#jeanne bal

[ihaveaweirdidea]

October is Breast Cancer Awareness Month. 🤟🏻

[watchingalotofmovies]

All About Actresses

All About Actresses    [trailer]

A female director shooting a documentary about all kinds of actresses falls for one of them.

It took me a while to get interested. At the end it was even a bit "meta". Maïwenn shooting the movie, but being constantly in the frame, so it has to be filmed by another director, so she's becoming the subject of the "doc". Though I don't think it should be taken too seriously.

To a degree I'm familiar with all the actresses, but I don't know too much about their private "image" off camera, so I can't say to what degree there's another layer to the movie. Though it's making fun of the (French) film industry in general, art films, blockbusters, awards, etc.

It was a bit of a problem that you could often feel that the actresses were playing a role. But there were still a number of funny scenes, like, Linh-Dan Pham and her parents, and Karole Rocher at the acting class.

Not sure if the musical numbers were necessary.

[major-knighton]

WAIT I've heard this story a hundred times but not once was I told Jeanne was fucking 14??? I imagined a resourceful middle aged lady with quick reflexes, this just makes the whole story funnier and her more cool

Why were teenage girls so weirdly OP in medieval France???

I HAVE to tell you about the single funniest event in French Medieval History

[kuiinncedes]

"KNIGHTS dont MOPE we BROOD i was BROODING" IS SUCH A RIDICULOUS DUMB LINE LMFAO

[chicinsilk]

L'Art et la Mode Septembre 1958

Jeanne Lanvin/Castillo Haute Couture Collection Fall/Winter 1958-59. Ball gown in fine lace, silk background, white with silver thread. Pumps by Charles Jourdan.

Jeanne Lanvin/Castillo Collection Haute Couture Automne/Hiver 1958-59. Robe de bal en fine dentelle, fond soie, blanche à fil d'argent. Escarpins de Charles Jourdan.

Photo Georges Saad

[sanhatipal]

Blood treat

Surprise!! Bal Masque Jeanne!!

I said I didn't have time but I still managed to somehow paint this little painting of Jeanne! It's the first time I've drawn her with her fangs!

[theory-basket]

Noé wearing blue at the Bal Masque to emphasize his attachment to the Clan of the Blue Moon.

Vanitas wearing red at the Bal Masque to masquerade as a vampire.

Jeanne wearing blue on her date to unsuccessfully feign an attachment to Vanitas.

Dominique wearing dresses when she feels the most vulnerable (Bal Masque, Post-Amusement Park, around her siblings)

[koldusek]

Hi! Since you mentioned that you’re taking requests, would you be willing to draw Dominique and Jeanne dancing in their bal masque outfits? Love your art!

The rose is red, the violet’s blue, The honey’s sweet, and so are you.

[lz-didyounotice]

11th doctor Mission : Save the king

This gif do not belong to me.

Heyy! This fic is a little longer then the last one. Wanted to do a propper adventure for the doctor and Clara to follow. This one is also cought in a time paradox. You will be presented as Jeanne du Berry, Favorite of the King Louis XV. I inspired myself with the plot of "The girl in the fireplace". Hope you enjoy !

Froggit-

Warning : Could be concidered Angst at the end, with a preestablished relationship. Mention of prostitution. As always, english is not my frist language.

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

“Jeanne du Berry '' was one of the most beautiful women the 18th century had ever seen. From Lorraine to Paris, her beauty was jealous of many, as she attracted all eyes wherever she went. A tall and skinny figure, adorning wonderful pale skin. Her blue eyes looked so innocent, yet she knew how to make use of her charms. Her Long brown hair bleeding into blond as she walked amongst the sun.

She was also known as the favorite of the king, the one who had been part of his most desired dreams by the ladies of the court. Yet, by his side, she never wanted to change who she was and try to be another woman with the numerous étiquettes she was supposed to follow. It wasn’t her place to be. All she wanted was to love the king, make him laugh, let him know he deserved to be treated like a normal individual, to let his title aside when he was by hers. To love him for who he was, and not what he was supposed to be.

After the death of the previous queen, Jeanne rose to power. The king’s daughters all wanted to see her fall, to see her lying in the dirt like the prostitute she was. A whore who had no right to be by their father's side. 

Fortunately enough, Jeanne had what it took to ignore the pretentious princesses all too worried about their reputation to care for their father's feelings. And despite giving her best to be kind around her, something was lurking. Wanting her to be a part of something bigger. A piece of machinery well wired who needed guidance in the more gruesome ways.

As she entered her quarters, the king's valet was waiting for her. 

"Sa Majesté souhaite que vous l’honoriez de votre présence ce soir pour le bal..."

(His Majesty wishes you to honor him with your presence tonight for the ball...)

"Faites-lui savoir que je me présenterais avec joie à ses côtés."

(Let him know that I would gladly present myself at his side.)

—--------------

As the doors of a blue police booth opened, a little brunette had taken a look outside, outstanded by the beautiful scenery. 

The doctor hadn’t lied. Versailles was beautiful at this time of the year. In her dark blue dress, she also looked magnificent, a candy to the eye some would say. Her hair, up in a simple updo, refusing to wear one of those tall and overly done wigs (She had tried to before, but it was too itchy to even keep. Plus, if she needed to run, it would be a disaster). 

As she turned around, she fell eye to eye with the doctor trying to activate the chameleon system of the Tardis. For the occasion, he had put on a magnificent Blue-tailed coat, with an intricate chemise, adorned with a waistcoat of a darker shade of blue. He hadn’t put a wig on either and preferred to hide it with a magnificent officer hat. 

“Doctor, Hurry up, I don’t think we should be late for such an event! ”

“There is only so much I can do Clara !” Said the doctor trying to make the Tardis invisible.

“There seems to be something preventing her from disappearing… A force field or something of the sort. Which is weird since I closed the last one. ” He continued, still searching for the issue.

“Last one ?”

“Yes, well it wasn’t quite a force field, more of a time portal. Had a wonderful night with Madame de Pompadour on the occasion. Wonderful woman I might add.” He said while finally resolving their little camouflage problems. “Ah ha!”

“We may go now ?“ Pressed Clara, still waiting by the door.

“Yes !”

—--------------

The Ballroom was extraordinarily beautiful. Filled with too many of the richest people in the country. If she was being honest, Clara found it rather charming, yet felt a little uncomfortable around so many gorgeous women and men. 

Elbows locked with the doctors, the assembly awaited for the king to arrive, rearranging themself as he was announced. 

“Sa majesté le roi !”

As dictated the etiquette, Clara and the doctor bowed before him and returned to position once he had passed. The brunette found it rather hilarious, trying to retain a smile as she graced the floor. Checking for the doctor's eyes, she found him deep in thought, as if he had seen something he had wished to unsee. 

But before long another person was announced. 

“Madame la Comtesse du Barry !”

And here she was, the most beautiful woman she had ever seen. She wasn't wearing any fancy wigs, her hair let down on her shoulders, decorated with white and long feathers. Her dress was assorted to the cream-white coat the king was adorning. Her trail seemed to be as long as the ballroom as she gently walked towards him.

Once before the king, she presented herself, but as she did so, her eyes couldn't quit his, making the others start chattering, breaking the silence that once stood in the room. And as she did it two other times, Clara looked at the doctor, confused by what was happening before her. 

