#elain the botanist

[bloomingdarkgarden]

A Nocturne Verdant | WIP Wednesday Snippet

Sleep was a siren, lulling him under, yet always just out of reach.

The siren held Elain without pause, though. Deep in slumbering arms, only a room away.

The dark wood of the townhouse wall was all that lie between them. Creaking now and again, as old houses so often did. The spill of the moon now pallid with the promise of dawn.

Bathing in dreams, in the same lonesome light as he, she slept.

What songs emanated from her gentle breath in the night?

She was all but a stranger.

And he had no right to wonder. But wonder he did, all the same.

Beautiful was not a word to encompass her. It dulled in his mind as soon as it surfaced, as if the word itself paled in the light of what she was.

The empty cavity of Azriel’s heart echoed a forgone beat into the night.

He tried not to think about the damp curl he had noticed earlier, clinging to her cheek like ivy caressing a pale stone.

He tried not to dream of blackcurrant’s bruise on her lips- that dark, gentle, staining kiss.

He tried not to compose a sonata equal parts broken and desirous that whispered the truth of it all.

An Overture in Flora.

Scarred fingers pressed into the cool fabric of the sheets beneath him, as if they were marking the strings of a violin.

It didn't matter what the song was called.

All that mattered was that her lips were stained with blackcurrant and soft words, and that he was utterly beguiled by both.

All that mattered was that the lullaby of the sonata Azriel wouldn't write was what finally bid him sleep.

All that mattered was that it would pale in the light of her anyway.

[mxwormie]

been thinking about what if elaine moved to the city post campaign and started working at an apothecary shop and what if she meets a cool botanist to be lesbians with...........

[theshadowsingersraven]

Finding reference pictures to eventually commission Elain for Elain Week has been a struggle, but I finally found one. The only problem is that it's a kinda goofy stock photo. Figured you all might get a laugh out of it.

Why does he look so SERIOUS? 😂

[ennaih]

Every Film I Watch In 2023:

233. A New Leaf (1971)

[lamija-v]

My friend found this bag online and it just SCREAMS Elucien

[bloomingdarkgarden]

People who have never spent time with plants really show themselves in Elain-haterdom.

Plant work outdoors is a special kind of hell. Gardening is like the bloodiest casual hobby known to mankind. It is exhaustive. The injury, sweat and emotion you put into a living thing that will simply abandon you in a slow decay. The prolonged battle of weather, of disease, mold, insects, the greatest and most formidable enemy of all- time itself?? All in the name of making something beautiful that inevitably dies anyway?????

Gardening is war, people. Nature is unforgiving. Death is just quieter in the end so nobody notices.

Elain undoubtedly has thorns within her. She drinks toil and botanical strife for breakfast. She is not hindered by death, rot, decay, impossible battles- she already knows what it takes to bloom regardless, after all.

Beautiful work as always @wingedblooms

gardeners, i think, dream bigger dreams than emperors. (Mary Cantwell)

just thinking about how everyone believes Elain is sweet and innocent and has her head in the clouds most of the time, but secretly, she’s a mastermind. someday, we’ll learn what she’s been up to in the shadows and i just know it will rock even the most strategic, most secretive members of the IC to their core.

[nitrateglow]

Favorite films discovered in 2024

This year, I focused more on rewatching films I hadn't seen in a long time rather than racking up new titles. However, I still encountered plenty of new faves, many of them movies that have been on my watchlist for years. Here are the top twenty.

But first, some interesting patterns in this year's list...

Most represented decade: 1960s

Earliest film represented: 1932

Newest film represented: 1999

Creatives who show up more than once: Robert Mulligan, Walter Matthau, Boris Karloff

The Window (dir. Ted Tetzlaff, 1949)

A young boy (Bobby Driscoll) living in a squalid NYC apartment building witnesses his neighbors (Paul Stewart and Ruth Roman) committing a murder. Unfortunately, the kid's penchant for tall tales prevent anyone from believing him-- except for the killers, eager to alleviate themselves of an inconvenient witness.

Precious few thrillers earn the moniker “Hitchcockian” as well as this intense little gem from RKO. The Hitchcock vibes make sense when you consider Hitchcock’s cinematographer from Notorious was in the director’s chair and the source material was written by Cornell Woolrich, also responsible for the short story behind Rear Window. Augmented by on-location photography of New York City and a grimy, desolate sense of urban decay, The Window is both a great suspense yarn and classic film noir. Despite having a kid for a lead character, the film pulls no punches: both its small-time crook villains and the city setting feel palpably dangerous.

My Neighbors the Yamadas (dir. Isao Takahata, 1999)

The Yamadas, an average middle-class Japanese family, navigate the perils of sharing a television set, a kid going missing during a shopping trip, awkward wedding speeches, and other misadventures.

Between the original Studio Ghibli directorial duo of Hayao Miyazaki and Isao Takahata, Miyazaki will always be the more popular filmmaker, but I think Takahata’s films are more intellectually and emotionally rewarding. This is not meant as a hit on Miyazaki’s undeniable greatness, but Takahata’s movies are far more challenging. That being said, My Neighbors the Yamadas is a lighter entry in his filmography, a slice of life comedy about the eponymous family and their shenanigans in modern Japan. However, beneath the whimsical humor runs an undercurrent of melancholy, an awareness of the transience of life in both its lovely and absurd moments. To date, it gets my vote for the most underrated Ghibli film.

