who have caused me despair”), and her last album, Personne d’autre, released in 2018, appeared despite family and personal tragedies: Hardy was at her mother’s side when, suffering from Charcot–Marie–Tooth disease, she died by euthanasia in 1994.

Hardy herself was diagnosed in 2004 with lymphoma, eventually recovering after an experimental form of chemotherapy – but only after she had been hospitalised, in an induced coma, in 2015. Three years later, another tumour was detected, this time in her ear. In 2021, she told the magazine Femme Actuelle (by email; she said she could no longer talk) that she would like to be able to choose to end her life, as her mother had done, and in 2023, in an interview with Paris Match, called on Emmanuel Macron, the French president, to legalise assisted dying.

Shortly before that second diagnosis, in 2018, Hardy reflected on a career that had brought pretty much every award French music can offer (plus a medal from the Académie Française), telling the Observer she had always been surprised that people – “even very good musicians” – had been moved by her voice.

“I know its limitations, I always have,” she said. “But I have chosen carefully. What a person sings is an expression of what they are. Luckily for me, the most beautiful songs are not happy songs. The songs we remember are the sad, romantic songs.”

She is survived by Dutronc, and by their son, Thomas.

🔔 Françoise Madeleine Hardy, singer, born 17 January 1944; died 11 June 2024

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

[fromthedust]

bird painted on ostracon - Thebes, Egypt - c.1479–1458 BCE

Paul Manship - Crowned Crane - gilt bronze on lapis lazuli base - 13 5⁄8 x 7 x 2 7⁄8 inches - 1932

bird & snake - illumination - Beatus of Liébana, Commentaria in Apocalypsin (the ‘Beatus of Saint-Sever’) - Saint-Sever - before 1072

Ron Mueck (Australian, b.1958) Still Life - mixed media sculpture - 2009

Horus the Golden - Horus standing on the hieroglyph for gold­ - faience and polychrome inlay - Middle Egypt - Hermopolis - Late Period or Ptolemaic Period - 4th century BCE

Utagawa Hiroshige I (Japanese, 1797- 1858)- Jūmantsubo Plain at Fukagawa Susaki - woodblock print - 1856

Adam Binder (British, b.1970) - Wren II - patinated bronze - 2012

Redmer Hoekstra (Dutch, b.1982) - Pelikaan (Pelican) - pencil - 2015

Bill Mayer (American illustrator, b.1951) - Ibis - painting

Edwin John Alexander (Scottish, 1870-1926) - Griffon (Tawny) vulture (Gyps fulvus) - watercolor & gouache - 26 x 17 cm - Paris - 1891

Eric Fan (born in Hawaii, living & working in Canada) - Kingfisher - painting - 2014

John Boyd (England, b.1957) - Dodo Variations IV - painting

J.K.Brown aka John Kennedy Brown (wooarts) (Welsh, b.1979) - Bird - metal-scrap sculpture

René Magritte (Belgian, 1898-1967)  - The Idol - painting - 1965

Michael Sowa (German, b.1945) - Die Rückkehr der Zugvögel (The Return of the Migratory Birds) - painting

Mullanium (steampunktendencies) - Blue Jay - mixed media assemblage

Pelican - painted wood toy

Vojtěch Preissig (Czech, 1873-1944) - Seven Ravens - etching - 1900

Incense container with plovers - lacquer, gold, sea-shell - Japan - late Muromachi period (1392-1573)

Dilhaar (www.instagram.com/hmdbti/) - flying bird - paintings & gif

“Before I ever started painting and before I even started taking drawing seriously, I was in love with the idea of painted animation. Frame by frame, each painting coordinates with the one before and the one after to create life. I still have a lot to learn and there are a lot of technical things I don’t know and will improve on but I like this start. Forget thoughts, focus on actions. Regarding this specific animation I really love the shapes of the shadow on the ground.” - Dilhaar