But soon enough, the chatter was silenced by the music starting, a soft yet charming baroque rhythm playing in the assembly. And as the crowd arranged to dance, The Comtesse had in mind something rather scandalous for both her and Her Majesty. Taking his hand in hers, she accompanied him to the middle of the ballroom and started dancing with him. As everyone stopped to look at them, the Doctor couldn’t stop himself from seeing something he would have wanted to avoid.

All he could see was the golden bracelet around her right wrist, a piece of jewelry he knew wasn’t what it seemed. A shimmer perhaps? Whoever was dancing with the King wasn’t the real woman, a copycat at best, and looking at most of the guests, some wore the same one, hiding it under exaggerated sleeves. 

“Doctor? Is something wrong…?”

“Very wrong…” Catching the girl's hand, he went to one of the hallways, trying to drown out the noise as he thought of a plan. “I guess I know now why I had so much trouble with the Tardis. We might have some uninvited guests… and a portal inside the castle.” He let out flapping his hands about.

“Why would someone want to invade Versailles in the 18th century? ”

“Lots of reasons…! An alien could easily overthrow someone else to get what he wants from it, by preparing a future terrain… Now, what I don’t understand is why choosing the favorite of the king and not the king himself.”

“Maybe he is the next target…? ”

“They would have already done it. Or-” Then it occurred to him that the king had been gone for months before the ball. Giving enough time for those who wanted to hurt him to take place within the court. “Or it was easier to blend in…” He turned toward Clara, excited by his breakthrough, but the frown on Clara's face made him get on track.

—--------------

Being attached to her bed was not really how she expected her reunion with the king. Her arms stretched too far for her to reach her feet tied to the end of the bed, unable to move. She was stuck and worried sick. Worried for her son, worried for the king- 

The room which seemed so calm and charming was now giving her chills as she knew she would soon be killed by those imposters. All of them had left her alone, wanting to partake in the king's murder. The silence was slowly killing her. She had tried to cry for help, but the music seemed too loud for someone to hear. 

Tired of her luck, she took a deep breath one last time and called, her vocal cords trying to hold as she begged to be let out of this situation. 

And soon enough commotion  was noticed by the woman, making her cry once more. Begging whoever was in the hallway to walk into the room. A weird whirring noise was heard, then the lock gave out, leading the door to open.

Before her, stood a tall youthful young man, with unruly brown hair, sticking up in some places. Behind him, a beautiful woman, seemingly the same age as him, wearing a magnificent blue dress. 

“Excuse me, sir…, do you happen to know how to get me out of those bindings ?”

“Please do not Sir… Just call me the Doctor. ” The man said while coming closer to the headboard. Using his sonic screwdriver manages to get her out of the metallic bindings.

“ The Doctor? What a particular name… Is it your occupation or is it a title ?”

“More of a title.”

“What a pity, your hands seem adept at such handy work.” Said Jeanne as her own were finally freed. Soon enough she was off the bed, standing before the two travelers. “Regrettably, there’s no time for discourse, for my liege is threatened with poison by one of those deceitful fellows. One has assumed my likeness, and I dread I may be implicated in the scheme.”

“We may be of assistance!“

“I would have expected as such.”

“Those individuals as you call them, what do you know of them ?” Asked clara, stepping beside the doctor.

"From what I saw, they resemble humans with crystal antlers protruding from their foreheads. Lacking noses, they still appeared capable of breathing. One among them spoke of a civil conflict back in their homeland, mentioning something termed 'the hour of joy,' if memory serves."

“Ow! How stupid could I be! Of course!” Said the Doctor, slapping his forehead frustrated he had let such information sleep through. “ To flee the war they had to have a way out. That’s why there is a time vortex opened. They want to kill the king so it would be easier to find a new home for their people in one of the most influential countries of her century.”

“Doctor? Do we have a plan ?”

“Need to find the portal and send them somewhere other than here.”

“How do we do that ?”

“Simple” The doctor confirmed while scanning the room. “As expected. Jeanne, has there been any renovation in your room while the king was away ?”

“A painting of the king had been installed in my room…”

“Clever! Now could you show me where that would be ?”

Not losing any time, Jeanne convail them in a small room, adjacent to the bed. A rather large library awaited behind. In the middle of the room, was a soft red sofa, invaded by all sorts of books and before it stood a medium painting of the king.

Putting out his sonic, the doctor took it upon himself to jump on a chair and try to open what was hiding the portrait. “Here you are” As the painting got off the wall, a mix of wires had been discovered, a large panel hidden behind.

After reversing its polarity, the doctor finally was able to close the portal. Making whoever wanted to enter it appear on another planet that wasn’t Earth. Now, all they had to do was to get the imposters back to their ship.

—--------------

Jeanne was confused, yet still grateful for the help of the doctor. The ball was still going, and the final moments were to arrive soon, her dear king would be taken away. With a loud bang, the doors at the end of each hall opened, leaving the Comtesse now the center of attention. 

She entered furious, still in the dress she had on this morning. Her corset was killing her, but running to get to the scene was not an option. The doctor had told her about the shimmers. How certain of the guests could also be traitors. But all you could think of was getting this imposter off her lover. 

“My liege! I fear I am not the one you are holding in your arms!” Jeanne was still running toward him, not caring about the looks the other guests were giving her. 

The music had stopped, and panic seemed to ensue as everyone saw double. Thanks to the doctor the situation was taken care of. Explaining what was happening to the king, it wasn’t long after he was out of the fake Jeanne's arms, trying to get back to his favorite. Still connected to their ship, the individual fled. The doctor promised them a safer and harmless way out. Welcoming them to an inhabited planet where they could thrive again.

—--------------

In the end, everything went well, no one was hurt, and the king was saved. He had even tried to get compensation for the help the doctor had offered. But he had refused, claiming it was just another Saturday for him.

Jeanne had followed the doctor and Clara back to the Tardis, wanting to know more about the two time travelers. It was irrational, yet she seemed to be attracted to this incredibly gentleman. Clara had gone ahead, entering the Tardis while the Comtesse stayed to discuss with the timelord.

“So, tell me. Am I to ever see you again?”

“We weren’t to meet in the first place.“ Let out the doctor.

"That is regrettable. I would have desired to learn more about you."

“You can always ask.”

"Can you be truthful? Your eyes betray a distant presence. Why must it be so melancholic?" Looking into his eyes, all she could see was dread, something old that still lingered.

“An old friend of mine had been missing. I searched everywhere, but I’ll find her at some point.”

"If she holds such significance to you, perhaps she is nearer than you anticipate."

“How could she be ?”

"I suppose destiny plays a role? And it's undeniable that you're attractive; I wouldn't fault her for desiring your return."

The doctor couldn't help himself but look at her. Something was screaming at him to look closer into it, to try and understand, but shoving a sonic screwdriver into someone’s face wasn’t a good approach.

“Have we met before ?”

"I don't believe we have. But something suggests it won't be the final occasion either."

“How can you be so sure ?” The Doctor said while trying to find out why he was so attracted to her.

"Life unfolds in mysterious manners. So do I. To my knowledge, no one is born twice."

“I can guess of a few species that can.”

“You're the Bowtie maniac, you should be the one who knows.”

