#grace byron

[ansatsu-sha]

Spa day / Gossip Girl S2E4

[ordinaryfailure]

There is a way out. The only way out there has ever been: to simply stop. To stop calling on higher powers alone, but to drive a friend to and from the hospital. Not just to ask if there’s anything you can do for your neighbor or friend or relative but simply to do it. To learn interdependence rather than individualism, to believe coalitions are more important than being right all the time. 

Grace Byron, “Perfect Little Baby” (2024)

[pynkhues]

I don't dislike Grace because none of the characters are perfect and this is probably asking a lot of a woman in 1910, but I really hated how she let her mom blame Louis for Paul's death, and treat him horribly, with very little pushback. Telling Louis "Don't let it inside" doesn't help much. But that's looking at things from a 21st century lens, for one.

I mean, they're not a family who communicates well at the best of times, but I wouldn't be surprised if there is a small part of her that blames him too. It was interesting to re-watch the ep last night and see how much the family just doesn't know what to do with Paul, but that there's really no shortage of love for him. He was institutionalised in Jaccksonville until their father died, and it's implied that Louis and their mother made the decision together to bring him home given the two-hander between them at breakfast, and are now effectively paying off the church to care for him.

It's a really interesting thread here, because in many ways Louis' both father and son for Florence in a way I don't think I picked up on the first time watching. He's patriarch of the family, but ultimately deferrent to Florence's matriarch, and this makes him both father and brother to Grace in the way that he'll later be both father and brother to Claudia.

And look, I do think Louis deep down knows it's not enough, but Grace is the only character to try and reconcile that in a scene I find super interesting, because Louis shifts directly between those roles - concerned and equal brother at first, and then shutting her down in a way that I would describe as quite paternalistic.

Paul's Grace's brother too, and what gets me about this scene is that it's like she can see it. She is worried, she is exploring their options, she's not ignoring the problem in the way that both Louis and their mother are, and it's a pattern that ultimately Louis repeats with Claudia. That paternalistic thread in him dismisses and diminishes the voices of women - including the women that he loves - in order to protect his own feelings, his own interests, his own priorities, under the guise of looking after those who can't look after themselves. The fact that immediately after this he tries to soften the harshness with the extravagant wedding gift too - again, Grace is a prized and spoilt daughter.

Paul's death is nobody's fault, he is so well-loved, but Grace, like Claudia, is voiceless and disempowered in her own family, and Louis offers her brotherhood with one hand and slams a hand on the table as her father with the other.

[zukkaoru]

while i do agree some of taylor swift's lyrics are. ???. sometimes i see things pointed out and criticized that would not get any reaction at all if they came from any other artist

[thatpunkmaximoff]

[Book Two of Three]

Story: 5 out of 5 Smut: 1 out of 5

Review: Love triangle is one trope I don’t mess with because it frustrates the living daylights out of me! So, when I saw that this is where the book was heading, I wanted so bad to just put it down.

But I didn’t and Foxglove proved to be a book full of mysteries and ghosts and a love that not even Fate could break apart.

I don’t know about any other reader, but I didn’t not know who the real culprit was until it was mentioned. It kept me in suspense until the characters themselves pieced it together, and then surprised the hell out of me when more was uncovered in the epilogue.

At first, I was not excited for Wisteria because Blythe annoyed me through most of Foxglove, but that epilogue had me laughing like Death and hopeful for the final installment of this trilogy.

* wtf, Fate? Why you such a dick?

* Oh, what now? Why is Signa affected after her visit with Death?!

* And now Blythe? What is going on?!

* So why is Elaine, Blythe’s lady’s maid, being so.. vocal.. when normally she’s quiet as a mouse? Something fishy is afoot.

* lol. Fate proclaimed himself a prince. Oh god. Let the games begin.

* Oohhhh, does Elijah suspect Signa of being something Other, other than being capable of speaking with the dead? And fuck you, Byron! How the fuck did you not speak in Elijah’s behalf?! He’s suffering in prison, you asshole!

* Wow. Fate’s really fucking with them, isn’t he? It was bad enough she couldn’t see Death unless someone was dying/dead, but now she can’t hear him in her mind. Dick move, Fate. And Death, I hope that you killing the only woman Fate has ever loved was either an accident or you just doing your job. I hope you’re not a dick either.

* I don’t like the mystery of all this 😂 Knowing that book 3 is about a separate couple and how dickish Fate is being, I’m scared Signa will die/join Death on the Other side.

* And now Byron’s is filling out Eliza’s dance card? The niece of the man who his brother is suspected of killing? Yeah, that’s not fishy at all.

* Ugh, Blythe. This is not a man you want to charm. Just listen to Signa 🤦🏻‍♀️

* Dammit. Don’t tell me Signa is Fate’s reincarnated love of his life..?

* Fate thinks Signa is WHO?! I’m not a fan of love triangles, but I guess I’ll continue to see where this goes. And also, why didn’t you put in your bargain to free Elijah from prison? So stupid, Signa!

* Damn. So that’s why Fate hates Death. But it’s not like it was his fault! Life knew it was her time to go. Asshole.

* So Blythe is annoying. I don’t know I’m gonna read a whole book dedicated to her 😬 And I don’t trust Byron for shit!

* So now Death knows who Signa really is- Life. Commence the love triangle 🤦🏻‍♀️

* Charlotte’s a conniving little twat. I’m so glad Blythe didn’t hold her tongue, but now I’m even more pissed that Blythe is curious about Percy’s disappearance.

* Fate is an annoying man. Just leave Signa and Death alone!

* Damn. Signa is jealous of another girl lying about Fate being there for her? And then Fate oh so casually confessed he’s not leaving until Signa accepts his proposal 😬 And Blythe..? What is going on with you, girl? Why so sad? You want a suitor too?

* Shit. Blythe finally confronted Signa 😬

* I know Blythe is allowed this reaction, but wow. I hope her visit with her father sucks. Fuck you.

* Oh damn. Signa really did leave.

* “I am a reaper. I am the night incarnate, the ferrier of souls. Death is at my command.”

* Damn. A spirit tried killing Signa her first night there at Foxglove Manor. That was cold lol. And what the hell is wrong with Elaine? Her skin glows and the spirits want nothing to do with her? I’m gonna laugh if it’s Fate parading around as Signa’s lady.

* Ugh. Blythe, you’re still so annoying to me lol.

* Finally a nice ghost! And who was supposed to be godmother to boot. I hope Signa turns Foxglove into a fabulous home.

* And the list of suspects and motives keep growing. Man, these people suck.

* Wtf, Aris? You should have never “kissed” Blythe like that. Now I’m really rooting for Death and Signa. Also, what the fuck is going on with Blythe? First she envisioned Elaine looking like a walking corpse, and now Eliza? Are these girls dead and Blythe is seeing passed glamours or something?

* Awww. Signa passed on a message to a grieving mother. That was so sad.

* Oh fuck you, Aris! Did you seriously pull Blythe into this mess and blame Death for everything?! Signa doesn’t need saving!

* Aris just keeps pissing me off more and more.

* Ugh, Blythe. You too. You and Aris/Fate deserve each other. Meddling fools.

* Dammnnnnn. Signa threw a ball and Death appeared. Someone’s dying.

* Oohh. The spirits were angry 😬

* So the found the killer, but Blythe still insists it’s Signa’s fault and she must marry Aris?! Fuck you.

* I have Fate so much rn.

* “You are my world, Signa Farrow. Whatever happens tomorrow, know that this will not be our final night together. I swear that nothing could ever stop me from fighting for you.”

* “You are mine. For as long as you’ll have me, you are mine, Signa Farrow. I will burn this world to cinders before I let anyone take you from me.”

* ..and Blythe redeemed herself, while also dooming herself. Being Fate’s wife is going to be miserable. I can see the enemies to lovers already 😂

* SIGNA ISNT LIFE!! Oh, I’m so happy.

* And the true killer is found! Wtf.

* Lmao okay, NOW I’m ready for Blythe and Fate’s book. They’re gonna kill each other 😂

[sesiondemadrugada]

The Eternal Daughter (Joanna Hogg, 2022).

