#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

[somewhereincairparavel]

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

[poorly-drawn-mdzs]

The girls are back (from the grave)

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[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.

[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)

[darlingfreddie]

4/19 Moodboard for the average Watcher/Yuri On Ice fan

[hermitcraftx]

i genuinely think the reason skizzleman and mumbo are so possessive after todays session where skizz died THREE TIMES and mumbo died TWICE is because theyre both so fucking terrible at the game and are afraid grian might leave them (bc hes a winner) for someone better

[darlingillustrations]

PRIDE is timeless

sources for photographs:

Bluebirds - Kitty Ely class of 1887 (left) and Helen Emory class of 1889, Mount Holyoke students, via vintagephoto.livejournal.com. Source for image.

Cats - Nusch Éluard and Sonia Mossé. Paris. 1935 Photographer: Man Ray. Source for image.

Chipmunks - Source for image.

Deer - Source for image.

Dogs - Source for image.

Foxes, dancing - Photograph by Thurston Hopkins, Tango in the East End, London, 1954. Source for image.

Foxes, dapper - Source for image.

Frogs - Photograph from a collection called “Hidden in the Open,” curated by Trent Kelley. Source for image.

Giraffes - “Tough Threads.” Ken Russell photographed Teddy Girls in London -1950s. Source for image.

Hedgehogs - Chuck Rowland & Harry Hay (Apr. 7, 1912 – Oct. 24, 2002), 1983. © Stephen Stewart, via @onearchives. Harry Hay was the visionary behind the queer liberation movement in the U.S. With his background in leftist politics, Hay merged the revolutionary idea of homosexuals as an “oppressed cultural minority” with the fundamentals of organizing. (verbiage by lgbt_history… read more here).

Lions - I found this image on the internet in 2017 and have not been able to relocate it since.

Octopus - Circa 1970 by Donna Gottschalk. Source for image.

Otters - Source for image.

Polar Bears - Source for image.

Rabbits, mm - Source for image.

Rabbits, ww - Source for image.

Raccoons - Photographed by Kay Tobin, circa 1977. Source for image.

Red Pandas - Mariana Romo Carmona and June Chan (b. June 6, 1956), New York City, 1988. Photo © Robert Giard Foundation. (read more about these activists here)

Seagulls - Source for image.

Skunks - Photograph from the etsy shop The Vintage Image Boutique.

Sloths - Castro Street Fair, San Francisco, California, August 17, 1980. Photo © Paul Fusco. (read more about this street fair here)

Snow Leopards - Gay Pride Day, NYC 1980 / © Stanley Stellar.

The Affectionate Animal series is a project I have worked on for years, illustrating vintage photographs of queer couples. All paintings are by me, Erin Darling. Here is a link to the series on my site.

[maybe-boys-do-love]

Mix Sahaphap gets to perform (and has the performance chops to perform) in a style that I’ve never seen any other male actor get to embody. Mix gets to unironically play the #strongfemalecharacter. The Beatrice, the Elizabeth Bennett, the Jo March. Strong-willed, emotional, kind-hearted.

Not only do the plot points line up, but Mix, more than any BL actor I’ve seen, fully leans into the embodiment of this archetype. In his roles, he rolls his eyes, pouts, banters flirtatiously, softens his posture and expression at small details. He doesn’t over-exaggerate and imposition other characters but his face also doesn’t hold back his character’s thoughts and judgments. And when the moments arrive, he lets all the hurt and anguish pour out in shatters of tears and visible heartbreak—the star-counting scene, anyone????—in a way that harkens to the operatic emotionality of well-done melodramas, soap-operas, and their contemporary Thai equivalent of Lakorn. It’s only that these have never been men’s roles in those.

It’s no surprise that one of Mix’s roles—Cupid’s Last Wish—is explicitly a gender body-swap, and Tian in A Tale of Thousand Stars is (albeit explicitly denied within the show) heavily connected to gender body-swapping. What Mix specializes in as an actor, and does exceptionally well, has been defined as feminine. To depict a kind of queer expression in this style is novel because it’s not camp, it’s not okama, it’s not a soft or femboy, it’s not a BL twink (Mix has been mostly excluded from the schoolyards and quads of the BL universe except for a role as a senior crush in Fish Upon the Sky). It’s too sincere and too adult for any of that.

In Moonlight Chicken we get to see, without the pretense of gendered mysticism, this performance style’s seduction, warmth, wit, and explosiveness within the framework of a general gay form of expression. It says that this kind of femininity might just be a gay thing. Not all gay men exhibit it, obviously—queer men aren’t a monolith. Still, it gives us something to consider about how we observe performance of queerness on screen, especially in front of an audience that puts so much more emphasis on ships, heat, and pairing chemistry to assess how well they perform a BL role. Could we look for other features to judge performance of queerness instead of how well they kiss?

Seme and uke roles would be the major performance style categories loyal BL fans assess actors with, yet even within the archetype his character’s fill within BL narratives, Mix’s performances differ from the typical uke depiction in BL because he really doesn’t perform them as passive. Rather, Mix’s characters and his portrayal of them are dynamic and demanding. It certainly fits certain stereotypes of ukes (Gilbert!) and their gay stereotype equivalent of bottoms as pillow princesses and brats. Mix’s characters, though, have more drive, agency, and compassion than that, and he plays them with all of those currents running underneath.

We certainly have openly gay writer/director Aof Noppharnach to thank for writing this kind of queer character for Mix to play in Tian and Wen. But for Mix’s specific commitment to the performance starting off with his (debut!?) role in ATOTS, we first have Earth to thank for believing in Mix’s ability and recommending him to portray the role of Tian, and then Aof’s acceptance despite his differing initial expectations for the character. Mix, Earth, and Aof have all been open about how Mix in his personal life and nature holds a lot of similarities to both his role as Tian in ATOTS and Wen in Moonlight Chicken. Some people might knock points off his performances because he’s like them. But his relationship to the characters, rather than dampening my enthusiasm for Mix’s performances, helps me appreciate his willingness to give an authentic performance in a style that hasn’t been encouraged on screens previously. It’s made more impactful that he chose to risk vulnerability to bring something personal that had previously been excluded from screens because of its gender deviance (and in broader society explicitly condemned). This doesn’t make a claim on Mix’s actual identity, but simply shows his willingness to understand and perform the expressions of his queer characters with an effort at empathy that many other actors would feel challenged to bring.

Some actors are chameleons, but some actors have a gift of a type within which they can explore depths and range that no one else can best. For me, that’s what Mix does in his work when directors and casting understands his talent. There’s a BTS video of Mix actually fainting during a scene while in Earth/Phupa’s embrace on the mountain that immediately brought to mind the wildly famous final scene in the film Camille where Greta Garbo as Marguerite dies in her lover’s arms.

For Mix, it was a serious incident due to regrettably extreme conditions and requiring the on-set paramedics, but these levels of theatrics, for me, are emblematic of what Mix is capable of as a performer, as well. After all, he had to faint in Phupa’s arms multiple times on purpose. It’s the kinds of Old Hollywood and heightened sentimental romance realms Mix takes his performances to! Then he can turn around and make it look easy to take that same character into grounded quips or dedicated everyday tasks. It only takes writers, directors, and audiences willing to see that men can feel this way and act this way. Mix has paved the way.

[spirk-trek]

Star Trek Set Tour 12/?: (More) Miscellaneous Corridors