A New Leaf (dir. Elaine May, 1971)

After squandering his ample inheritance, a middle-aged New York layabout (Walter Matthau) decides to marry an eccentric botanist (Elaine May) for her money then murder her ASAP.

Elaine May only directed a few films, but the two I’ve seen—this and the long-maligned Ishtar—were a lot of fun. A New Leaf is the better film though, far more focused and consistently funny. I don't usually belly laugh when watching a movie at home alone, but I did several times here. Even just thinking about some of the things that happen in this film can make me start laughing again. I understand the existing version was not May’s preferred cut and she felt it was butchered by the studio. Even so, this is a great movie regardless of that and one I really want to rewatch soon.

Cash on Demand (dir. Quentin Lawrence, 1961)

Uptight, unpleasant bank manager Harry Fordyce (Peter Cushing) is the boss from hell to his employees, but to criminal extraordinaire Gore Hepburn (Andre Morrel), he's the key to a successful heist. Posing as an insurance representative to get access to Fordyce's office, Hepburn tells the manager he's holding his wife and child, whose lives will be forfeit if he doesn't help him relieve the bank of ninety thousand pounds.

Ho, ho, ho, guess who's got a new Christmas classic to enjoy every year? Cash on Demand is not only a strangely enervating riff on A Christmas Carol's basic set-up (a miserable man is spiritually redeemed through an encounter with ghosts-- or in this case, bank robbers), but it's one of the best, tightest one-location thrillers I have ever seen. I genuinely had no idea where the story was going and found myself in absolute agony as the noose grew tighter around our protagonist's neck. It's a testament to both the writing and Peter Cushing's detailed, very human performance that this film is the emotionally powerful piece of work that it is, and not just a fun, clockwork heist yarn.

Letter from an Unknown Woman (dir. Max Ophuls, 1948)

While trying to evade a duel, an aging playboy (Louis Jordan) receives a letter from a dying woman (Joan Fontaine) who claims he was the love of her life. The letter recounts the details of their love affair, which was the centerpiece of this woman's life and only a mere erotic interlude in his.

The best way to describe this movie is lush romantic melodrama married to a bitter, emotionally brutal tale of a life wasted. The movie is heartbreaking but beautifully shot and performed. I’m not always the biggest fan of Fontaine, but she is fantastic here. Also, I need to watch more Max Ophuls.

Sudden Fear (dir. David Miller, 1952)

A middle-aged playwright (Joan Crawford) thinks she’s found love with a would-be matinee idol (Jack Palance)—instead she realizes she’s being targeted by her new hubby, who only wants her wealth. But he mistakes her emotional vulnerability for a lack of discernment—and a lack of desire to get even.

I like my women-in-peril thrillers when they feature clever heroines driven to survive whatever nightmare their antagonists throw at them and Sudden Fear is amazing in this regard. I know everyone loves Joan Crawford best in Mildred Pierce, but I was floored by her performance here, especially in the dialogue-free scenes. There are campy moments (which I adore), but the story is emotionally compelling and I not only wanted Joan's character to survive, but to thrive post-shitty marriage.

Thieves Like Us (dir. Robert Altman, 1974)

Young lovers Bowie (Keith Carradine) and Keechie (Shelley Duvall) yearn for a white picket fence, a quiet porch, and a case of Cokes (probably because that's all they drink in this film). Too bad Bowie is an escaped convict tied up with bank robbers. Too bad it's the Great Depression. At least there's plenty Coke. Want a Coke?

Most films set in the past do not as painstakingly recreate bygone worlds as strongly as Thieves Like Us. Set in Depression era Mississippi, this film captures the harsh, bleak reality and romantic, consumerist fantasies of its star-cross’d leads, played with sensuous naivete by Keith Carradine and the late, great Shelley Duvall. This is more than just yet another Bonnie and Clyde riff—it’s a tragedy about the elusive American Dream, with snippets of radio music, programs, and ads acting as a Greek chorus in a truly inspired touch. Robert Altman can be an acquired taste, but this is easily my favorite of his films to date.

Targets (dir. Peter Bogdanovich, 1968)

The paths of an aging horror star (Boris Karloff) and a psychotic mass shooter (Tim O'Kelly) cross at a drive-in theater.

Targets was not what I expected: it's a threeway character study between the disheartened horror star, the psychotic shooter, and 1960s America itself. To be honest, you could remake this movie now with a former ‘80s slasher star making the same musings and it would still seem credible—but then of course, you wouldn’t have Karloff in one of the best performances of his career. Targets is rendered even more chilling by its docudrama style. The violence shown isn’t sensationalistic, but presented in clinical detail, making it feel more authentic. Gorier films haven’t frightened me as much as this slow-burn character study.

Losing Ground (dir. Kathleen Collins, 1982)

Despite finding pleasure in research and theory, philosophy professor Sara Rogers (Seret Scott) envies the escatic nature of her painter husband, Victor (Bill Gunn). Their difference in temperaments and Victor's adulterous straying also strain the marriage. However, once Sara takes a job performing a sensuous, emotional role in a student film to get in touch with her own artistic side, Victor grows suspicious and jealous in turn.