[sweetdreamsjeff]

Jeff Buckley: Grace (Columbia)

Byron Coley, Spin, October 1994

ONE OF MY favourite sorts of music has no real generic handle by which it can be carried into the marketplace. Informed by jazz, rock, and folk traditions, it is not specifically aligned with any of them, vibrating in the air like a mahogany hen's egg held in the grip of unseen forces.

Performers capable of producing this stuff include Fred Neil, Tim Buckley, Michael Chapman, Karen Dalton, Roy Harper, Tommy Flanders, Cassandra Wilson, Tim Hardin, Bob Brown and others. One new name to add to this list is Jeff Buckley.

Jeff is the son of the late master singer Tim Buckley, and one assumes (from the fact that his bio doesn't mention his father) that theirs was not a close relationship. On his debut, Live at Sin-é, whenever Jeff's singing became too similar to his dad's, he'd head off into that quivery direction that Robert Plant used to, singing about things like "Silver and golden carrots/Fighting for a dead dog's love." This is an incredibly annoying tendency, but it's one that Buckley seems to be utilizing less and less.

As evidenced by Grace (and a great promo EP called Peyote Radio Theatre), Buckley is feeling a bit more self-confident these days. Some of this may come from the grounding his material has been given by the extraordinary guitarist Gary Lucas, with whom he works on some tunes here. Another layer of luxuriously creative loam is put down by the arrangements of Karl Berger (best known as an avant-garde vibraphonist), and Buckley seems to flourish in this particular garden.

The songs on Grace range from the perverted pop moves of 'So Real' (a composition that could have been lifted from Big Star's Third), to a pigeon-wide cover of Leonard Cohen's 'Hallelujah', to the exquisite tongue-pressure of 'Dream Brother' (a masterpiece of pseudo East-meets-West formalism). Throughout, Buckley's voice is lovely. Obnoxious tendrils of Plantism surface here and there, but Buckley follows his natural vocal inclinations more often than he tries to subvert them.

If Buckley continues to evolve in the direction that Grace indicates, only good things can result. Perhaps he can find a worthy musical doppelganger (as his father did, in Lee Underwood) and convince Karl Berger to actually play vibes on his next album. If he can do these two things, it won't be too long before he's ushered into the halls of greatness. Perhaps then he and his father can make peace.

© Byron Coley, 1994

[thebutcher-5]

Bolt - Un eroe a quattro zampe

Benvenuti o bentornati sul nostro blog. Nello scorso articolo abbiamo continuato per l’ennesima volta a discutere della Disney, portando avanti i loro classici animati e arrivando così al loro 47° lungometraggio animato, un’opera ingiustamente dimenticata e criticata, I Robinson – Una famiglia spaziale. Lewis è un orfano di dodici anni ed è un grande inventore, anche se i suoi macchinari tendono…

[justanothersimsblog]

For a lot the answer is boring: their parents. BUT for some there is variety so let's focus on them, shall we?

Charles was raised by his father Carlos and the Elders (minus Lady Seraphine). He was taught a lot of "traditional" values and ideas. From hunting, math, science, general rules of gentlemen, sports, etc to how to be a future leader. Befriending Grayson cemented some of these traditional ideas. He even dated who he was told to date. Luckily, he met Elizabeth.

Vera (and to some degree, Lara) raised themselves/ each other, especially after their mother's death. Their father was loving but distant, putting work first since that's what he thought he had to do. Their grandpa Carlos was more hands-on when they were little, and the other Elders were around a lot, especially when they were teens (after their mom's death).

Alan had his parents but he was mostly raised by his grandma (before she passed) and his nanny. His parents never really understood him.

Katra lived with Mrs King while she was a child and teen in St Erast. Mrs King taught her magic. Her parents thought she'd get a better education this way.

Fabian barely remembers his mom as he (and his sister Jenna) lived with their uncle for the majority of their formative years. Then, when he turned 18, his uncle revealed that he was the heir of another Bridgeport clan.

Ibis' generation is boring omg, everyone was raised by their parents with the exception of time in boarding school.

Now Lori is being raised by her mom and her friend Saylor. Ibis is purposely not present (now that he knows) because he thinks it'll work better this way. He believes he's protecting her.

who raised your oc?

[fushitoru]

EDIT: check out the series here!

thinking about writing a bridgerton!gojo fic (series?)....

duke gojo, who has stirred up everyone and their mamas with news of how he is finally joining the marriage scene this season after years of fooling around. of course, to no one's surprise, he is the season's most eligible bachelor. he's the strongest, whether that be in terms of wealth or other manly pursuits gentlemen ought to be good at. gojo isn't marrying for love. he just needs to be tied down to secure his inheritance so he can gamble and fool around at the gentleman's clubs with his friends until he drops dead one day.

you seek to be the perfect daughter in front of your parents. you have been taught to be the picture of grace and nobility, proficient at all things a lady must be good at: needlework, art, music...you name it. but deep inside, you have an affinity for literature---feminist literature. you secretly feel aversion towards the idea of marrying just to be a submissive wife but will not show it. you are perfectly content marrying any man that should not harm you as long as he has the means to provide for you and make your family proud.

upon your presentation to the queen, you are immediately crowned a diamond. the first ball of the season comes, and gojo undoubtedly has his eyes sight on you as the diamond of the season. after all, why would a duke need to settle for anything less when he can buy the shiniest jewel?

on your dance with him, you give all the template responses. "i would sire as many kids as my husband desires." you are afraid of pregnancy and even more so of raising kids. "of course I read byron!" you hate byron's poetry.

gojo is content, and you, tired of all the stares and hushed whispers that have followed you through the night, leave to get fresh air outside in the terrace. only to overhear:

"a bit simpleminded. has no opinions of substance that should cause conflict. she's perfectly fine for a wife. i shall begin courting her and will soon pro---"

at that moment, you have one thought in your mind: you will never marry satoru gojo. in fact, you abhor him.

cue insults thrown back and forth. when it comes down to having to marry gojo, the most eligible bachelor and the option that will make your parents the proudest, will it be a matter of fillial piety or...love?

dear reader, this season has definitely come forth with many promises of thinly veiled hatred, jealousy, and burning passion.

oops this is longer than the silly little thought i wanted to post but welp. the smut i have planned for this is outright nastyyy

comment if you'd like to be on the taglist for this

i also promise i have not forgotten about beach boy gojo :3 running into a bit of writer's block for that so my inbox is always open for ideas <3

[murdockparker]

Of the Same Mind

Benedict Bridgerton x Reader

Summary: A mutual distaste in a certain author—should he even have the grace to be called that—leads to an unexpected meeting.

Word Count: 1.9k

Warnings: mentions of drinking/alcohol, pregnancy, fluff, time skip

A/N: a cute lil request! made me actually read a little Byron myself to get the gist! and it wasn't that terrible I'm so sorry to disappoint

Dull. 

Everything was dull. What was supposed to be the social event of the season was shortened due to poor weather—an outdoors event of sorts, it seemed, Benedict really didn’t pay his mother much attention when she explained the whole ordeal. Thus, half of the ton was crammed into Lord Whitehill’s home instead of his luscious grounds, all due to the pouring rain. Most conversation was boring, most of the ladies were whining about the rain, the men whining about their whining wives and daughters. 

At least the drinks were good. 

“…seriously think that fodder is worth your breath?”

Benedict’s ears perked up, focusing on a conversation that was decidedly not about the current weather. A breath of fresh air. 

“I-I did not mean to insult you, miss,” a young gentleman sputtered, his face rosy red. “I only meant to indulge you in poetry of the highest regard—” 

“If that was your intention, you would have chosen from a finer list of poets. Byron?” The lady nearly laughed out loud. “Byron is the bottom of the barrel, as it were, so your intention was ill-placed.”

“Byron is a well-regarded poet—”

“By who? Chamber pots?” 