The doctor looked as if he had seen a ghost. “I’m not -(A bow tie maniac)”. In the whole universe, there was only one person who called him this, that he accepted it from. Locking eyes with hers, all he could see was how old they seemed, how much they lived, despite seeming so young. But it made sense. After all (Y/N) had told him about certain past lives. Never giving a name to not disturb time paradoxes that weren’t meant to be. She did mention having had a peculiar life in the 18th century, falling in love with the king. But never would he have guessed for you to have been born as Jeanne de Becu. La Comtesse du Barry.

“Madame! Le roi vous attend !” They heard being called. The Valet of the king interrupted the many questions that had yet to be asked, but it was better to not know and let destiny be what it had done best. Reunite one another.

Jeanne felt there was something more and she wanted to know. But it would ruin the surprise, wouldn’t it? Caressing his confused face with her right hand, she smiled at him. A simple smile, that made his hearts flutter. 

"I suppose this is merely a 'farewell,' Doctor. I'll see you when the time arrives, my Bowtie Maniac." And as her hand left his cheek, he felt his hearts hurt, being left once more by the woman he loved the most in the entire universe.

—--------------

Bonus : 

The Tardis felt silent, sad even. The tension was too much for Clara, and she couldn’t help herself from asking what was going on. Why was he looking so distraught, and was being so quiet as he brought her home?

“Who was she ?”

“Jeanne du Berry? Favorite of the King. A more pleasant way to say concubine. She was born in a monastery. But she became a lady in waiting, then worked in a brothel. She got the visit of a rich noble from the court that presented her to the king. It was love at first sight.”

“And to you ?”

“I didn’t know her by that name. At least never heard her mentioning it as one of her previous incarnations. She never wanted me to know.”

“Why would she hide it ?”

“Paradoxes. If I had known, I might never have wanted to meet the younger version of herself. Avoid it even.”

“What happened to her ?”

“I lost her” Seeing the sad face of Clara, the Doctor still wanted to see her smile, and stop worrying about what went through his head. “But I’m sure we will meet again. Travel together once more like we always did. I’m sure you two would love each other.” Finally let out the doctor full of hope.

[neversetyoufree]

While I absolutely don't condone Vanitas's early treatment of Jeanne (especially not that first kiss), I do think the power dynamic of their early relationship fits in a really interesting way with Jeanne's arc as a whole. Jeanne is a woman slowly rediscovering how to want things, and Vanitas's pressuring and manipulation forces her very earliest instances of acting on that want.

In particular, I'm talking about the blood drinking scenes at the bal masqué and in the alley in chapter 12. Vanitas doesn't force himself on Jeanne in either case, but you could make a good argument that he gets uncomfortably close. He can tell that Jeanne isn't in good control of herself at the Bal Masqué, and he spends a lot of effort wearing her down and convincing her that she should bite him.

Spending a long time wearing somebody down as you convince them to do a sexual act with you is. not great. Absolutely not a thing that you should do in real life.

And later, in the alley, Vanitas straight up blackmails Jeanne into continuing their blood drinking relationship. If she doesn't bite him and only him, he tells Luca about how/why Jeanne Marked him, which she refuses to let happen.

However, though the first non-consensual kiss is pretty clearly framed as Vanitas doing something Bad, these two blood drinking scenes aren't. So what gives? Well, I once saw a review say that first awful kiss was like something out of a bodice ripper, and the comparison has been haunting me ever since.

Dubious or nonexistent consent is a pretty old and common trope in romances, especially bodice ripper type ones, and there are a couple common explanations that float around as to why women would enjoy reading something like that. One of those explanations is the idea that non/dubcon is a good fantasy for people who feel like they aren't allowed to have agency over their own sexual desires. Women are made to feel like they shouldn't want sex, and so even if they wouldn't want a "no" to be ignored in real life, it's kind of an exciting fantasy. The heroines in books can play chaste as they're meant to, pretending they don't want the things they aren't supposed to want, and the man will give them what they secretly desire anyway.

That isn't a universally applicable explanation for why people like dub/noncon, not by a long shot, but I do think it's an interesting idea. And given that Jeanne's story is so very much about agency and learning to want things, it feels relevant to early VaniJeanne. The actual kiss, the part that that review compared to a bodice ripper, is just straight-up assault. I don't think there was any secret desire involved there on Jeanne's end. But what about the scenes at the bal masqué and in the alley?

It's made pretty clear that, for reasons of both chemistry and whatever secret thing is wrong with her, Jeanne wants Vanitas's blood. She doesn't want to want Vanitas's blood, and she doesn't want to act on the desire, but she desires it anyway. And Vanitas, through dubcon-level coercion and threats of blackmail, cajoles her into acting on that desire.

It's a classic romance novel setup of the heroine saying "no, I shouldn't" while secretly filled with want, only for the love interest to force her to "give in to her desires." She wants to drink his blood, and Vanitas gives her no choice but to do so.

Jeanne, in becoming a Bourreau, was meant to shed everything that made her a person. She was a tool. She was not meant to want anything. And that makes her the perfect character to act out that romance novel trope on. She's the ultimate example of a woman that isn't supposed to want what she wants, because it's not just sex that she isn't supposed to want. It's everything.

But, by casting Vanitas in the mold of a bodice ripper-style love interest, Jeanne is given an out. Gévaudan is her breakthrough—the moment when she goes directly against her orders to do something for the sake of her own heart. Before that point, when she still struggles to admit to wanting things, the only possible way she can act on a desire (including a sexual or blood desire) is to be cajoled and coerced.

And at the bal masqué, her biting Vanitas is the first time we see her carry out an act not in service of Luca.

[yanderefairyangel]

Bal masqué

Chapter 7 of Vanitas no carte : Bal masqué - The night of sneering masks is one of the most important chapter that serves to introduce several important plot points such as Louis's existence or the fact that Jeanne is a curse bearer, Vanitas's goal or confronting his power's incapacity to restore every vampire, meeting with Naenia and the members of Charlatan etc.

However, masked balls are a recurring tropes, a topos 19th century literature, or more speficially of the genre of "bildungsroman" Vnc shares many similairites with/takes inspiration from

In her article in which she compares 3 ball scenes, Zlatka Timenova-Valtchev establishes that the uses of this topos is usually here to explore the sincercity of emotions and pathos, of a non verbal communication throught words in spite of the concealed identities within the masks

Meanwhile, in her massive essay which also includes Portguese and Brasilians works, Claudia Helena Daher analyses the rise of the ball as a social events, it place within high society and it's transformation into a topos in which she explains that balls are part of a processus civilisateur, and at the crux of a questioning between the indiviual and society, a questionning that had rised in the 19th cnetury with the spreading of romantiscism and liberalism in France after the revolution and the end of the Ancient Régime

(I am trying to sum up essays that are either 20 or 500 over pages long, please bear with me)

Now what I wish to focus on is how exactly Jun sensei uses this topos in the context of Vnc

So we'll start by number one, the most obvious being how she adapts it visually

This chapters opens up with Teacher teaching baby Noé about the Formula and Babel incident establishing the origins of vampires as a whole

After this little lore information, we are met with this page

The page focuses entirely on the architecture, with a zoom out mimiking cinematic language to present the reader with the impression of entering the building where the bal is held and if you are familiar with 19th century novel especially french one (looking at you Balzac and Zola) you probably know that those books love their sweet, sweet descriptions of the settings, overtly detailled and very long but still very important because of the phrasing and the imagery within it