Losing Ground was sold to me as a film about a crumbling marriage, but it's more than that. It might be more accurate to call it a portrait of self-discovery, a woman extending beyond her comfort zone to live more fully. I found myself strongly relating to Sara-- like her, I have a creative side I've often been timid to share, being more comfortable with the mind than the body. Being an independent film, it eschews the Hollywood histrionics and melodrama that would normally accompany this subject matter and it's paced perfectly at 90 minutes. Though filmed in the early '80s, the film only played the film festival circuit and never enjoyed a proper theatrical release. Only in 2015 was it rediscovered and then released on home video. The director Kathleen Collins died young, but this film stands a testament to her passion and talent.

Cactus Flower (dir. Gene Saks, 1969)

A middle-aged dentist (Walter Matthau) who poses as a married man to fend off romantic commitment decides to buckle down and wed his much younger girlfriend (Goldie Hawn, looking like a mod Tinker Bell). However, when she insists on speaking with his made-up wife, he recruits his no-nonsense nurse (Ingrid Bergman) into the charade.

Cactus Flower is what I often call a transitional film: released in the late ‘60s, it has one foot in the classical style of Old Hollywood and another in the more liberated counterculture that was shooting out hits like Easy Rider and The Graduate. Directed with unexciting competence by Gene Saks, Cactus Flower’s success largely comes from Ingrid Bergman, Goldie Hawn, and Jack Weston. Bergman I could watch in anything, so I’m biased perhaps, but she walks the fine line between funny and touching as the lonely woman who finds emotional liberation through her roleplaying. The scene where she gets groovy on the dance floor is a highlight of her entire screen career and no, I AM NOT KIDDING.

The Black Room (dir. Roy William Neill, 1935)

Two aristocratic brothers (both Boris Karloff) are at odds over the love of a young woman (Marian Marsh) and an ancient prophecy forecasting the end of their bloodline.

Boris Karloff dives into a double role in this deliciously gothic melodrama. Columbia pulled out all the stops for this one: it drips with sumptuous set design and expressionistic lighting. I was particularly taken by this film’s slightly tongue-in-cheek approach to a more 18th century mode of gothic terror. It goes for full-blooded melodrama with its innocent maidens, secret dungeons, lecherous villain, and ancient curses. It’s as close to a 1930s Castle of Otranto adaptation as we’ve got and by God, I'm grateful for its existence.

Freud: The Secret Passion (dir. John Huston, 1962)

In the late 1880s, young psychiatrist Sigmund Freud (Montgomery Clift) probes into the inner lives of his "hysterical" patients to discover the roots of their mental illnesses. However, these journeys into the subconscious worlds of others bring him into uncomfortable contact with his own demons.

Listening to a podcast episode on John Houston’s Key Largo led me to works of his I hadn’t heard of, such as Freud. I was initially skeptical it could be good. Biopics are my least favorite genre, but this film isn’t so much a biopic as a psychological drama in which Freud is the protagonist and some of his ideas are illustrated through his interactions with the other characters. Instead of wasting time being some melodrama ABOUT Freud the man (the route most biopics go regarding their subjects), it’s about his theories and philosophy, which is a far more interesting approach. The result is a probing, intellectual work. I’m not sure how close Montgomery Clift’s characterization is to the real Freud, but the real star of the show is Houston’s direction, a resurrection of German expressionist aesthetics blended with stark realism.

Paris is Burning (dir. Jennie Livingston, 1990)

This documentary covers 1980s NYC ball culture, where Black and Latino members of the LGBT+ community vogue and perform.

Documentaries are not usually my thing, but Paris is Burning was a longtime resident of my watchlist and I am glad I finally got around to seeing it. It has a time capsule quality, capturing a long-vanished 1980s New York City and the LGBT+ community living there at the time. Obviously, there is a lot of meditation on gender identity, sexuality, and the importance of community in a world hostile to your very existence, but I was also interested by the film's presentation of the materialism and consumption of the Reagan era.

Candyman (dir. Bernard Rose, 1992)

A graduate student (Virginia Madsen) studying urban myths unwittingly summons the Candyman (Tony Todd), the hook-handed ghost of a Black painter who was lynched decades ago.

I expected fun slasher nonsense and instead got a gorgeous, unsettling, modern gothic masterpiece that only occasionally dips its toes into schlock. Candyman is ethereal in all the right ways despite being suffused with despairing urban gloom. I was not surprised to find the script was adapted from a Clive Barker story—like Barker’s The Hellbound Heart (adapted into the Hellraiser films), Candyman is chilling yet eerily beautiful. The moment I finished watching it, I knew this was one I would be itching to revisit. There’s just so much going on regarding race, class, and memory in America. Also, Tony Todd’s voice is a damn treasure.

Merrily We Go to Hell (dir. Dorothy Arzner, 1932)

An alcoholic playwright (Frederic March) and his long-suffering wife (Sylvia Sidney) decide to have an open marriage. It doesn't work out well for either of them.

Merrily We Go to Hell is a sneaky piece of work. Reading the synopsis, one expects the usual salacious pre-code melodrama. The first scenes even resemble your usual romantic comedy, with our central couple having a meet-cute. The actual movie is much more complicated. It's about a married couple thinking love is enough to make their union work despite the husband's alcoholism. However, this idea proves erroneous and attempts to numb the pain through hedonism and extramarital vengeance just pour gasoline on the fire. The emotional honesty here is astonishing and even the "happy ending" isn't so uncomplicated when you think about it. So far, this is my favorite film of director Dorothy Arzner.