Benedict nearly spat out his drink. The action alone brought the attention of the arguing couple to him—both sets of eyes trained on the tall Bridgerton at once. “Oh,” he fake coughed, “it seems the drink went down the wrong way, please, forgive me.”

The man—who Benedict now recognized as Lord Whitehill’s son—scoffed. “Bridgerton. You are well versed in the arts, are you not?”

Benedict nodded. “I dabble.”

“Would you please explain to Miss (Y/L/N) that Byron is a novel poet,” Mr. Whitehill asked, “and that she should be flattered I recited poetry for her, regardless of the poet?”

Miss (Y/L/N). So that was the lady’s name. 

“But that would be lying, Whitehill,” Benedict gasped, pressing a hand to his chest. “And I am ever a gentleman, raised to never lie, especially to a fine lady such as Miss (Y/L/N).”

She smiled at that. 

“You do not agree?”

“Oh I certainly agree with Miss (Y/L/N),” Benedict said quickly, setting his glass down. “Byron is a mockery to the art—meaningless words and jaunty titles, why, I tried to read his latest and it put me right to sleep.”

“I fear I had the same reaction,” Miss (Y/L/N) said, turning to Benedict in earnest. “Right before I decided to throw it to the flames.”

They both laughed.

“Imbeciles, the both of you,” Mr. Whitehill said, pushing past the newly acquainted pair. “Keep insulting me like that and I’ll have my father throw the both of you out into the storm.”

“Mr. Whitehill,” Miss (Y/L/N) said softly, her eyes melting into puddles of apology. “I fear we were not insulting you, but rather your taste in poets. I also fear there is a stark difference in that, for if I were to insult you, I’d make a more fitting jab, more educated in that regard.”

The shorter gentleman stormed off, steam nearly pouring from his ears. Benedict laughed.

“I must say, Miss (Y/L/N),” Benedict leaned down. “You have quite the sharp tongue.”

“I am known to be rather well spoken,” she beamed, standing a little straighter. “Perhaps it is my taste in literature?”

“For that, I believe we are in agreement,” Benedict said, grabbing a fresh glass from the table beside him. “May I offer the lady a beverage?”

“Only if you decide to share whatever’s in that pocket of yours,” she pointed to his chest. Benedict’s ears went pink. “Do not think I did not see you pour an added flavoring into the lemonade—it seems impolite that you would neglect to share.”

“It would be impolite,” Benedict said, carefully pulling his flask out of his coat. “I am surprised you saw that, though, given the crowded room.”

“You are a tall man, Mr. Bridgerton,” she said, taking the glass from his hand. Benedict poured a healthy amount of clear liquor into her cup before adding the rest to his own. “I would have found it hard to ignore you.”

“Your first season? I presume?”

“Technically,” she said, looking up into his blue eyes. “My family, we just moved to Mayfair. My father came into some money and relocated us here this year, my brother is set to study at Eton in the fall.”

“And you?”

“I am now expected to marry a rich and eligible bachelor,” she laughed into her glass. “Which I really have no problem doing, save for the fact that gentleman is nothing like Mr. Whitehill.”

“Mr. Whitehill is rather rich,” Benedict smirked. “Would that not placate you?”

“And listen to him dribble about Byron? Perish that thought,” she said. “When I do marry, I expect my husband to be of the same mind, a similar taste in the arts.”

“You know,” Benedict nearly whispered, “that is an admirable thought. But how will you find this man?”

She looked him up and down, quickly and all at once, returning to drink from her glass.

“I suppose I will know when I find him,” she smirked.

Benedict smiled back. “Well, please let me know when you do, I feel rather invested in your prospects.”

“You will be the first to know, I assure you,” Miss (Y/L/N) said, nodding her head. “But, if I may be so bold, if you are not currently preoccupied, would you care to further our discussion on Byron? It is hard to find someone who agrees with such a… contrasting opinion of the poet.”

“Why, Miss (Y/L/N),” Benedict finished his glass, offering his arm, “I was afraid you’d never ask.”

—

The gardens on the property were lovely, so lush and full of life. She made good on her promise to keep them well maintained, only keeping the finest blooms and plants in their care. It was always the perfect place to spend time on days like today, sunny, a gentle breeze. 

They had given the governess a day off, her mother had fallen ill, it was the least the Bridgertons could do for her.

“Mother!” 

The lady looked up from her book, eyes meeting with her eldest daughter. Blue eyes, just like her father.

“Yes, darling?”

“Might I go inside to grab other books? Aunt Eloise recently sent some to Father and I want to read them.”

The lady gave her daughter a trying look. “Do you not think they may be above your comprehension level, my love? They were intended for your father, after all.”

“No need,” a looming voice bellowed. “I have them right here.” 

She didn’t need to look up to know who it belonged to. “Benedict, I thought you were spending time in the studio this afternoon.”

“And miss spending time with my darling wife and children?” Benedict grinned, the crooked way she fell in love with. “That seems foolish on my part.”

“Father!” Their eldest exclaimed, running over to the tallest Bridgerton. “You brought the books?”

“Indeed,” Benedict nodded, handing the parcel off to his daughter. “Aunt Eloise thought we may have better use of these than her and Phillip do.”

Their daughter lit up with excitement—ever the reader, she was. It took a village to keep their library stocked with appropriate books for her age, but she was quickly out-reading her entire family’s collection. “Thank you, Father!”

“Well,” Benedict said modestly, “you must write to your Aunt Eloise and thank her, I had little to do with such a gift.”

“What about me, papa?” 

Their son, only a few years younger than their daughter came bounding up past his escaping sister, clearly having been playing in the mud. “Do I have any gifts from auntie?”

(Y/N) opened her arms. “Not this time, sweetheart, but come here, let mama wipe that dirt off of your nose—” 

“No!” He exclaimed, turning from his mother. “Dirt makes me ruggable—like Uncle Colin!”

“Rugged,” Benedict corrected gently. “And, no, dirt makes you dirty. You need to stop spending so much time with Colin…”

“Once baby brother is here I will,” their son nodded, putting both hands on his hips, looking down at his sitting mother.

“Oh darling,” (Y/N) said, trying to raise to her feet. Benedict quickly offered his hands, pulling her up. “Baby will not be here for a few more months.”

“Then more time with Uncle Colin!”

Benedict and (Y/N) sighed, watching their adventurous son run back to the mud. “We must write Colin, tell him of the monster he has created.”

“Our eldest is such an easygoing flower,” Benedict said, noting how she was carefully skimming through the various books on her lap. “Our son tests our patience.”

“And how do you think this one will be?” (Y/N) asked, placing his hand on her swelling stomach. She only had two or so more months until the delivery, if she had been correct on the conception. The latest Bridgerton wedding seemed to be the culprit, stolen kisses and a romantic rendezvous to the greenhouse away from the party—it was a perfect recipe for baby number three. “Calm and collected? Devilish and adventurous?”

“I pray they are just like their mother,” Benedict rubbed her belly affectionately. “And perhaps a bit more behaved than their brother… I suppose I should also write my mother an apology.”

“Whatever for?”

“I reckon my brothers and I acted much like our son,” Benedict said sheepishly. “Acting like Bridgerton boys, I am afraid.”

“As if that is the only explanation,” she giggled, leaning into his side. “But I am sure your mother would appreciate such a gesture. Perhaps you should send her a bouquet from our garden, too?”

“An excellent idea, my love,” Benedict said, pressing a kiss to her temple. “What a brilliant mind you have.”

“Father, Mother!” Their daughter called out, waving them towards her. “Aunt Eloise sent a book by an author I have never heard of before.”

“Oh?” Benedict quirked his brow, walking with his wife over to her. “And what author may that be?”

“A Lord Byron,” she said, showing the book with a deep brown cover to her parents. Benedict scooped the tome quickly from his daughter’s grasp, holding it close to his chest.

“And you shall never read such filth,” Benedict said seriously.

“Oh Benedict,” (Y/N) laughed. “Perhaps we should allow our daughter to expand her mind—come to her own conclusions on the matter? Surely Aunt Eloise meant the gift in kind.”

“Aunt Eloise clearly meant to send it as a cruel prank,” Benedict corrected.