Well thankfully for us, manga can do show don't tell but my point here is that the focus on the spectacular aspects of this scene can be linked to this type of descriptions to set the reader into the environement and progressively immerse us into the world of the bal masqué of the vampire society

This cinematic aspect is further supported by the next page which feature a full view of the ball scene and really shows that Sensei has a an eye for detail, the amount of informations presented in this one scene is impressive, we see several vampires dancing together with various disguises, others in the background on the balconies

We can also see the precense of performers such as a clown, jesters, acrobats etc. We can also see elements proper to VnC such as the giant gear on the scene or the several skulls decorating frames and chandeliers

After this full view we zoom in some more

We see a fire breather, then a couple of vampire, a view of 5 vampires on the balcony, a zoom on 2 masqued women and finally, a panel showcasing 2 other masqued women in awe looking at two people dancing, we can only see the waist of the women and the details of her dress

That is to show how Sensei's guiding our gaze from all these events taking place during the Soiree to Noé and Domi dancing together

So having established how Sensei uses her drawing and panelling skills to restore the spectacular and grandiose aspects of a masked ball, we can also draw some intepretations of what it is meant to say about vampire hight society, which corresponds to something that Daher had pointed out as well, the ball as a societal and social event

Needless to say that the presence of the circus and the little zooming in on innonucious things such as vampires seducing one another or chatting and gossiping is meant to further erase the idea of a difference in behaviour between the two species, especially after we just learned that vampires are a race born from Babel's rewriting of humanity's formula and that there is only one human partaking into the soiree whose later on exposing himself as such, but this representation also fits with the idea of the ball being the scene where the whole world is shrinken to showcase all the differents layers of the society depicted, it's very telling of the vampire's enjoyement and behavior, fitting with the idea of a new world that we discover as an audience, notice that we aren't discovering it with Noé unlike let's say, Paris, it takes us a little exploration guided by the panels until we find our way back to him and Domi, we can guess that's a world Noé is unfamiliar with because of Dominique's comments about Noé's dancing skills

But another element is the striking parallels between the artisitic decisions Sensei took for this ball and the Charlatan Parade, something that Noé himself notices

More specifically, the Parade draws inspiration from Venise carnival

In her essay, Daher recontextualizes the history of bal in society and their raise, establishing the differences between the two as a social event, being that the Parade is a a Carvinal, that is to say popular events often portrayed as chaotic popular events, meanwhile bal and masked balls are the pleasure of the artistocracy and the higher class, it's a social event regulated

They are born thanks to Italy unsurprisngly, mainly raising during the Renaissance and figuring various disguise, mostly inspired from mythology at that time, but regarding the period of time we are interested in, 19th century, the disguises are taking inspiration from historical figure, for instance in The Picture of Dorian Gray, Dorian and Lord Henri masquerade as Henri III and his minion, in VnC we can see this in the choice of the disguises :

one of the vampire on the panel is wearing a fairy costume

Lucas is wearing an outfit similar to what men wore during the 16th century

Jeanne is wearing an outfit matching Lucas's theme, possibly inspired of Juliette's gown

Vanitas is dressed up as a pirate etc

It says that in the 19th century masked balls also had developped a more playful aspects, notably a game of trying to guess the guest's real identity as they were supposed to be disguised enough as to not be recognized, which lead to a whole developpement in the world of fiction as an event proper to plays and eroticism, sensuality and a lose of inhibition, the masked identity allowing fro a freedom of one's inner selves

It's also criticized for this very aspects but also supports the idea developped by Daher and many others as the ball representing the world of appearances, of deceptions, most specifically with the mask, hiding your identity, a notion of dishonesty

Unlike the ball where Sensei focuses on the spectacle and beauty we can see within it, the luxury meant to be highlighted, the Parade of Charlatan is presented as wonderous, bizarre event with a bit of eeriness, the panel focuses on Amelia's eye, the hands of the masqued female figure, then a foot popping up ear her dress and introducing the two main masqued figure, and a third masqued figure holding something, this progression introducing progressively the parade is made with black frame bordering the panels as opposed to the white and this coupled with Sensei's panelling and the use of screentone contributes to the eeriness of the scene before we get to the full view of the Parade, with the use of screentones on every element but Amelia accentuating the eeriness and the impression we are being shown a spectacle out of this world

The use of screentone is meant to darken the scene whereas in the ball scene Sensei uses it to make the scene pop up, shines and sparkles

Also don't take this as me trashing the anime but

I think the colors choosen kinda undermines this effect despite the dark atmosphere, I kinda get why they went with this direction but I feel like Sensei's usage of screentones allowed the element to work better at conveying the bizarness of that scene

Anyway back on track - this parallel between the two scenes explain the subtle focus on the element of the circus such as the clown and the fire breather or the way the gear stand out even in the background, to prepare us mentally to think about the Parade before Noé even brought that up

but this is even more interesting as later on Charlatan manifest, the mixing between these two events socially distinguished historically and distinguished in the narrative is already foreshadowed by those elements

Bringing up the social elements of these festivities might seems irrevelant at first however we must remember what Vanitas is refering to, a still life meant to showcase the futility of life, or even the reference to saying such as Carpe Diem or to the danse macabre, all linked to the brievty of life and the futility of believing in a system of hierachy for everyone is equal in death, nobles and peasants, humans and vampires, that is not mentioning the various elements refering to one motif in vanities, the skulls, present as a decorations in the ball room

Sensei using this decoration isn't simply to sign this with VnC's trademark, the skulls presented within the frame surrounding the characters on the various covers, it's also a subtle way to include a key element of vanitas, meant to remind of the futility of materialistic possesion in rank, meant to humble society in an event that represent the culmination of what vanitas are meant to critique, the showing of luxury, appearances, lust even

In an ironic way, the tragic turn of even that the ball takes with many guest turning into a trance and attacking others is further emphazing the idea that death is constantly prying on the vampires as long as Charlatan is active, that regardless of status, race and even conditions, (curse bearer or non curse bearer) everyone is equal to death as we see by the several victims made in this attack or the death of Catherine

This one might be a strech though but this does reminds me of the ball of the Mask of the Red Death written by Edgar Allan Poe where the main plot focuses on a Prince having locked himself with aristocrats and nobles whereas his people would die from the Red Death, one night where he is helding a masked ball, a mysterious guest show up diguised as the Red death which lead the Prince to become furious and chase the guest until he reaches him and falls death, then everyone else dies and the narrator reveals that the guest was indeed the Red Death itself because no one can escape from the ultimate fate of all living beings (I am obviously leaving out a lot of details for the sake of brievety but what is important here is)

This tale is obviously a commentary in the same manner that vanities are, but the precense of death as an uninvited guest is pretty similar to Naenia and Charlatan's presence in the ball, I don't think I need to further explain how they play a similar role as the Red Death though

Another aspects of masked ball that can be found within VnC is it's privileged choice for love or establishing romance, as demonstrated by Zlatka Timenova-Valtchev so... sorry if i you dislike this ship but it's obviously gonna be about VaniJeanne because ... well... you know why... also NoéJeanne ? Kinda ?