Up the Down Staircase (dir. Robert Mulligan, 1967)

An idealistic young teacher (Sandy Dennis) gets her first position at an inner-city high school. However, she finds her enthusiasm worn down by the school system's bureaucracy and the many psychological troubles of her students and fellow faculty.

Ever since I watched Four Seasons a few years ago, I’ve been intrigued by Sandy Dennis. No matter the role, I find her eccentric yet vulnerable screen presence compelling. Up the Down Staircase was Dennis’ first starring vehicle and an unsentimental look at the teaching profession. Having worked as a teacher and in similar jobs in the past, I related strongly to the main character’s compassion fatigue and her frustrated desire to help make her community a better place. While not a cheery film, it is ultimately an optimistic one, even if that optimism is cautious. And of course, Dennis is damn great as always, whetting my appetite for more of her work.

They Shoot Horses, Don’t They? (dir. Sydney Pollack, 1969)

In the thick of the Great Depression, a group of desperate contestants sign up for a grueling dance marathon with a hefty cash prize. Greed, sexual exploitation, health problems, and crushing despair eventually complicate the exhibition.

This movie is so bleak you’ll be just as exhausted as the characters by the tragic finish. I know that doesn’t sound like much of a recommendation, but this is powerful stuff. It does what a great tragedy should do: make you emphasize with the characters and go out into the world more empathetic toward the people around you and more critical of a society in which such awful conditions could be permitted. And like Targets, it’s depressing that this movie’s themes remain relevant to American culture.

Flash Gordon (dir. Frederick Stephani and Ray Taylor, 1936)

A himbo polo player (Buster Crabbe), a middle-aged scientist in hot pants (Frank Shannon), and an ingenue in a blonde wig (Jean Rogers) must save the Earth from a galactic emperor.

Yes, I’m counting a film serial as a single unit on this list. In this corny, breathless saga can be found the seeds of so many modern blockbuster spectacles. The old school space opera aesthetic is always a joy and I love seeing what George Lucas borrowed from the comic book plot and fantastic images for his Star Wars films. Also, the serial is surprisingly horny for a product released after the death knell of the pre-code era, so that’s fascinating too. I watched the episodes, one a night, usually before a feature film, to recreate at least in part the conditions in which old serials were viewed. I highly recommend that approach if you're interested in watching these kind of films-- NEVER binge them.

Silkwood (dir. Mike Nichols, 1983)

Karen Silkwood (Meryl Streep), a union activist and metallurgy worker at a plutonium processing plant, discovers both she and many of her co-workers have been contaminated with high levels of radiation due to blatant safety violations. Rather than remedy the problem, her employers are determined to keep her quiet, but Karen refuses to back down.

Meryl Streep's performance in Silkwood finally showed me what all the hype around her is about. What an astonishing, natural performance-- I forgot I was watching an actor every moment. As for the overall film, it's one of the stronger docudramas out there (as this film was based on a true story). It isn't just a preachy message piece and it allows Silkwood to be both a heroic figure and a flesh and blood human being with flaws like anyone. The domestic drama involving her lover (Kurt Russell) and lesbian roommate (Cher, who also gives an incredible performance) is almost as compelling as the main story. Though released in the early '80s, it feels like a late manifestation of the paranoia thriller genre of the decade before.

Love with the Proper Stranger (dir. Robert Mulligan, 1963)

When a one-night stand with a jazz musician (Steve McQueen) leaves her pregnant and at risk of upsetting her very Catholic family, an innocent sales clerk (Natalie Wood) tracks down her lover and demands he help her get an abortion.

Love with the Proper Stranger is such a unique piece of work that I can forgive the elements that dissatisfy me (like the ending). Wood and McQueen's romance starts out acidic and slowly becomes tender over the course of their bizarre misadventure, and the film itself shifts through several moods. Sometimes it feels like an urban drama, other times a romantic comedy. But it somehow holds together, perhaps because of the chemistry between the lead actors.

What were your favorite film discoveries in 2024?

[shadowflorecita]

Lovely botanist Elain by Marssketch

[stigmvtas]

TALES OF HOLLOWAY — ASTER DAHLIA.

welcome to marina, ASTER HOLLOWAY ( nonbinary, they/them ) ! they are a TWENTY EIGHT year old WITCH (CRADLE) who resides in TOWER HILL. They work as a BOTANIST / MAGIC DEALER and are said to look a lot like LIV HEWSON. People around the island find them to be SAGACIOUS and MAVERICK, but also DOMINEERING and SPLENETIC. what do you think?