“What is so wrong with that author, Father?”

“A shorter conversation would be what is not wrong with this author,” Benedict said, turning to call his son. The little boy ran over to his father’s side, ever eager. “Take this and bury it, preferably far away from here.” His wife could not stop her laughter, watching their son hurriedly run over to the new rose bushes, making good work at digging a deep enough hole for the book. “You,” Benedict pointed at the girl, “are forbidden to read anything written by that lowly man.”

“Oh Benedict,” (Y/N) admonished, trying hard to stop her laughter, “forbidding her from reading seems silly—”

“Are we not of the same mind on Byron?” Benedict asked. “I rather think that is how we met, is it not, dearest wife?”

She pursed her lips, fighting a smile. “We are.”

“Besides,” Benedict stood a little straighter, “the roses could use a bit more sustenance.”

She could only roll her eyes.

[lauralot89]

19th Century Vampire Lit I'm Gonna Read

Because I've lost my mind.

Most of these texts were found with the aid of these two posts. I did not include any of the stories listed as "not technically about vampires," except for "Let Loose," because it concerns a specter seeking blood, and "Vampirismus," because it's called "Vampirismus."

A strikethrough indicates that I've already read the work. Bold text indicates that I cannot find an English translation, whether online or for purchase. If you know of English translations of any bolded titles, please let me know.

Thalaba the Destroyer, Robert Southey (1801)

"The Vampire," John Stagg (1810)

The Giaour, Lord Byron (1813)

"A Fragment of a Novel," Lord Byron (1816)

"The Vampyre," John William Polidori (1819)

The Black Vampyre, Uriah Derick D'Arcy (1819)

The Vampire Lord Ruthwen, Cyprien Bérard (1820)

The Vampire, or The Bride of the Isles, J.R. Planché (1820)

The Vampire, Charles Nodier (1820)

"Vampirismus," E.T.A. Hoffman (1821)

Smarra, or Demons of the Night, Charles Nodier (1821)

"Wake Not the Dead," Ernst Raupach (1823)

The Vampire, or the Hungarian Virgin, Étienne-Léon de Lamothe-Langon (1825)

Der Vampyre und seine Braut, Karl Spindler (1826)

La Guzla, ou Choix de Poesies Illyrique, Prosper Merimee (1827)

"Pepopukin in Corsica," Arthur Young (1827)

The Vampire, Heinrich Masrschner and Wilhelm August Wohlbrück (1828)

The Skeleton Count, or the Vampire Mistress, Elizabeth Caroline Grey (1828)

Der Vampyre, oder die Totenbraut, Theodor Hildebrand (1828)

"The Vampire Bride," Henry Thomas Liddell (1833)

Clarimonde, Théophile Gautier (1836)

The Family of the Vourdalak, Aleksey Tolstoy (1839)

The Vampire, Aleksey Tolstoy (1841)

"The Vampyre," James Clerk Maxwell (1845)

Varney the Vampire, or The Feast of Blood, James Macolm Rymer (1845-1847)

The Pale Lady/The Carpathian Mountains/The Vampire of the Carpathian Mountains, Alexandre Dumas (1849)

"The Vampyre," Elizabeth F. Ellet (1849)

The Phantom World [select chapters], Augustin Calmet (1850)

The Vampire, Alexandre Dumas (1851)

The Vampires of London, Angelo de Sorr (1852)

The Dead Baroness/The Vampire and the Devil's Son, Pierre Alexis Ponson du Terrail (1852)

"The Vampire," Charles Pierre Baudelaire (1857)

Knightshade/The Shadow Knight, Paul Féval (1860)

"The Mysterious Stranger," Karl von Wachsmann (1860)

"Metamorphosis of a Vampire," Charles Pierre Baudelaire (1860)

The Vampire of the Val-de-Grace, Leon Gozlan (1861)

"The Vampire; Or, Pedro Pacheco and the Bruxa," William H.G. Kingston (1863)

The Vampire/The Vampire Countess, Paul Féval (1865)

Vampire City, Paul Féval (1867)

"The Last Lords of Gardonal," William Gilbert (1867)

Vikram and the Vampire, Sir Richard Francis Burton (1871)

"The Vampire Cat of Nabéshima," Algernon Bertram Freeman-Mitford (1871)

Carmilla, Joseph Sheridan Le Fanu (1872)

"Ghosts," Mihail Eminescu (1876)

Der Vampyr – Novelle aus Bulgarien, Hans Wachenhusen (1878)

Captain Vampire, Marie Nizet (1879)

"The Fate of Madame Cabanel," Eliza Lynn Linton (1880)

After Ninety Years, Milovan Glišic (1880)

"The Vampyre," Owen Meredith (1882)

"The Vampire," Jan Naruda (1884)

"Manor," Karl Heinrich Ulrichs (1884)

"The Vampyre," Vasile Alecsandri (1886)

The Horla, Guy de Maupassant (1887)

"Ken's Mystery/The Grave of Ethelind Fionguala," Julian Hawthorne (1887)

"A Mystery of the Campagna," Anne Crawford (1887)

"Romanian Deaths and Burials-Vampires and Werewolves," Emily Gerard (1888)

"The Old Portrait," Hume Nisbet (1890)

"The Vampire Maid," Hume Nisbet (1890)

"Let Loose," Mary Cholmondeley (1890)

The Castle of the Carpathians, Jules Verne (1892)

"The Vampire," Felix Dahn (1892)

The Parasite, Sir Arthur Conan Doyle (1884)

"The True Story of a Vampire/The Sad Story of a Vampire," Count Eric Stenbock (1894)

"A Kiss of Judas," Julian Osgood Field (1894)

Lilith, George MacDonald (1894)

"The Prayer," Violet Hunt (1895)

"Good Lady Duncayne," Mary Elizabeth Braddon (1896)

"The Vampire of Croglin Grange," Augustus Hare (1896)

"Phorfor," Matthew Phipps Shiel (1896)

Dracula, Bram Stoker (1897)

"Dracula's Guest," Bram Stoker (1914*)

The Blood of the Vampire, Florence Marryat (1897)

*"Dracula's Guest" was first published in 1914 but was written either concurrent to or before the writing of Dracula.

I'm going to be honest. When I began, I thought there were four nineteenth century vampire stories. Five if you count Dracula's Guest. I've made a huge mistake.

[hotvintagepoll]

THE TOURNAMENT IS OVER! Eartha Kitt lounges in her deck chair in the sun, dipping her toes in the pool with Toshiro Mifune and sipping a brightly colored fruity something with an umbrella in it.

Far below in the shadow realm, however, the fallen hotties dance in the dark—let's take a minute to look back at them under the cut.

PRELIM PRETTIES:

Claude Gensac, Silvia Pinal, Ewa Aulin, Rita Tushingham, Annette Funicello, Norma Bengell, Catherine Spaak, Brigitte Auber, Micheline Presle, Nanette Fabray, Libertad Lamarque, Vera Miles, Martha Raye, Catherine McLeod, Virginia Mayo, Elizabeth Allan, Belle Bennet, Virginia Cherill, Mary Brian, Ruth Chatterton, Agnes Ayres, Merna Kennedy, Marie Prevost, Corinne Griffith, May Allison, Virginia Brown Faire, Alice Brady, and Jetta Goudal

ROUND ONE WONDERS:

Angie Dickinson, Thelma Ritter, Geraldine Chaplin, Evelyn Preer, Vanessa Brown, Betty Blythe, Susan Hayward, Mae Clarke, Sally Ann Howes, Ossi Oswalda, Adrienne La Russa, Hermione Gingold, Barbara Bouchet, Melina Mercouri, Anna Karina, Edwige Fenech, Charmian Carr, Pina Pellicer, Marlène Jobert, Tsuru Aoki, Alice Roberts, Leila Hyams, Lady Tsen Mei, Geneviève Bujold, Dolores Hart, Anita Berber, Bonita Granville, Vonetta McGee, Claire Windsor, Zizi Jeanmaire, Tuesday Weld, Grace Darmond, Carol Channing, Deanna Durbin, Laraine Day, Mariette Hartey, Wendy Hiller, Candy Darling, Hermione Baddely, Valeria Creti, Ella Raines, Ann Miller, Dana Wynter, Dalida, Martine Beswick, Gale Storm, Simone Signoret, Cristina Gaioni, Mabel Normand, Stéphane Audran, Ruth Weyher, Anna Wiazemsky, Ann Sheridan, Sandhya Shantaram, Alice White, Anne Francis, Gena Rowlands, Lyda Borelli, May Whitty, Cathleen Nesbitt, Jessica Walter, Virna Lisi, Barbara Shelley, Iris Hall, Heather Angel, Anne Shirley, Joanna Pettet, Virginia O'Brien, Joan Collins, Greer Garson, Gracie Allen, Peggy Ryan, Frances Dee, Shirley Maclaine, Geraldine Farrar, Kathleen Byron, Margaret Hamilton, Eva Gabor, Francesca Bertini, Julie Adams, Olga Baclanova, Misa Uehara, Yvette Vickers, Milena Dravić, Jenny Jugo, Madeleine Carroll, Benita Hume, Olive Borden, Shirley Jones, Miyoshi Umeki, Dorothy Lamour, Gale Sondergaard, Mary Anderson, Charlotte Greenwood, Sybil Seely, Mona Barrie, Kathryn Grayson, Katharine Ross, Madge Bellamy, Rhonda Fleming, Sally Gray, Jana Brejchová, Debra Paget, Madame Sul-Te-Wan, Evelyn Brent, Zelma O'Neal, Marie Laforêt, Türkan Şoray, Beatriz Costa, Irene Zazians, Eleanor Powell, Susan Luckey, Patsy Kelly, Lil Dagover, Norma Talmadge, Dorothy Mackaill, Madge Evans, Virginia McKenna, Amália Rodrigues, Mamie Van Doren, Valerie Hobson, Isabel Jeans, Beata Tyszkiewicz, Claire Luce, Aleksandra Khokhlova, Nieves Navarro Garcia, Janet Leigh, Carmen Miranda, Jean Harlow, Aud Egedge-Nissen, Nina Foch, Jean Simmons, Piper Laurie, Katy Jurado, Jayne Mansfield, Anita Garvin, Frances Farmer, Lizabeth Scott, Joan Greenwood, Una Merkel, Arlene Francis, Ethel Merman, Doris Day, Suzanne Pleshette, Ruta Lee, Carolyn Jones, June Richmond, Eva Nil, Diana Dors, Anna Chang, Colleen Moore, Alexis Smith, Yvette Mimieux, Ruby Keeler, Viola Dana, Dolores Grey, Marie Windsor, Danielle Darieux, Jean Parker, Julie Christie, Acquanetta, Leatrice Joy, Ghita Nørby, Julie Newmar, Joanne Woodward, Sandra Dee, Eva Marie Saint, Simone Simon, Katherine Dunham, Birgitte Price, Lee Grant, Anita Page, Flora Robson, Martha Sleeper, Elsie Ames, Isabel "Coca" Sarli, Glenda Farrell, Kathleen Burke, Linden Travers, Diane Baker, Joan Davis, Joan Leslie, Sylvia Sidney, Marie Dressler, June Lockhart, Emmanuelle Riva, Libertad Leblanc, Susannah Foster, Susan Fleming, Dolores Costello, Ann Smyrner, Luise Rainer, Anna Massey, Evelyn Ankers, Ruth Gordon, Eva Dahlbeck, Ansa Ikonen, Diana Wynyard, Patricia Neal, Etta Lee, Gloria Stuart, Arletty, Dorothy McGuire, Mitzi Gaynor, Gwen Verdon, Maria Schell, Lili Damita, Ethel Moses, Gloria Holden, Kay Thompson, Jeanne Crain, Edna May Oliver, Lili Liliana, Ruth Chatterton, Giulietta Masina, Claire Bloom, Dinah Sheridan, Carroll Baker, Brenda de Banzie, Milú, Hertha Thiele, Hanka Ordonówna, Lillian Roth, Jane Powell, Carol Ohmart, Betty Garrett, Kalina Jędrusik, Edana Romney, Geraldine Fitzgerald, Kay Kendall, Ruth Hussey, Véra Clouzot, Jadwiga Smosarska, Marge Champion, Mary Astor, Ann Harding, María Casares, Maureen O'Sullivan, Mildred Natwick, Michèle Morgan, Romy Schneider, Elisabeth Bergner, Celeste Holm, Betty Hutton, Susan Peters, Mehtab, Leslie Caron, Anna Sten, Janet Munro, Nataša Gollová, Eve Arden, Ida Lupino, Regina Linnanheimo, Sonja Henie, and Terry (what a good girl)

ROUND TWO BEAUTIES:

Evelyn Nesbit, Thelma Todd, Tura Satana, Helen Gibson, Maureen O'Hara, Rocío Dúrcal, Mary Nolan, Lois Maxwell, Maggie Smith, Zulma Faiad, Ursula Andress, Musidora, Delphine Seyrig, Marian Marsh, Leatrice Joy, Sharon Tate, Pina Menichelli, Teresa Wright, Shelley Winters, Lee Remick, Jane Wyman, Martita Hunt, Barbara Bates, Susan Strasberg, Marie Bryant, Diana Rigg, Jane Birkin, Rosalind Russell, Vanessa Redgrave, Brigitte Helm, Gloria Grahame, Rosemary Clooney, Bebe Daniels, Constance Bennett, Lilian Bond, Ann Dvorak, Jeanette Macdonald, Pouri Banayi, Raquel Welch, Vilma Bánky, Dorothy Malone, Olive Thomas, Celia Johnson, Moira Shearer, Priscilla Lane, Dolores del Río, Ann Sothern, Françoise Rosay, June Allyson, Carole Lombard, Jeni Le Gon, Takako Irie, Barbara Steele, Claudette Colbert, Lalita Pawar, Asta Nielsen, Sandra Milo, Maria Montez, Mae West, Alma Rose Aguirre, Bibi Andersson, Joan Blondell, Anne Bancroft, Elsa Lanchester, Nita Naldi, Suchitra Sen, Dorothy Van Engle, Elisabeth Welch, Esther Williams, Loretta Young, Margueritte De La Motte, Ita Rina, Constance Talmadge, Margaret Lockwood, Barbara Bedford, Josette Day, Stefania Sandrelli, Jane Russell, Doris Dowling, Zsa Zsa Gabor, Donna Reed, Ruby Dee, Diana Sands, Billie Burke, Kyōko Kagawa, Françoise Dorléac, Hend Rostom, Monica Vitti, Lilian Harvey, Marjorie Main, Jeanne Moreau, Lola Flores, Ann Blyth, Janet Gaynor, Jennifer Jones, Margaret Sullavan, Sadhana, Ruby Myers, Lotus Long, Honor Blackman, Marsha Hunt, Debbie Reynolds, Michèle Mercier, Irene Dunne, Jean Arthur, Judy Holliday, Tippi Hedren, Susse Wold, Vera-Ellen, Carmelita González, Nargis Dutt, Purnima, Harriet Andersson, Yvonne De Carlo, Miroslava Stern, Sheila Guyse, Helen, Margaret Dumont, Betty Grable, Joan Bennett, Jane Greer, Judith Anderson, Liv Ullman, Vera Zorina, Joan Fontaine, Silvana Mangano, and Lee Ya-Ching

ROUND THREE ELECTRIFIERS:

Jean Hagen, Sumiko Mizukubo, Mary Philbin, Ann-Margret, Margaret Rutherford, Claudia Cardinale, Eleanor Parker, Jessie Matthews, Theresa Harris, Brigitte Bardot, Alla Nazimova, Faye Dunaway, Marion Davies, Anna Magnani, Theda Bara, Myrna Loy, Kay Francis, Fay Wray, Barbra Streisand, Bette Davis, Hideko Takamine, France Nuyen, Claudine Auger, Miriam Hopkins, Maylia Fong, Samia Gamal, Maude Fealy, Machiko Kyō, Sharmila Tagore, Lucille Ball, Ginger Rogers, Juanita Moore, Anna Fougez, Waheeda Rehman, Ruan Lingyu, Nina Mae McKinney, Ethel Waters, Nadira, Olivia de Havilland, Abbey Lincoln, Louise Beavers, Agnes Moorehead, Lana Turner, Norma Shearer, Maria Falconetti, Reiko Sato, Marie Doro, Clara Bow, Margaret Lindsay, Catherine Denueve, Madhabi Mukherjee, Rosaura Revueltas, Hu Die, Mary Pickford, Fredi Washington, Louise Brooks, Leonor Maia, Merle Oberon, Paulette Goddard, Vivien Leigh, Francine Everett, Savitri, Tita Merello, and Meena Kumari

ROUND FOUR STUNNERS:

Judy Garland, Dorothy Dandridge, Yoshiko Yamaguchi, Marilyn Monroe, Irene Papas, Lupe Vélez, Pola Negri, Gene Tierney, Barbara Stanwyck, Gina Lollobrigida, Lena Horne, Nutan, Jean Seberg, Kim Novak, Gladys Cooper, Tallulah Bankhead, Linda Darnell, Julie Andrews, Carmen Sevilla, Gloria Swanson, Glynis Johns, Anne Baxter, Angela Lansbury, Anita Ekberg, Toshia Mori, Deborah Kerr, Hazel Scott, Chelo Alonso, Cyd Charisse, Nancy Kwan, Devika Rani, Shima Iwashita, and Anouk Aimée

ROUND FIVE SMOKESHOWS:

Setsuko Hara, Pearl Bailey, Joan Crawford, Madhubala, Marpessa Dawn, Keiko Awaji, Rita Hayworth, Veronica Lake, Ava Gardner, Greta Garbo, Grace Kelly, Xia Meng, Suraiya, Natalie Wood, María Félix, and Mbissine Thérèse Diop

ROUND SIX SEXY LADIES:

Marilyn Monroe, Sophia Loren, Vyjyanthimala, Jane Fonda, Katharine Hepburn, Josephine Baker, Elizabeth Taylor, and Ingrid Bergman

QUARTER FINALIST GLAMAZONS:

Audrey Hepburn, Marlene Dietrich, Anna May Wong, and Lauren Bacall

SEMIFINALIST ICONS:

Rita Moreno, Diahann Carroll

FINALIST FABULOSITY:

Hedy Lamarr

ULTIMATE CHAMPION OF THE HOT & VINTAGE MOVIE WOMAN TOURNAMENT:

Eartha Kitt

[kissmetwicekissmedeadly]

MIDNIGHT CINDERELLA MEMORIAL POST

The Midnight Cinderella app will be closed on Monday August 26th, 2024 (5 PM JST). The English version was actively updated from 2014 to 2021 when Cybird announced the ceasing of operations for MidCin, but the app remained accessible until today. I'm sure I'm not the only one who mourns the loss of it even after all these years of discontinuation, so I wanted to put together a post to properly say goodbye to it. Trying my best not to make it all too sappy - I'd rather look at it as a show that reached its final episode. Some things might be left unresolved but in the end, you remember the cast and the emotions they made you feel more than the actual plot. Nowadays there arguably may be better titles by Cybird out there, but for me, the simplicity of MidCin was what made the details so memorable.

1. VIDEO - POV: You're playing Midnight Cinderella (for 10 minutes)

The 10-minute version (without sound) is accessible via the link above (opens in Google Docs) This one I was really excited about recording! It's just your normal day playing midcin, I'm sure many will find it nostalgic and comforting. You log in, claim your daily bonus (I used the chance to do a present box reveal, 90+ items, many of which you might recognize from route grace checks), play the garden gacha (in my case, I used up all the points I had accumulated, 7800 which equals 39 solos), do your princess lessons, change your avatar, greet your friends, read 1/5 of today's free story parts, check the ranking and your stats, look at your memories directory. The video has no sound, as the game wouldn't let me turn it on (you will see me try to do so throughout the video...) but later on I got it to work so I recorded a one-minute video (the one imported above) of me replenishing stamina just for those iconic sound effects that you either loved or absolutely couldn't stand the volume of, haha.

2. A Midnight Cinderella playlist (spotify link)

While I wasn't there for the early days of midcin, the songs I associated with the game almost always captured this very specifically nostalgic 90s-10s period, you'll see what I mean. Many of those are taken from 8track playlists dedicated to Midnight Cinderella, and if I'm not mistaken you can still look at what is left of them if you search them up. Others are just my very random interpretations of the route stories and the characters.

3. Fic recommendations

We have a lovely community of creatives and there are still so many works left behind which you can check out on the tags! But especially for fics I wanted to list some that truly touched me during the years (all links open in ao3) -

i'm on fire and its NSFW bonus scene bloodstream by a deleted user - words are not enough for this one. It's like it meant more than Nico's whole route for me at one point, and the songs are forever in my heart as Nico songs...

MidCin Works by DBMidCin (SoftSen) - ALL of these. This is my go-to collection of writings for midcin when I start to miss the game, it has a little bit of everything. The headcanon of Giles teaching his girls French for instance is one of the things I still remember reading like it was yesterday!

Bedroom Etiquette (NSFW) by RubyLeeRay - Because this is the dream. Doing something forbidden with your tutor Giles is the ultimate fantasy, I swear. I just love it.

And of course, many, many more. There are currently 166 works on the midcin tag in Ao3, and I'm sure there are a lot of hidden gems here on tumblr as well! Reminder that writers LOVE it when you interact with their old works, it's not weird, you shouldn't hesitate doing so if you find yourself enjoying any of them! <3

4. My own humble collection of MidCin writings on my writing blog @xxsycamore!

Maid, Butler, Chamberlain (NSFW) - Nico x MC with Giles joining them

Grabbles: 💋 Demand for a kiss, right here, right now (GILES); 👔 Stealing their clothes to cuddle when you miss them (BYRON); more coming soon as there are still some in my askbox and I plan on including midcin in future short writings request openings too.

Shared Moments (NSFW) - Nico x Reader - Secret relationship

Ice-cold heat (NSFW) - Byron x Reader - Temperature play

Double the Surprise - Alyn and Leo birthday fic

Leo Crawford having a misadventure with a cat (ao3 link) - crack fic featuring most of the suitors

5. Out of context Midnight Cinderella screenshots

This is a sideblog of mine dedicated to posting out-of-context funny screenshots that I took while playing the routes - @oocmidcin . If you have some of your own that are not on there, you're free to submit them and add to the archive!

6. The perfect MidCin song - The Moon Will Sing by The Crane Wives

When I first discovered this song back in 2020 I dreamed of making it into a midcin music video with simplistic art and animations... It ended up being just something you daydream in detail about while in the car, but that's alright. I could at least share my vision with you! Disclaimer, this is just an interpretation and obviously it can't fit all characters ideally - In the brackets, I explain how the lyric is related to them and usually it reveals their backstories. Some of the details I've already forgotten, sorry if it's inaccurate.)

Tell me once again

I could have been anyone, anyone else

Before you made the choice for me

(Giles - his family making the choice for him since birth and later disowning him once he failed to become a knight due to his illness)

My feet knew the path

We walked in the dark, in the dark

I never gave a single thought to where it might lead

(Nico - wandering the streets with his mother once they were thrown out of Stein castle because she was a commoner having an affair with Byron's father, the King)

All those empty rooms

We could have been anywhere, anywhere else

Instead I made a bed with apathy

(Robert - the empty rooms of the once flourishing palace of the country that Robert ruled and led to demise, nowadays becoming a mere court painter)

My heart knew the weight

Ten years' worth of dust and neglect

We made our peace with weariness and let it be

(Leo - the years in which Alyn didn't speak to him, after the death of their parents)

The moon will sing a song for me

I loved you like the sun

Bore the shadows that you made

With no light of my own

(Albert - loyally standing in king Byron's shadow)

Name your courage now

We could have had anything, anything else

Instead you hoarded all that's left of me

(Sid - his relationship with his fiance that he agreed upon just to find out more about his parents by getting close to her father)

Swallowing your doubt

Like swords to the pit of my belly

I want to feel the fire that you kept from me

(Alyn - searching for answers about the murder of his family and the fire that burnt down their home)

I shine only with the light you gave me

(I could have been anyone, anyone)

(Louis - being a nobody and MC being his sun)

7. It goes on

I went to read what I could of chapter 4 of Rayvis' route, using my last two chapter tickets as well, thinking it won't make me cry. And then I'm hit with those familiar things.