So Jeanne's introduction in this chapter isn't proper, it's mainly Noé remarking that Lucas refered to the plural, indicating he came accompanied and Noé wondering if this means that Jeanne might be here too

We are then shown Jeanne panting and visibly in pain, remember this chapter is the one introducing her condition as a curse bearer so I think it's very interesting that Sensei choose to introduces her in this situation through Noé's questioning on her presence ... especially when we get to the following chapters

Now what I want to focus is the panelling once more, we are shown Noé remarking Lucas's phrasing implying he didn't came alone and then a panel without speech bubble, focusing on Noé looking like he is thinking about something, this something only being shared in a monologue bubble that present panting Jeanne

Now this part of the developpement could raise some eyebrows since later on there is this repeated idea that Noé might be infantuated in some ways towards Jeanne, in chapter 3-4 there were some scenes showing him in awe before Jeanne's beauty and even blushing when she glared at him, this chapter is dropping here another scene that could lead to this intepretation, and this all takes place before the chapter where Lucas invites him and Vanitas to eat and where Noé is shown blusing at her again and even considering to invite her to dance

That's where this post is getting a bit complicated, you see a big reason why a lot of us (myself included) don't feel very convinced Noé would be in love with Jeanne like what Domi is shown to believe during the Attraction arc is that they got few moments together and barely real intereactions, however to play devil's advocate, I'd like to remark that a lot of times there are attempts at interections that gets cut such as Noé trying to invite Jeanne to dance before Domi beats him to it or they end up taking place at a bad timing such as Gévaudan or when during the Attraction arc

Does that mean Noé is in love with her ? Not necessarily but he is at the very least intrigued, and in a way that pushes Domi to believe in this possibility, plus it's Sensei we are talking about I don't think she would put those little intereactions for as small and tiny as they are if it wasn't meant to built something, as to what though I have no real clue but I assume it will be painful because... well it's Sensei we are talking about

That said if we go back to focus on the text itself, Lucas is searching for Jeanne but despite using this opportunity to present us with jeanne's current situation (Lucas explaining to Noé he is searching for her), instead Sensei's showing us Noé wondering about the meaning of this "us"

This could be because by this point they left on antagonistic terms, especially after what Vanitas did, but Noé focusing on Lucas's wording being emphasized by the narrative, even as a mean to justify presenting Jeanne in a state of weakness before she makes her introduction to pick up Vanitas, is still worth pointing out, this shows that Noé is at the very least interested in Jeanne, a plot point reprised in chapter 12, with a dance scene meant to parallel the ball, this time being more of a popular event than a formal party and not ending as tragically, and that this interest, whatever it might be, is born in chapter 3 and 4

That being said another reason why I feel the need to mention this is that Vanitas's relationship with Jeanne and Noé are paralleling each other but also that Vanitas's relationship with her porgresses in times where he isn't aware, in chapter 3 he can't hear them, in this chapter he doesn't know what happened between either of them until chapter 12 , they got on a date while he is left alone with August and we all remember how Noé had to learn about what happened between Vani and Jeanne during the Gévaudan arc only when he had to bring him seek help because he was at death's door

This chapter is furthering that we went from simply not hearing to not seeing in Noé's case, so his interest with Jeanne could also simply have to do with how he has seen that Vanitas is interested with her which is less of a strech to prove

Jeanne makes her proper appearance by the end of chapter 7 and intervene in chapter 8 by taking Vanitas away before he gets killed after he had revealed himself as a human to all the vampires

She is part of the several characters reacting with surprise to Vanitas's revealtion that he desires to get revenge on Votbm, like Noé she gets two panel dedicated to show her reactions,

In the next chapters she picks him up wearing her mask on

Now what's interesting is that Noé could recognize her despite her mask, which surprises even Lucas

and unlike us, who had seen Jeanne's costumes and could recognize the patterns, Noé had no idea what she was wearing, he was even wondering whether she was here in the first place a chapter ago

But back to the main point, the main big step in Vanitas and Jeanne's relationship is him discovering that she is a curse bearer and the biting scene that I won't share because last time I did tumblr told me it was "too mature"

And this ties back to the masked ball used to present scenes of eroticism and sensuality, for a reminder we saw earlier a couple of vampire presumably biting and Vanitas (or rather Domi) himself bring that up

this exchange led to Domi explaining to Vanitas why exactly Noé drinks her blood before proceeding to

So then Vanitas essentially mocks Domi's protectivness and you might wonder why exactly DomiNoé doesn't figure on the list of relationship to be covered, well that's because aside from their dance and reestablished frendship on Noé's part, this doesn't have as much focus as Vanijeanne does, though to be fair we do get to see the genesis of said friendship but the real focus is given to Louis due to the theming of curse bearer

That being said you could argue that Vanitas's frankly sexist remark is there to show he guessed that Domi felt something more for Noé but still goes along with simply being his friend, hence the "conveninent" comment

This further cements the idea that blood drinking isn't an entierly neutral act, it represent something and while in classical literature it's seen as a euphemism/metaphor for the you know what, it's not necessarily the case in VnC, even if Vanitas's reaction shows that he doesn't buy into Noé's vision of blood drinking, but in Jeanne and Vanitas's context, it's very much meant to have this connotation, if the way this scene plays out isn't enough to convince you, I will remind you that Vanitas uses the mark he got from this and this blood drinking itself as a proof that "he and Jeanne are in love" in chapter 12, cause he is a little sheet

However, if we go in detail of what happened in this scene

When Vanitas tells her to drink his blood and in imperative tone, he is wearing a strange smile, the next scene shows Vani removing his scarf to open his collar as he pushes Jeanne against the balcony

It's a scene where a lot of ink and screentones are used to accentuate the darkness of the atmopshere and creating a tense scene, but when Jeanne asks Vanitas why he is doing this he answer

"no real reason", we then see a puzzled Jeanne next to a panel showing his argument with Domi and his reaction afterwards, those are clearly Vanitas's thoughts while he argues that he doesn't really care about what could happen to him right now, possibly linking to how he decided to just throw himself into the vampire's den, we'll also note 2 bubble speech featuring suspension marks, indicating an unspoken, however, when we see the panel showing the character's gaze, the 2nd bubble speech ends up with an exclamation mark, and the little signs coupled by Vanitas's gaze indicates he is realizing something or rather remembering something, this reaction is pretty off in contrast to Jeanne's reaction

And he ends up correcting himself saying he is doing this because he is intriguied, remembering Noé drinking Domi's blood while he was waiting and thinking about Noé being an orphan, we can see blod stain and...this might indicate that Vanitas is lying right now

This could be a translation thing, however the bold text putting in emphasis "either way, I'm in love with you" highlight that this is a strange phrasing (but from what I recall from the anime that's mostly what he says in Japanese as well)

That's like Vanitas forgot that he could just use the fact he is in love with Jeanne to explain him wanting to let her drink his blood, and that's not like Vanitas wouldn't just use that his done worse before

But again, he doesn't think about it or even about a scene of blood drinking he had at least heard up until he had this little realization shown in the panel, before he was thinking about something else

And that's where you will have to focus on the blood spit in white

This is Vanitas remembering something, we don't see what, we only see blood and in white, he remembers this as Domi mentions Votbm and argues that Vanitas might worship them

It's that dialogue Vanitas was thinking about before he told Jeanne his excuse, it's also this dialogue that triggered this memory and this reaction from him, revealing himself to the vampires

This page uses a lot more ink and in the case of Vani it's trying to accentuate the shadows, he is repeating what Domi said but the bubble speechs are black with white texst and twisted, this is meant to showcase that Vanitas's reaction is meant to put us in unease, scare us even