CONTENT WARNING FOR WILDFIRES, PARENTAL/FAMILIAL DEATH, GRIEF, ILLNESS, AND (MAGIC) ADDICTION.

profile.

full name — aster dahlia holloway.

nickname(s) — n/a; no nickname required - is anti nickname & will not respond to anything other than their own name.

date of birth & age — april 1st, 1996. twenty8.

gender / pronouns — nonbinary. they/them.

sexuality — gay<3.

typing — witch ( cradle ).

occupation — botanist, potioneer, & underground dealer of plants both of magical and poisonous properties. owner of narcissus' den under pseudonym of same name. opium harvester. girl fucker.

astrology — aries sun, virgo moon, capricorn ascending.

interests — plants of all nature. potion crafting. sudden strokes of genius. finance books and keeping a tight grip over what is theirs. revenge, vengeance, retribution, spite, etc.

aversions — cops. cop - adjacents. "i can fix them" motherfuckers. overfamiliarity in intimate moments. industrialists. fleeting moments of doubt and a guilty conscious.

next in queue — officer that's not mine! by sorry mom; the scratch by 7 year bitch; moaning lisa smile by wolf alice.

notable features — a full - freckled face and a permanently set frown. wiry red hair that's possibly never been brushed. toned arms and skin littered with miscellaneous scars.

general disposition — a held high head that screams insane levels of arrogance, sneers instead of smiles.

last known location — up and personal with a burlesque dancer from pearl's in the alleyway outside their dressing room, mouths red and hands firmly gripped along thigh - aka being a slut.

scrying mirror & kindred — billy butcher ( the boys ), dr. gregory house ( house, md ), steven hyde ( that 70's show ), ruth langmore ( ozark ), april ludgate ( parks & recreation ).

brief history.

born to dahlia verbeck, a local botanist, wildlife conservationist, and volunteer firefighter who was very known in marina's environmentalist scene alongside her twin brother, darius. the two were a team together, witches and scientists who sought to preserve marina's flora and fauna from the destruction of their environment.

aster's father was rarely in the picture - dahlia married at 19 to a man near twice her age, a local cop who never understood dahlia or her passions and left once he realized that there was no controlling her, or their child - who'd grown up to become a splitting image of dahlia.

they never minded maverick, their father, being absent - dahlia was enough of a parent to fill in the "gaps" and aster never wanted anything more except to follow in their mother's footsteps - she'd always been their idol, the one person they could look up to.

wildfire / parental / familial death; when aster was 12, dahlia and darius embarked on a trip into marina's woodlands to observe local flora, collect samples, and conduct a few of their own experiments when seemingly out of nowhere - a wildfire broke out. it took four days and the entire fire department to stop the fire before it spread - and no sign of dahlia or darius except for his wedding ring, and the burnt remnants of their campsite.

maverick took no interest in taking in aster after that - consumed in his own grief despite the abandonment - and darius' wife took aster in instead. she, elaine, convinced she could not grieve under these circumstances - took aster and her daughter, myra, and moved to california. as far away as she could think to take them - away from all the pain of the past.

she tried to occupy their time with the same extracurriculars and hobbies that she had put myra in since early childhood - but aster wasn't graceful like their cousin; and they clashed time after time again.

aster ran away when they were seventeen - after years of tension and arguments, and feeling more isolated and alone than ever. myra could adapt to the situation - could adapt to anything life threw at her, but aster missed home. missed their mother. missed marina.

upon arriving to marina for the first time in years - aster was broke, a high school drop out, and fending for themselves with nowhere to go when they met mother aveira, the coven mother of lune di ecate. she lured aster in with promise of power - of retribution and strength, and aster listened to every word. passed every trial - saddled themselves right besides mother aveira and would've followed her every word.

but it wasn't what it seemed - the coven; and with the more power aster gained, the more energy they felt seeping out of them. the sicker they felt - drained at the expense of the magic flowing through their veins. an argument ensued - and aster broke their contract with hecate - or was it mother aveira? - and left the coven after five years.

now - after years of working under questionable figure to questionable figure and doing anything in their power to find strength of their own - aster's made a career and name for themselves in a few ways. involving a secret "underground" greenhouse, potions and poisons, and their own lucrative drug business. but they're still mad - still angry. still looking for answers.

facts & temperaments.

a cradle witch - aster was born into a long bloodline of witches: the verbecks. like their mother, aster's magic focuses on organic life - mostly plants. mostly.

illness; their father's sick in the hospital, but they've yet to visit him. he has a new family now - and aster can't bring themselves to feel pity. he left them - not the other way around.

(magic) addiction; after years of overusing their magic as a means of survival - aster's now heavily reliant on it. the less they use their magic, the more severe the effects of it seems to be, leading to constant use and constant exhaustion. their magic - once strong - is slowly waning and losing its potency, and aster feels sicker by the day.

they inherited dahlia's estate after her passing - but they reside in tower hill and still haven't been able to go back to their childhood home. it's been untouched ever since - except for the greenhouse, the only place aster dares to escape to and the secluded place where they grow their plants and supply.

strong environmentalist - cares more about the state of marina's flora and fauna than actual people and it's obvious in the way aster regards others.

a naturally harsh, brutish person who doesn't bother with formalities or beating around the bush. painfully honest and doesn't care much about the problems of others unless there's a chance of something benefitting them.

passionate about what they love - sometimes to the point of possessiveness but overcritical towards those they don't have a high regard for. thinks mundane problems are above them and tends to look down on other people.

has a pet tarantula named stevie nicks. <3

they opened narcissus' den only a few years ago because they needed a way to both fund their work and gain intel about the important people of marina. it's essentially their very own gossip hub. blackmail auto farm<3

aster's just kind of mean without prompt. doesn't care much for others and is rarely in a committed relationship - likes to keep things casual and at arms length.

but they're smart<3 always thinking ahead. constantly drawing maps out in their brain, always has an idea of what to do next. doesn't do well with idleness and is extremely arrogant.

has gotten top surgery, doesn't bother to hide the scars and thinks they're sexy ngl.