So let's close this with a word about the things that never change in the universe of Midnight Cinderella.

Stumbling down the grand staircase and right into the arms of somebody. Escaping the palace at midnight with Nico's help. Sitting at breakfast with Giles giving you your schedule for the day. Nico's teasing little smile as he accompanies you everywhere and listens to your relationship troubles. The way he's just a little suspicious at times. Finding Robert painting in the garden of Wysteria palace. Going to the room of your chosen suitor for the first time and meeting a pet there. Leo teaching you history and politics in his office. Dance lessons with Louis. Needing those dance lessons because King Byron is coming to Wysteria and a ball is going to take place. The bureaucrats being unhappy with you as a princess elect, no matter what. Galloping on a horse with Alyn who just protected you from an enemy attack. Getting information from a certain flirty merchant at a bar. Albert bickering with Nico, Sid teasing Louis. Being introduced to Archduke Herneit at Stein castle. King Byron appreciating the night sky. The sight of your yellow and orange princess elect room where on the large bed with its blue bedframe and tall see-through canopy you lie awake and think about the events of the day and how would a wise future Queen of Wysteria deal with the current situation. But ultimately you fall asleep, hearing the melancholically beautiful sounds of a violin coming from somewhere deep within your dream, and leave it all to the following day.

Thank you for everything, Midnight Cinderella!

08/26/2024

[pynkhues]

Idk if uve discussed this before, im new haha but I really enjoy your readings of the show and I’m curious, would u call louis a femme? Idk i think it’s a widely accepted canon in the fandom and i constantly see it spread all over twitter with no argument whatsoever and im over here like i.. i dont see it?? Idk!

Hey! Welcome, anon! And thank you for your kind words! You’re very sweet!

I think I’ve probably discussed it in fragments before, but not outright said it, but no, I wouldn’t call Louis a femme. It’s certainly a largely accepted fanon in a vocal part of the fandom, particularly on Twitter and ao3, and yeah - - I mean. I’m really glad people are having fun with it! I do also sometimes feel they’re watching a different show to me though, because it’s honestly not something I see at all. I don’t know if their arguments are necessarily organized in the one place (although I could be very wrong in terms of that!) but I might use this as an opportunity to collate my thoughts and the previous posts I’ve made addressing the arguments around this particular topic. SO! Okay! Let’s break it down and dive in:

Louis is femme because he’s a Gothic Heroine

I just don’t agree with this argument, I’m sorry. I’m not going to get into the weeds of this one, just because I feel like I’ve done so already, but I don’t personally read Louis as a gothic heroine at all. In fact, I see him as a very archetypical Byronic Hero, which I talked about in this post, and in others in my Byronic Hero tag.

Louis is femme because he is a Battered Housewife / relying on a Sugar Daddy

This point often gets tied up into the gothic heroine one, and it’s one that always kind of surprises me a little bit. Even putting aside the fact that it’s an ugly, misogynistic trope in general, Louis’ relationship to being a quote-unquote ‘housewife’ is one that – to me – is symbolic of his feelings of emasculation in the Rue Royale household not as a result of Lestat alone, but as a result of the white power structures in New Orleans that would disempower and disenfranchise him. He doesn’t like it, it doesn’t make him ‘femme’, in fact, my interpretation is the opposite – it emasculates him as a Black Man, and he feels that in every part of his life to the point that both his daughter and sister weaponize it against him, and I personally think it’s a factor in his periodic impotence in his marriage. Respectively, Claudia calls him the housewife, and Grace calls Lestat his white daddy – these aren’t compliments, these are callous insults from both of them designed to bruise his pride and force him into action. The fact that neither of them work to move him the way they want doesn’t mean Louis identifies with them, rather it means he’s – at the time – committed to Lestat for better and worse, but their words compound in a way that fuels his resentment of Lestat as both an adulterous husband and a symbol of everything wrong with his life.

Further to that – and I say it in the Byronic Hero/Gothic Heroine post that I link to above  – but a vital part of power dynamic tropes in gothic literature is that women lose power through marriage, they don’t gain it, and Louis does, in fact, gain it. Lestat’s a ticket to social advancement for Louis because as much as Louis (rightfully! It’s extremely racist!) hates being forced into a servitude role publicly at the theatre or in lease agreements, it’s Lestat’s whiteness that allows Louis into more conversations politically, and eventually allows him to buy the Fair Play Saloon and turn it into The Azaelia. It’s a limited power, of course, as a result of his race and the era, but the show actually explicitly lays out certain things for us like the fact that Louis pays Lestat back in full, and pointedly, that Louis never felt that he had to pay Lestat back at all:

The last line of which is Louis greeting Lestat not as a sugar baby or a housewife walking out to his sugar daddy or husband, but as a business man to his husband.

In fact, the interesting exchange of power in that sequence actually leans to the reverse as Lestat ends up playing host to a new client while Louis lords over an empire.

(You can't see it exactly in these subtitles, but it's Louis who says 'you about five years late', and Lestat honeytrapping with taking the man away).

It's a dynamic that repeats with the musician who tries to leave that Lestat coerces into staying - Louis' king of the castle, and Lestat, the show implies, I feel, plays the placating partner smooting over the edges.

But isn’t Lestat a symbol of patriarchal power in the Rue Royale Household?

I’ve had a couple of asks about this and have a long reply in my drafts that I’ll try and post this weekend, but yes and no? I think in Rue Royale, Lestat’s definitely a symbol of patriarchal power to Claudia, and I think Louis sometimes feels him that way too, but I don’t think it’s actually true for Louis in the way that it is for Claudia. Gender isn’t what divides Louis and Lestat, it’s race, and every time Louis has the chance to exert patriarchal power against anyone outside that house or inside it, he uses it – from coercing Lestat into Claudia's rebirth to physically assaulting Claudia over Lestat’s murder, to even trying to influence her diet and guilting her into staying, to throwing Lestat out of his own house and then fucking him in his lover’s bed (which, obviously, are after Lestat's singular act of violence), to being literally a pimp, strongarming his sister and his mother, to giving less than 0 fucks about Lily’s murder and the attempted anal-rape of Bricktop - - just.

Yeah. There are two patriarchs in the Rue Royale household, and both their names begin with L.

Eldest daughter syndrome

Sometimes men are also eldest siblings who feel the burden of responsibility?

Even beyond that though, I think Louis’ response to Grace is particularly paternalistic, a pattern he’d repeat with Claudia, which I talk about here. I do think Louis has a lot of responsibility and weight on his shoulders as an eldest child, absolutely, and I actually think there’s a lot to talk about in terms of his complex position as brother-father to Paul and Grace in s1 (and I empathise with him intensely in this regard as someone who’s been a sibling’s guardian), but like. That’s not a feminine trait, nor is it one that makes him an eldest daughter. I’m not one, and he’s not one either. Sibling dynamics aren’t cut and paste.

But Louis buys and reads Madame Bovary and obviously relates to Emma

I mean, he doesn’t buy it – the show literally, explicitly makes the point of telling us that it’s Lestat’s copy of the book that he’s reading, which honestly makes sense to me. I talked about it here (where I include the caps of it being Lestat's book too), but Emma as a character cheats because she finds monogamy boring, provincial life even more so and dislikes her daughter, while married to a successful man in a regional town. Louis’ not the Emma in that equation, Lestat is, given he's fucking Antoinette – allegedly because he wants variety – escaped the Auvergne in Paris, and can’t cope with parenthood and/or Claudia.