Especially as later on he laughs

This not only puts Domi but also her servants in unease, Vanitas's reaction seems to indicate that he thinks it's ridiculous to think what he is doing is because of a feeling of admiration towards Votbm that would go as far as worship, this is further expanded upon when Vanitas clashes with Roland later on, Vanitas doesn't believe anything and is a pretty nihilistic person when you think about it, so the idea that he could worship anything let alone Votbm is likely what makes him laugh, not to mention everything we learned about his relationship with Luna for as little as we know, this does put a lot of things in context

Anyway, it seems that Vanitas's desire was to correct Domi's mistakes but because of Vanitas's conflicted relationship and him realizing what exactly the book of Vanitas represent in the vampire world, he decide to just set the records straight for everyone and that's where we get this scene

This is the scene that hightlights the skeletal chandelier and where we see the skulls and skeleton, creating a bit of confusion on the authenticness of those skeletons seeing them move like that, but that furthers reinforces the importance of their presence, to see a character named Vanitas standing on furniture made after a common symbol used in vanity could also place Vani on the same ground as the Red Death but unlike the Red death that promises demise to the guest, Vanitas offers salvation (more on that later)

The bit I want to tie to Jeanne is obviously the mention of possession mark

The way Vanitas describe possession marks informs on how exactly he views blood drinking, but this is like polar opposite to how he talks about Jeanne's mark of possession, the framing with the dark background, the blood invanding the bubble speech

This is basically a proof of objectification, that's how Vanitas describes it, mark proving he is the possession of Votbm

This essentially ties in one bow the topic of curse bearer's fate, Vanitas's honesty about being related to Votbm and the status of blood drinking in vampire society while making Vanitas and Jeanne's relationship progress

Given his recollections when he approached Jeanne before switching to "I was intrigued" it's becoming obvious that Vanitas did that because of events related to Luna, his biting by Votbm bears painful memories but by the point we reached in the story, how exactly did it pained him has become a lot more foggy to answer, regardless, him thinking later on about Domi and Noé while the blood stain he remembered during Domi's interogation reappears could indicate that he wanted to see if being bitten by Jeanne would be painful like it used to with Votbm or if it would be like Domi and Noé, but again, the portrayal is showing it's a bit... off, there is a slide there

Moreover this is happening meanwhile Noé is away and suffering (*look at the Vanijeanne date and the cabin scene* God, this is really establishing a pattern huh) so this second the idea that whenever Vani progresses in his relatioship with Jeanne, Noé is kept unaware of it for a reason

That said, to go back a bit further, I commented that Jeanne's costume could be inspired to Juliet from the play, mainly because in an interview Sensei said she had wanted to write a Romeo and Juliet type of dynamic between a man and a woman, enemies to lover basically, however an other reason I bring that up is because if you have seen or read the original play, Romeo and Juliet meet and fell in love during a... masked ball

Crazy I know, however the most interesting angle about this chapter is the thematic of the masks and who is wearing it and why

So it might seems like everyone is wearing one, however this isn't quite exact

If we look at the masks, Jeanne and Veronica wear a mask fully covering their face, Domi, Noé and the majority of vampires wears a loup mask (one that cover only the upper half of the face) and Vanitas just wears a eye patch, meanwhile other characters such as Lucas or Rutheven have their face fully exposed

Eyes are the windows of the soul, hiding them ties to a larger motif of the eyes present within VnC be it the vampire's eyes, the dhampir's eyes, the eyes of Misha and Vani or some characters having heterochromia, one eye bandanged, vision, the glasses the dhamps wear to hide themselves etc.

No matter what mask they are wearing, the eyes are always the hidden part,

The meaning of who is wearing a mask and who isn't can varry but this is where we go to the heart of Vnc's way of handling this specific topos : to talk about what is hidden within

For example, in regards to Lucas no wearing one it could be argued that's because he has nothing to hide in contrast of a whole society that is constantly hiding their true selves but in the present context the mask is an accessory meant to emphasize what it reveals of the person wearing

Because it's a masked ball, Charlatan can easily inflitrates and there is nothing that help distinguish the curse bearer from non bearer but the curse bearer are wearing a double mask, the literal one and a figurative one refering to their hiding their conditions

In the case of Jeanne, her wearing a full mask rather than a loup is making her standing out from everyone else, outside of Veronica, Lucas's escort and Charlatan, other characters all wear a loup

So in Jeanne's case it could be said that's because she is trying to hide her nature as a curse bearer, therefore Vanitas unmasking her (literaly) is meant to fit with him unveling her secret, thus removing her figurative mask, this could also tie with the notion of Pathos presented by Zlatka Timenova-Valtchev, the freedom given by the mask to give in your impulses, as Jeanne is given the permission from Vanitas to quench her thirst and to stop repressing herself, which we saw her do earlier, that's how she is introduced, fighting back her urges

In the case of Domi, she does take off her mask herself as she introduces Vanitas to

Unlike Jeanne she wears a loup which means only a part of her face is hidden, therefore this means only a part of her figurative mask is taken off during this scene

She isn't gonna reveal her true self or at least not entirely, what's revealed rather is what she intents to do to Vanitas and why, but it's becoming clear in her argument with Vani she isn't telling us everything but this chapter and the later chapters will help us realize that Domi as presented in the early story is still acting the way she does as a way to cope, she is acting in a way she believes doesn't reflect how she truly is inside as we see in the lastest chapter in how she praises Jeanne and how she is shown to be suffering from self accepting issues. In short, Domi is wearing a partial mask because she is already wearing one, hiding her true self under a mask of charisma and assurance

When it comes to Noé and Vanitas though this goes wild, and yeah this is by this point I am going to tackled their relationship and Noé's relationship with Louis (mostly because this is this angle of Louis that is explored in those chapters)

Noé wears a Loup too, however he doesn't seem to be wearing a mask unlike Domi and Vani or even Jeanne, but the truth behind the mask that is revealed in those chapters is his relationship with Louis and also a look to Noé's inner darkness which makes him more vulnerable and easy to exploit

This is a scene that is very interesting, especially compared to how Vanitas's own feelings about himself contrast drastically Noé's reaction but that further explores Noé's desire to help people as also resulting from the traumatic experience of failing to save his friends

Whereas for Vanitas he is wearing a triple masks if not more

2 literal ones and one gigantic figurative one, one that resists everyone to this day

Of course there is the eye patch, but also the pomander made to hide the fact he is human

The fact he is wearing such a simple accesory to hide his face would in my opinion highlight the idea that rather than it being to fit his pirate costume, it's his pirate costume that exist to match his eye patch

Vanitas is already wearing a mask, so his face being barely hidden would make sense with the idea he is already wearing one that hides more than a loup or a full mask, in that sense the pirate costume would be the only match of a mask that still hides him but also not entirely or not as partially as the loup, so the unveiling in this chapter can only be partial

He loses his eye patch during his session with Domi (what am I supposed to call that) but his second literal mask (his pomander) is something he takes off by himself when he reveals himself to the vampire, however this intereaction and the one he has with Jeanne later on helps pierce if for a moment through his figurative mask, he is already revealing an important information about his relationship with Votbm, he is their possession and he wants to take revenge on them, it's possibly so antagonistic that Vanitas takes offense and find utterly ridiculous the notion he worships them to the point he feels the needs to reveal himself to the whole world of the vampire aristocracy

