#history the series

[tittylover26]

I adopted a new doggy today, and before bringing her home, I spent half of my morning thinking about a name for her.

Unsurprisingly, all of my writer's creativity for names died at that instant and only a scene of HIStory 3: Trapped could be found in my head:

So, y'all say hi to...

💫Miàn💫

[applestruda]

Promises

[poorly-drawn-mdzs]

The girls are back (from the grave)

[First] Prev <–-> Next

[dominiqueramseyart]

A Change Is Gonna Come

[httpdramas]

I'm Still Here (2024)

[somewhereincairparavel]

JASON GRACE PLAYS LACROSSE AND TENNIS. I CAN'T AND WON'T BE NORMAL ABOUT THIS-

[th1rstf0rbl00d]

Wdym this wasn’t literally the line in this scene?

[yeoldenews]

Yet another selection of some of the better names I've come across in Regency era newspapers recently.

[spirk-trek]

Georgia Schmidt, Carole Shelyne, Serena Sande, Meg Wyllie, & Sandra Lee Gimpel

A tribute to some lesser-known women of Star Trek :)

[strangenewwords]

Gary Mitchell's Eyeballs Aka more Star Trek History

Because I'm me, I needed to know how they did this in the 60s.

Turns out it's really interesting.

To begin with, for those of you youngins who don't know about old contact lenses, they were literally glass back in the day. That's why in some old movies/tv shows, when someone loses a lens and they're panicking looking for it you hear a crunch when they inevitably step on it.

They also had to soak in these crazy ass things:

That's to give you some context about old contact lenses.

In the show, they took two of these lenses and sandwiched foil with a pinhole in the center between them. And then just made the actors wear them.

Apparently they were VERY hot under the lights (I'd imagine so) and it explains why the actor for Gary is tilting his damn chin all the time, I bet the director was constantly on him about it to get the best reflection.

PS, hot damn, that man was fine.

[teapot-of-tyrahn]

hey. hey... chat,

i think we need to discuss an incredibly plausible probability right now:

we've figured out how the life system works. if a red or yellow kills a player of a higher colour than them, then they get their life.

pearl “has died at least 1 time per session so far” pearlescentmoon is on her yellow life. she has two lives left.

scott "always sacrificing himself for his allies" smajor is on six.

the likelihood of scott killing himself for pearl again is statistically high.

and i think it will be a beautiful parallel. because this time she really will forgive him after all.

[catilinas]

The wind blows their ghosts to the ground

line (loosely a translation of iliad 6.146-9) from memorial by alice oswald, embroidered onto a ginkgo leaf i found on the ground

[deliciouslyfrightening]

Enemies to lovers? Blue Eye Samurai is just for you!

"You can't die before me!" and "Only I can kill you!" are the words Taigen (in green) repeats to our protagonist Mizu (in blue). They were childhood enemies and now they are rivals.

But both of them feel sexual tension and Mizu's feelings for Taigen are not platonic kind. After all, Mizu is into strong men who can hold their ground when fighting with him.

They fight alongside each other and make painful sacrifices for each other. They deny their feelings and desires.

One can't help but root for them.

[dominiqueramseyart]

I am everyday people

[gunsatthaphan]

"I love you."

[jamesfrain]

Wolf Hall + Art (2/2) Henry VII, Elizabeth of York, Henry VIII and Jane Seymour Remigius van Leemput | circa 1667 Wolf Hall: The Mirror and The Light | Episode three 'Defiance'

This small painting was copied by the Flemish artist Remigius van Leemput for Charles II from the life-size mural on the wall of the Privy Chamber in Whitehall which was painted by Holbein for Henry VIII in 1537. The wall-painting was destroyed by the fire at Whitehall Palace on 4 January 1698 and this is the only complete record of the mural. Holbein's original preparatory cartoon for the left half of the composition is in the National Portrait Gallery. The first part of the Latin inscription on the plinth in the centre of the composition translates: ‘If it pleases you to see the illustrious images of heroes, look on these: no picture ever bore greater. The great debate, competition and great question is whether father or son is the victor. For both, indeed, were supreme'. The painting appears in Pyne's illustrated 'Royal Residences' of 1819, hanging in The Queen's Closet at Kensington Palace. (source)