[midnightcowboy1969]

What are some of your favourite movies?

Thank you for the ask! (Don't take the numbers too seriously)

Midnight Cowboy (1969), dir. John Schlesinger - Joe Buck the Texan dishwasher goes to New York to hustle women but falls for the little scammer Rico Rizzo who offers him a place to stay when he in record-speed becomes homeless.

A New Leaf (1971), dir. Elaine May - Henry Graham, a rich man who has been living a very unsustainable lifestyle, is now broke. He wants to find a wife, kill her and then inheret her wealth. He ends up with Henrietta, a rich, family-less, botanist who is also a big clutz. ROMANCE.

Gilda (1946), dir. Charles Vidor - Johnny Farrell (bad bi rep) goes to Argentina and gets rescued from being mugged by the casino owner and tungston cartel boss Ballin Mundson, and starts working for him. One day Ballin has found himself an American wife, Gilda. Surprise, surprise. She's Johnny's ex. Drama. Amazing. Women's rights, as Johnny and Ballin are peak misogynistic.

The Roaring Twenties (1939), dir. Raoul Walsh - Eddie Bartlett returns home from the war and its rough being a veteran. He ends up working for the mob and then teams up with George Hally (who is >:)) and they go right to the top. There's like a love-gemoetrical shape. Jean Sherman, a performer, likes Lloyd Hart (friend of Eddie who works for him) but Eddie wants Jean. The singer Panama Smith yearns for Eddie. George and Eddie are married and divorced at the same time. Amazing. Love it.

Deadhead Miles (1972), dir. Vernon Zimmerman - Alan Arkin and Paul Benedict drive a truck. That's it. The music is great. The dialogue is interesting.

Harvey (1950), dir. Henry Koster - Elwood P. Dowd, a pleasant man living with his sister, has an invisible rabbit friend. People think he is mentally unwell, and his sister wants him put away. Pleasantness prevails! Long live kindness!

3:10 to Yuma (1957), dir. Delmer Daves - Dan Evans must regain his fatherly masculinity, he thinks, after his sons see him willingly hand their horses over to Ben Wade and his gang of outlaws etc etc. Because there's a drought, the Evans family also needs cash (for their little ranch), and so Dan agrees to help get Ben to prison in Yuma, aka. on the 3:10 train to Yuma. In Contention City, Dan and Ben are in the bridal suite, and Ben being a slut temptress tries to bribe Dan with cash into letting him go while >:) on the bridal bed. Amazing. Iconic.

The Wicker Man (1973), dir. Robin Hardy - Police sergeant Neil Howie goes to Summerisle to find the missing girl Rowan. Everybody there are unchristian sluts to Howie's horror. Unbeknownst to him, he is a fool. Very good.

Real Life (1979), dir. Albert Brooks - A fictional version of Albert Brooks wants to make a movie about real life! He gets himself a family and some scientists to study this thing. The problem is that Brooks is not completely stable and well... what is 'real life' on camera. Amazing! Love it!

Invasion of the Body Snatchers (1978), dir. Philip Kaufman - Aliens are taking over and look just like us. Donald Sutherland and Brooke Adams are so <333333. If you've not seen it, it's kind of fun having seen the 1958 version first (the book isn't all that) so you get the little thing about the man running around all :'0. And, it's a good movie. Both are good.

I have many more. These are the ones I remember now :))) Thank you again :)))

[roguepen]

One for Sorrow, Two for Joy- Chapter 47 Preview

Lizzie Brown was quickly restrained and hauled away, the Enforcer intentionally banging her head against the wall on their way to the lift.

As suddenly as the violence came, there was an overwhelming sense of despair that destroyed any sense of fight or disruption that could have been lying in wait in the crowd. There was something in this sadness that was palpable. Cold. Endless. A fear that reminded me of my entry to the Graves family columbarium, all high stone walls and whispers of the wind through the cracks that sounded like the dead in the mind of a child. I was so cold.

I could hear my mother’s last rattling breath as shapeless cloaks hovered over the crowd.

Grandma Ophelia lying in state with full military honors for her funeral before her remains were sent to the crematorium.

Elaine Weathers was cold on a stone slab before the coffin emerged to hide her away from view.

There was Elizabeth Fudge, her face as serene in death as it was in life as the speakers came up to the podium to speak of her life and works in botany, the community she built of botanists and potioneers to help create high quality potions for the public.

The pale hand of my apartment doorman Walker was poking out behind his desk, standing out against the dark carpet and turning my stomach as if it were happening all over again.  

Miju gripped my arm in terror, her nails sinking painfully into my arm, snapping me back to my senses as I looked up to see something hovering over me, a pale face and hint at a gapping maw that left me weak and horrified for the realization.

Dementors.