However, it seems he does put his figurative mask back when approaching Jeanne, not when he tells her to drink his blood but rather when he tries to give her a better explanation than the one he gave her first hand

So while Vani manages to break through her mask easily because outside of her curse bearer nature and her bourreau persona she doesn't hide much, breaking through Vani's will take more time because he is hiding a lot more, and Noé will get to see one of the things that Vanitas "hid" from him

I am using "hid" because Vanitas didn't exactly tried to hide that but rather there has been no occassions for him to show this side of his power

So an important element of Louis story being introduced here isn't only to showcase Noé's darkness but also to highlight his cowardice

Noé was incapable of killing Louis and granting him the salvation Louis wished for

However this specific idea of killing = salvation ? is reused in this very chapter

Vanitas is amusing two vampire girls, one named Catherine and her little sister and everyone commented on how it gave them flashbacks of the flower girl from PH because Vani gave her a flower and her ending was tragic too

So this girl and her sister aren't wearing a mask, and while you could argue that it's for the same reason as Lucas, they aren't hiding anything, I would argue that for Catherine, it's precisely because she is already wearing one, one she isn't aware of but one nonethless and of course her mask falls off like the rest of the guests, Jeanne and Noé's (past) when Naenia enters the scene

This moment where Vanitas intervenes would tie back to what I said about Noé's perception of Vanitas, up until this very chapter Vanitas always succeeded in restoring the vampire's corrupted names

They were saved and by that Noé meant "alive and well", that's how Noé views salvation and what it had wished for his friends, but when he thanks Vani, Vani replies with a black speech bubble telling Noé's he got the wrong idea about this, and when you have the fresh memories of Louis story, we will see Noé is going to repeat the same mistake he dreaded over and was reminded off a bit ago

When Vanitas arrives to heal Catherine, the girl he offered a flower to and that even Noé remembers, he comments that it's too late and little digression but her lack of mask and mention of name makes it a lot easier to remember her after all the informations we were asked to digest but seeing her face and name also helps humanizing her enough in the little time she was given for us to find tragic what's going to happen

Yet she still has moving dialogue where she begs Vanitas to kill her with black speech bubble, crying because she doesn't want to hurt her sister

more speficially she says "before I kill my sister too" meaning that she killed other people, potentially even their own mother, but enough disgression, this request is obviously similar to Louis's desire to be killed by Noé and later on Jeanne and then Vanitas asking someone to be killed (this one scene really makes vanitas's "it has to be me who kill you" and "if I had to be kill it has to be him" gain even more weight than it already had and imo it's because we see Vanitas is doing what people begging him to do, even when it's about killing)

Noé tries to stop him, fails, gets angry at him and when Vanitas mentions he was saving her, Noé had an immediate flashback comparing Catherine to Louis before he asks one of the main thematical question of VnC : what is salvation ?

One that ties back to the backstory we were told about Paracelsus

Paracelsus came up with his formula theory to ensure humans would not suffer from illness anymore and to guide them to happiness (which danse macabre in background please) in other words : to lead humanity to salvation

The mentions of illness and salvation obviously ties back to Vanitas, a man who swore to heal the vampire's illness to save them, but unlike Paracelsus whose (so far) seemignly doing it genuinely, Vani does it because of his revenge against Votbm, that being said his very omnious phrasing of "saving them without fail" should have highlighted that what Vanitas considers salvation would be very different from the conception Noé or Paracelsus had of this term, and thus from us since we are likely thinking like them : saying someone is preventing them from harm's way and ensuring they are alive and safe

Vanitas's defintion aligns with Louis : saving means preventing one to become a monster, it is preventing one from suffering any longer in a state where they do not even have any longer the appearance or bearing of humans

The transformations of curse bearer into beings losing anthropomorphic traits, into "monsters", "beasts" plays directly into the diabolization we see humans perform against them when they had been characterized many times and even a in this chapters as being human like being, Catherine's plea to kill her before she harms her sister is showing she retained a thread of humanity and that she is using this to plead for her family rather than her, maybe realizing that it's too later for her

So this chapter is lifting a veil/mask on one of the reality of Vanitas's power, a tragic one but also one that must makes us think, and in the case of Noé in particular, reminds him of his own weaknesses

He didn't just failed to save Louis by his definition (making sure he is still alive) but also by Vanitas and Louis definition (making his suffering end), so in the same way that Noé will lecture August about him blaming Vanitas before realizing he literaly did the same thing (and he believed Vani was mad at him for that when ... no he was mad that Noé intervened between him and August, this does show Noé isn't that good at deciphering Vani), Noé repeats once more his mistakes of believing in one definition of salvation before reflecting on what exactly does that mean being "saved", something that steems from his own cowardice of not being able to "save" people in a way that doesn't align with his own definition

So I'll conclude by saying this : the balls chapters really cover a lot of thematic ground and every panel is sparkled within details that foreshadows not only the great thematics and questioning of this chapters but even informations about the cast at large, playing within larger motifs used by sensei and cleverly reusing a popular topos with its own twists

[o-link]

Jeanne d'Arc (helicopter carrier)

Il n'est pas nécessaire de présenter la Jeanne d'Arc. Ambassadrice de la France autour du monde, la « Jeanne » a reçu et formé au cours de ses 45 campagnes d'application, des milliers d'officiers de Marine et des différents corps d'officiers de la Marine (commissaires, médecins, administrateurs des affaires maritimes). Ce fut un moule unique où se forgèrent les caractères, où les élèves de l'Ecole navale passaient du statut d'étudiant à celui de marin, s'engageant pour la première fois dans les postes de responsabilité et de compétences techniques qui allaient être les leurs tout au long de leur carrière militaire.

Construit à Brest et baptisé à l'origine La Résolue, ce porte-hélicoptères fut mis en service le 16 juillet 1964 (date du changement de nom). Il a remplacé dans cette fonction l'ancien croiseur Jeanne d'Arc.

Navire de prestige, voué au bals, aux fastueuses réceptions et aux visites de hautes personnalités lors des escales, la « Jeanne » n'en fut pas moins un bâtiment militaire qui pouvait intervenir en cas de crise, grâce à ses possibilités multi-rôles. Dans cette fonction, il ne pouvait embarquer que 4 hélicoptères lourds. En temps de guerre, il devait être utilisé comme porte-hélicoptères anti-sous-marins, comme porte-hélicoptères d'assaut ou comme transport de troupes. Ce ne fut jamais le cas, mais le navire fut plusieurs fois engagé dans des opérations humanitaires (en 1988, 1998 et 2005 notamment) mais aussi dans des interventions comme la libération des otages à bord du voilier Ponant, en 2008.