Interestingly too, Louis’ focus in that scene is on the 'denseness' of the prose and 'the absence of metaphor' not the content, as he ignores Lestat having a meltdown directly opposite him. My interpretation of that scene is that the writing is pointing out exactly how disconnected they are from each other, and that Louis can read a story that parallels a lot of Lestat’s experience, and fail to relate it to, or empathise with Lestat at all, even as Lestat indulges Louis’ depression and hoarding, which ! I love Louis, but Lestat does in that sequence (not that that justifies anything that Lestat does, of course).  

Isn’t Louis compared to Juliet and Mélisande?

Mmm, yes and no? Armand does put him in the Juliet role, which Louis riffs with Dreamstat about, but I tend to interpret that more to be about the involvement of the balcony than I do about their roles as Romeo and Juliet – because, y’know. Not everything’s actually about gender, particularly with same sex couples of that era who had limited reference points generally, and certainly limited mainstream ones.  

And Melisande - - not at all, actually? I do have to say that I’m a little bit baffled by this particular argument given we have the lyrics to Come to Me and Lestat puts himself in the feminine role of Mélisande (and I actually do think you can mount the argument that he's done that because he’s intending for Antoinette to sing it, which I thought for a long time before hearing Long Face tbh, and now I actually do think it’s deliberately playing into Louis’ sense of masculinity), and he does cast Louis in the masculine role of Pelléas. The chorus literally goes:

Ruin each other Like star-crossed lovers Your Pelléas, my Mélisande Oh, come to me Come to me

So, yeah. Again, that argument just doesn't quite land for me.

Wasn’t he jealous of Grace’s pregnancy though?

Was he? That wasn’t my interpretation, but I’d actually genuinely be interested to hear a case for it, because I feel that’s kind of tasty on a narrative level, haha. My interpretation of that entire sequence though kind of feeds back into that eldest sibling thing again where he a) resented Grace building something of her own before he could, and b) was terrified of the idea that her having her own family would mean that she’d pull way from him which she, of course, did.

I tend to see Louis’ desire to have Claudia as a fairly impulsive one, and I actually see (in the show’verse) his desire to have Lestat be the one to turn her as a part of him further interlocking him and Lestat together, particularly after he's effectively just broken up with Lestat. It's messy! But yeah, I mean, I think 2.07 laid out pretty cleanly that Louis' choice to turn Claudia was inherently a selfish one, and I personally don't see it as one borne out of jealousy so much as needing an anchor. 

Anne bases Louis on herself

She also bases Lestat on herself and/or everything she wants to be, and also washes her hands of Louis as a character for books at a time, and like - - I’m sorry, this is not the tone I usually take, but like - - lowkey, who cares? Everyone in this fandom loves death of the author until Anne says one thing they can use to justify their headcanons, and I just don’t really get it. Why are you trying to interpret a vampire novel as a memoir? Obviously it’s not factual? Anne’s not a man, she’s not drinking blood, she’s not romantically entangled with her dead daughter, like I do understand that it can feel noodly sometimes with authors and characters, but as someone who works with a lot of writers, I can promise you they’re dipping in and out of characters like crazy, haha.

It doesn’t mean a character’s them, and it certainly doesn’t mean you’re interacting with Anne when you're interacting with Louis, which I suspect a lot of people don’t want anyway? I don't know, personally I view this one as a bit of a non-starter.

Louis’ pretty though

Yeah, he is! He’s your Helen of Troy! He’s beautiful! He’d look amazing in tights and heels! That doesn’t mean he’s canonically femme though.

[sadnymi]

The Tortured Poets Department: {Slytherin boys version} A Headcanon.

[Mattheo Riddle-Theodore Nott-Lorenzo Berkshire-Blaise Zabini-Draco Malfoy

The Department: These five delinquents may not be penning sonnets, but they cause enough drama to fill a Shakespearean tragedy. They're the rebels, and champions of chaos at Hogwarts.

The Name:  name, bestowed upon them by Professor Abraxas Rookwood, a man as obsessed with forbidden muggle literature as he was with the Dark Arts, was a cruel irony. Rookwood, with his melancholic readings of Byron and Shelley, saw their broodiness reflected in these young Slytherins, They became the Tortured Poets, their "poetry" scrawled not with ink, but with blood and fear.

The Rules (Unbreakable):

Loyalty is Our Blood Oath: Mess with one of them, you mess with all of them. This unwavering loyalty is their foundation.Betrayal is a fate worse than expulsion. A single transgression could result in a "disappearance," a fate worse than Azkaban.

Secrets are sacred currency: What's shared in the dimly lit corners of the Department stays there. Unless it involves a particularly juicy Ministry scandal, then all bets are off (courtesy of Blaise Zabini's insatiable gossip appetite).

Darkness is a double-edged sword: They embraced their darkness, honing it into a weapon against those who deserved it - revel in darkness too long, and it devours you whole.

Art over Arson: Destruction wasn't the goal. The Department aimed to leave their mark with a touch of twisted artistry.A perfectly sculpted ice sculpture of a screaming victim, a whispered poem etched on a sleeping rival's forehead, a haunting melody tinged with despair echoing through the halls.

No Scars: The mark of a Tortured Poet was discretion. Leaving physical evidence was a rookie mistake. The true artist left only a shattered spirit.

No Outsiders: The Department is a closed casket. New members are hand-picked, tested, and broken before being deemed worthy.

Never Love, Only Possess: Love is a weakness, a vulnerability they cannot afford. Possession, domination – these are the true expressions of power. ( a rule they all broke )

The Members:

- Mattheo "The Mastermind" Riddle:

The brains behind the operation. Heir to a dark legacy, Mattheo possessed a chilling charisma that masked a calculating mind. He wielded curses with grace, his voice a silken threat, capable of weaving hypnotic lies or unleashing venomous truths. Mattheo is cunning and calculating, always two steps ahead with a plan so outlandish it just might work. He's the one who assigns roles and ensures their targets get a taste of their own medicine (or worse).He embodies the darkness, a shadow that chills even the bravest hearts.

Theodore "The Artist" Nott:

With a talent for manipulating shadows, Theo could create phantoms that danced on the walls, whispering secrets and igniting paranoia. brewed potions that twisted emotions and conjured illusions that blurred the lines between reality and nightmare. His signature move: A shroud of darkness that swallowed the victim, leaving them alone with their inner demons. He was also The department's strategist. His mind, as sharp as a serpent's fang, weaved intricate webs of psychological manipulation.He took a perverse pleasure in dissecting his victims, unraveling their secrets with a chilling detachment.

Lorenzo "The Charmer" Berkshire:

The Charmer. Lorenzo's weapon of choice is not a wand, but his silver tongue. He can disarm with a smile and deceive with a single word. Information is his currency, secrets his trophies. He is the Department's siren, luring the unsuspecting into a web of lies. tongue that could weave illusions as real as dreams. His victims, lulled into a false sense of security, often found themselves entangled in compromising situations or facing fabricated scandals.

Blaise "The Blackmailer" Zabini:

Blaise has a knack for finding dirt on everyone and isn't afraid to use it to his advantage .He's the one who gathers intel and makes sure no one double-crosses the Tortured Poets. He was the Shadow Dancer. Elusive and acrobatic, Blaise was the Department's phantom. He could infiltrate even the most secure locations, leaving behind unsettling calling cards – a misplaced object, a cryptic message scrawled on a dusty window pane.

Draco "The Distraction" Malfoy:

Draco was the prodigy, a master of forbidden spells before he even reached adulthood. His talent fueled a quiet arrogance, but his loyalty to the group was undeniable. He was their muscle, the unleashed storm of magic when subtlety failed.He saw emotions as a map, effortlessly navigating the labyrinthine corridors of fear and hope.

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The Tortured Poets Department existed in the shadows of Hogwarts, a clandestine group teetering on the edge of sanity. They were not poets, but dark artists, sculpting fear and pain into a twisted form of power, a chilling testament to the allure and danger that lurks in the human heart.

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