[devilofthecresentisle]

Faces of Calypso's Revenge

Full Crew About (WIP)

Martha, 28 / Captain / VC: English: Zoe Saldana & Zendaya 

French: Chloe stafler

Grid - left to right (by column)

Byron, 34/ First Mate/Quartermaster / VC: Michael Bublé

Katsumi, 26/ Bos'n / VC: Jonathan Young

Malik, 48/ Shipwright / VC: Jeff Bennett (Tramp)

Reed, 36/ Helmsman / VC: Dracula (Castlevania)

Errol, 32/ Musician / VC: Nagisa Shiota (Spoilers) Singing; Ado 

Zaire (Zah-eer) / Cooper / VC: Lindel (Ancient Magus Bride)

Corvus, 24 / Rope+Sail maker / VC: Christian Bale (Howl Pendragon)

Andres, 32 / Strategist / VC: Bruno

Saphir, 29 / Cook / Ryan Mack

Jacinth, 29 / Gunner 1st mate / VC: Alexander Rybak

Damien, 25 / Master Gunner aka Sniper / VC: Damiano David

Eric, 18 / Navigator / VC: Jeremy jordan Karol Sevilla

Dragos, 33 / Striker+Botanist / VC: Dimitri (Anastasia / 2:02- 3:09)

Elaine, 3 / ------ / VC:  Eri (MHA)

Yumi, 32 / ABS / VC: Gackt (Malice Mizer)

Jareth, 30 / ABS / VC: Thanatos

Gale, 36 / ABS / VC: Sun Wukong

Sasaki, 37/ ABS / VC: Dionysus

Kallias, 34 / ABS / VC: Simba

Rohan, / ABS / VC: Tarzan (2:31)

[inapat17]

What happened to Miss May? A New Leaf (1971), the brilliant debuts of the improv star (1/4)

Elaine May and Walter Matthau in a scene from A New Leaf

Between 1971 and 1987, Elaine May directed four films. Her directing career began with the success of A New Leaf and ended with the poorly received and commercially unsuccessful Ishtar. It was marked by great creative inputs and troubled relationships with the studios. Following this period, Elaine May’s work was mostly forgotten and difficult to access. This series of articles aims to celebrate the work of an essential comedic genius and reclaim her influential style in Hollywood history.

“Miss May does not exist.”

Elaine May is an enigmatic figure who has cultivated mystery and rarely granted interviews, cautioning journalists that her statements might not be entirely truthful. The quote above was taken from Elaine May’s self-presentation on the cover of the comedy album Improvisations on Music (1958) she made with her partner Mike Nichols. They both gained popularity thanks to their elegant, witty improvisational sketches on television and Broadway. When the ‘Nichols and May’ duo parted ways in the early sixties, they both transitioned to Hollywood careers: Nichols’s first film was Who’s Afraid of Virginia Woolf? (1966), while May went on to make A New Leaf (1971).

Elaine May and Mike Nichols in the stage production An Evening with Mike Nichols and Elaine May (1960).

Elaine May wrote, directed, and starred in her debut film, infusing dark humor into an anti-romantic comedy. In A New Leaf, she portrays the adventures of a wealthy playboy (Walter Matthau) whose sole talent lies in living a vain life of luxury, caring only about his material possessions until he suddenly loses his fortune. He devises a plan to marry a rich yet clumsy and kind-hearted botanist (Elaine May) to eventually kill her. A New Leaf starts with an unforgettable opening scene and channels  the screwball tradition and triumphant love trope throughout the film. Through this work, Elaine May establishes socially awkward characters as a recurrent theme in her filmography.

A glorious poster with the longest tag line ever

However, making the film was far from straightforward. May had no experience in film direction and many people from the production tried to take the film away from her. Consequently, the studio justified that she was paid only $50,000 as the director, writer, and co-star of the movie while the two producers each gained the same amount, and Walter Matthau received a substantial $350,000 paycheck.

Elaine May’s first series of clashes with movie studios –a recurrent theme throughout her career – started during the ten-month editing process of A New Leaf when May presented Paramount Pictures with a three-hour-long version of the film, which the studio did not consider to be an adequate length for a comedy. Paramount Pictures had specified in her contract that they had the right to cut the film as they liked and proceeded to hire a new editor who reduced May’s cut in half. May sued the studio, asserting that they had created a different film under her name. This legal battle led to a legendary encounter with a judge who, despite of ruling in favor of the studio, praised May for making such a hilarious film. The version known to the public today is the studio-approved one, with May’s darker director’s cut unable to be seen.

Elaine May shooting a scene of A New Leaf with her wedding dress costume on

Despite the troubled production of A New Leaf, May’s film paved the way for 1980s and 1990s comedy and inspired Nora Ephron and Woody Allen’s subsequent work. A New Leaf was inducted into the Library of Congress’s Film Registry in 2019, celebrating May as a trailblazer for comedy and female directors.

LisaMiaud

[witchybooksarl]

The allium flower, also called The Giant Onion, means good fortune and prosperity, but also unity, patience, humility, and grace.

Allium flowers symbolize unity

The symbolism of unity comes from the fact that the flowers are clustered into a single spherical bloom and develop from a single bulb. Onion is one of the better known member in the genus of allium flowers. The word “onion” comes from the Latin word “onio”, meaning “unity” or “one”.

Ancient Egyptian inscriptions and drawings indicate that allium plants were prominently used in their culture. The Ancient Egyptians were fascinated by the spherical shape of the allium flower and saw in it a symbol of the universe. In their rituals, they also appreciated the layers and the concentric rings of a sliced onion plant (Allium cepa), in which they see a symbol of eternal life.

Allium flowers symbolize wealth and prosperity

Allium flowers (especially the common onion or Allium cepa) has been often ascribed the power to bring money, wealth and prosperity. It is believed that dreaming of Allium sativum (common garlic) announces good fortune. The Bolognese used to buy allium bulbs at the festival of St. John, believing that this would protect them from falling into poverty.