[transparentgentlemenmarker]

Nicoletta à signé son premier contrat en 1966

Des refrains toujours aussi présents

Elle fêtera ses 80 ans le 11 avril 2024

Elle a été élevée par sa grand-mère maternelle et a rendu hommage en chanson avec Mamy Blues. A 20 ans, Nicoletta a perdu sa maman, fauchée à seulement 40 ans par un cancer, "après avoir été moquée toute sa vie". Celle qui publie son autobiographie, raconte la terrible histoire que sa mère a vécue. "Ma maman, Jeanne, souffrait d'un retard mental, qui à été abusée lors d'un bal du 14 juillet, Nicoletta, qui a découvert à l'âge de huit ans que son père était le voisin de Jeanne. (...) Ma mère était comme une enfant, toujours heureuse. Heureux les simples d'esprit..." Bouleversée par la disparition de sa maman, la chanteuse a tenté de mettre fin à ses jours puis a rendu un hommage bouleversant avec sa chanson, Mamy blues, à celle qui "n'est plus là pour [lui] sourire [la] réchauffer, [la] recueillir". Cette terrible histoire familiale, Nicoletta l'avait déjà évoquée dans les colonnes de Paris Match, avec beaucoup de pudeur. "Je n'en ai longtemps rien su, mais j'ai vite pris conscience qu'elle n'était pas une mère comme les autres, avec l'esprit d'une enfant dans le corps d'une jeune fille. Mon père ne m'a pas reconnue, révélait-elle. A l'école, j'ai subi des humiliations qui ont forgé mon caractère. (...) J'ai du apprivoiser mes douleurs et apprendre à éclore." Auprès de La Montagne, elle explique que dans son "village de Haute-Savoie, tout le monde se connaissait" : "Mon géniteur résidait à dix mètres de chez moi, un jardin nous séparait. Il connaissait ma mère, elle a dit 'oui', il ne l'a pas forcé. Ma mère n'a jamais rien nié, confiait la chanteuse à nos confrères. Et la mère de mon géniteur est restée la meilleure amie de ma grand-mère". Sa grand-mère d'ailleurs a joué un rôle clef dans son éducation. "A la fête des mères, je faisais toujours deux cadeaux à l'école du village", se souvenait l'interprète d'Il est mort le soleil

[gogmstuff]

Images of 1909 Evening Dresses -

Left 1909 (1 January issue) Les Modes robe de bal by Cauet Souers. From gallica.bnf.fr 1024X1446.

Right 1909 (1 Febuary issue) Les Modes robe du soir by Callot Soeurs. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1421.

1909 (1 March issue) Les Modes Mlle Provost in robe du soir by Doucet photo - Retlinger. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1406.

Left 1909 (1 April issue) Les Modes Mlle Marie-Louise Herroüet in robe du soir by Callot Soeurs photo-Reutlinger. From gallica.bnf.fr.; fixed spots & flaws w Pshop 1024X1413.

Right 1909 (1 April issue) Les Modes Mme Jeanne Darlays in robe du soir by Agnès photo-Reutlinger. From gallica.bnf.fr; fixed flaws & spots w Pshop 1024X1405.

1909 (1 May issue) Robe du soir by Martial & Armand photo-Félix. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1408.

Left 1909 (1 June issue) Les Modes Mlle Fonteney in robe du soir by Redfern photo-Félix. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1406.

Right 1909 (1 June issue) Les Modes Robe du soir by Doucet. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1439.

Left 1909 (1 July issue) Les Modes Robe du soir by Paquin photo - Boissonas & Taponier From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1407.

Right 1909 (1 July issue) Les Modes Mlle Destrelles in robe du soir by Martial & Armand photo - Reutlinger. From gallica.bnf.fr/; fixed flaws & spots w Pshop 1024X1407.

1909 (1 July issue) Les Modes Robe du soir & robe de diner by Drecoll l. photo - Félix & r. photo - Bert. From gallica.bnf.fr/; fixed flaws & spots w Pshop 1024X1407.

1909 (1 August issue) Les Modes Miss Constance Drever in robe du soir by Drecoll photo-Félix. From gallica.bnf.fr.; fixed spots w Pshop 1024X1412.

1909 (1 September issue) Les Modes Robe du soir by Maison Agnes photo - Félix. From gallica.bnf.fr 1024X1409.

Left 1909 (1 October issue) Les Modes Robe du soir by Buzenet photo-Cheri-Rousseau & Glauth. From gallica.bnf.fr; fixed spots and flaws w Pshop 1024X1403.

Right 1909 (1 October issue) Les Modes Robe du soir by Maison Agnes photo - Félix. From gallica.bnf.fr; fixed spots and flaws w Pshop 1024X1407.

1909 (1 October issue) Les Modes Mlle Madeleine Dolley in robe de bal by Paquin photo - Bert. From gallica.bnf.fr; fixed spots and flaws w Pshop 1024X1413.

Left 1909 (1 November issue) Les Modes Robe de soir by Perdoux et Cie photo-Félix. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1406.

Right 1909 (1 November issue) Les Modes Robe de soirée by Rivain et Cie photo-Félix. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1406.

1909 (1 November issue) Les Modes Robe de soirée by Zimmerman photo-Félix. From gallica.bnf.fr; fixed spots & flaws w Pshop 1024X1403.

[panvani]

im not disagreeing but if what you said on luna and vanitas is true then don’t all the major characters like noe, domi, jeanne, luca, and ruthven know what vanitas’s relationship with luna was like because he showed his mark of possession at the bal masque? how does no one touch on it?

That Luna was Vanitas' parent was only revealed to Noé (and Noé specifically! Jeanne and Domi do not know) very very recently. Dominique has had maybe 2 direct conversations with Vanitas and their relationship is very antagonistic. Kind of the point of Vanitas' relationship with Jeanne is that neither of them actually try to establish the mutual trust or emotional connection that would be required to ask someone about apparently traumatic past relationships. With that said, it's not something you can just like... bring up.

[kwebtv]

Character Actor

Murray Hamilton (March 24, 1923 – September 1, 1986)  Stage, screen, and television character actor.  

He made dozens of TV guest appearances. In 1955, Hamilton guest-starred on the NBC legal drama Justice, based on case files of the Legal Aid Society of New York. Hamilton appeared in the Perry Mason episode "The Case of the Deadly Double" (air date March 1, 1958) as the shadowy boyfriend of a woman with a split personality who is the sister of Perry Mason's client.

In 1957 he was a primary star on Gunsmoke, playing a conniving cowboy who sets up Chester for a murder rap as “Jake Buley” in the episode “Chester’s Murder” (S2E27). In 1959, he appeared in a few episodes of the crime drama The Untouchables, as well as co-starring in the second episode of Rod Serling's television series The Twilight Zone, "One for the Angels", playing Mr. Death opposite Ed Wynn. Also, Hamilton portrayed Calhoun, on (S4E9) of Gunsmoke, which aired in April, 1959. His character is swindled in a land deal along with other members of a wagon train & his wife tries to leave Calhoun with the swindler.

In the 1959-60 television season, Hamilton also co-starred with William Demarest, Jeanne Bal, and Stubby Kaye in the NBC sitcom Love and Marriage. He played attorney Steve Baker, who resides in an apartment with his wife (played by Bal), two daughters and a father-in-law (portrayed by Demarest). He soon appeared as a guest star on another sitcom, The Real McCoys, starring Walter Brennan, on ABC. In 1961, he appeared in another science fiction series, 'Way Out, hosted by Roald Dahl, with fellow guest stars Doris Roberts and Martin Huston. He guest-starred in an episode of the James Stewart legal drama Hawkins in 1973. In 1986, he played Curtis "Big Daddy" Hollingsworth, Blanche Devereaux's father, in a first-season episode of The Golden Girls.

He also appeared in a comedic guest spot on Mama's Family in the second-season episode, "Mama Cries Uncle", as Uncle Roy.  (Wikipedia)