Allium flowers symbolize patience

Another allium flower meaning is patience— it is derived from the fact that these flowers bloom slowly.

Allium flowers symbolize health, protection and exorcism

In Sanskrit, the sacred language of Ancient India, the word for garlic allium means “slayer of monsters”. In many countries, allium is believed to ward off bad luck, evil forces (including witches, ware-wolves, vampires, and the Devil), sickness, and disease. In Germany, allium is known as ‘the ordinary man’s armor’. The 16th century botanist Clusius wrote that the German miners used allium as a powerful ally. They believed that it defended them from the assaults of impure spirits, which often roamed in and around mines...

Two members of the allium genus—garlic and onion—have been used in traditional medicine for their antibacterial and antiviral properties. Alliums have also been used to treat asthma, anemia and various skin conditions. There is archeological evidence that the peoples of Ancient Peru often used allium plants in their folk medicine.

The early American settlers often hung strings of Allium cepa over their doors as a protection against infections. At the birth of a child, Greek midwives made the whole room smelled of allium, as they believed in the protective powers of the plant.

Allium flowers symbolize the mystical power of divination

There is a superstition that an allium flower bulb can be used as a type of an oracle. After a question is asked to which the person seeks an answer, one bulb is put aside for every possible outcome. The bulb which sprouts first provides the answer to the question.

Allium flowers symbolize immortality

A myth from the Hindu tradition tells the story of Sachi, God Indra’s wife, who tried to taste the nectar of immortality. The nectar was too strong for her and she spit it out. Where the nectar fell on the ground, the allium flower blossomed.

In Poland, the flower-stalk of Allium Porrum (leek) used to be planted in the hands of the statues of Jesus the Savior. The allium flower meaning was the reed that was given to the Savior at the time of the Crucifixion.

Allium flowers as a symbol of unrequited love

According to an Arthurian legend, the Land of Astolet was the place of Elaine’s castle. This lady died of a broken heart because her love for Sir Lancelot remained unrequited. Due to this legend, one variety of allium flowers—Allium oschaninii or eschalot—symbolizes unrequited love.

What do the various colors of the allium flower mean?

Violet Allium Flower

The violet or lavender color of an allium flower is a symbol of elegance, grace, spirituality, mysticism and wisdom.

Purple Allium Flower

Purple has traditionally been associated with royalty and high status. Purple allium flowers are an expression of admiration, respect, and honoring the tradition.

Yellow Allium Flower

The yellow or golden color allium flowers symbolize life energy, joy, happiness, cheer, and friendliness.

White Allium Flower

White allium flowers are usually seen as representing purity, innocence and virtue.

Blue Allium Flower

Like the spacious blue sky or the blue vastness of the ocean, blue allium flowers symbolize open-heartedness, honesty, and tranquility.

Red/Burgundy Allium Flower

The red/burgundy allium flowers generally symbolize romance and passionate love. The red color is also seen as a color of excitement and courage.

Pink Allium Flower

Pink is the color of femininity and tender, romantic life. Pink allium flowers symbolize such gentle love and affection.

Orange Allium Flower

The orange allium flowers symbolize passion and excitement.

Interesting facts and characteristics of the allium flower

Due to the strong odor, the Allium flower are safe from pests, including rabbits and pesky deer.

Allium flowers contain organosulfoxides which are safe for humans but toxic to pets, including cats and dogs.

In some eastern cultures and religions (especially in Jainism and Hinduism), the use of allium is either restricted or completely forbidden.

In the Middle Ages, some allium bulbs (especially those of Allium cepa or common onion) were considered very valuable, and people used them to pay their rent with.

The early American Dutch settlers planted Allium schoenoprasum (chives) in the fields in which their cattle grazed, so that the milk would be naturally flavored with the taste of this plant.

Some matadors used to wear a clove of Allium sativum (garlic) on a string around the neck prior to and during a bullfight. Also, some sailors carried this plan on board as they believed it had the power to protect them against shipwreck.

All alliums have the property of lowering the blood pressure.

[fawnandshadows]

Elain Archeron Week Day 1 — Power

Green Witch Elain

Elain discovering her powers in secret…she’s been working with new herbs in her garden, herbs from everywhere. She walks around downtown Velaris — there is this one store that sells herbs and flowers from the different courts, and one that imports them from the continent — and this has become a ritual of sorts for her. Every Sunday morning.

She has always been curious, it was something that she was never able to fully delve into before. Something she always suppressed...but she finally has the freedom to explore her curiosity. So, she'll hide away in her garden and her gardening shed for hours. Taking excessive notes on all of the flowers and herbs, how they grow, how sensitive they are to the sunlight, which come alive at night, which has the intoxicating smell, and which tastes like strangely like vanilla.

It's in these moments that Elain starts to wonder...starts to think...about what other properties these herbs and flowers might have...So, she runs various experiments. Small ones at first, just to see their properties, how they interact with each other...eventually she started making tea.

She makes a brew for Azriel when he comes to her with a headache... She makes a brew for Cassian when his allergies are acting up... She makes a brew for Nesta when she is battered and aching after an intense training session... She makes a brew for Rhysand to quiet his mind when he's haunted by the past...and she makes a brew for Ferye when the morning sickness was so bad that she could barely keep her head up...

And she did all of this in secret...not wanting to draw any attention to herself...but wanting to help her family in any way she can