#live at dorothy major

[ladm-daily]

As inspired by blogs like @tfihwg-daily, I'm doing Live at Dorothy Major daily! Devil and the Deep Blue Sea is a criminally underrated band, and I'm hoping this will help them get more attention! One line of their live album will be posted per day at about 4PM EST, in order (I will not include their entertaining transition dialogue, and I'd really recommend listening to the album yourself!)

The album has 1410 words total, with One Hundred Rooms being the shortest at 121 words and Home to Me being the longest at 268 words!

All posts like this one that aren't part of the gimmick will be tagged #not daily so you can block it if you so wish.

mod is genderfluid, she/he are pretty safe bets though i don't mind the odd fae or xe

Current Song: Church Key

[foxmulderautism]

my very strong philosophy that i need to perceive my characters as real people in order to feel like i can write them at the depth a novel needs + i try to see expand my view of them as far as possible so they have a life an existence that a novel only snapshots a part of + this being a big part of my writers identity bc my relationship with my characters is very important to me is still very real but also very funny now because i've realised when it comes to short fiction i do not give a fuck like that. like i put everything into my characters bc i think making complex characters/relationships is my best skill but they are nothing but names to me (and i barely name my protagonists cause i just dont give a fuck if its not needed) and shadows reflecting an idea i thought was cool. like the way with novels i'll say felix and beau and dorothy are my best friends and they've just granted me access to their stories and i can't imagine how i'd go through life without thinking about them and their lives...then with short fiction the characters are just dolls that i throw out once i'm done with them

[gallusrostromegalus]

I was raised agnostic and tend to remain ambiguous on theological matters.

-but my house has a porch on the second story that affords me a terrific view of my neighborhood and the Colorado Front Range and I was partaking of some peace before the 4th Of July Finger-Loss Festivities begin, and I have had a

~*Spiritual Experience*~

I just watched my neighbor try to unload an actual wooden pallet that had to have been forklifted into the back of his insecurity pickup worth of fireworks.

Except that he does not have a forklift in his garage.

He does have so much sports memorabilia and cardboard boxes of unsold MLM Merchandise and patriotically themed camping gear and posters of women in bikinis and flags of suspect political organizations in his garage that there is only BARELY enough space for the fireworks and certainly none for his truck.

So he had to unload the individual boxes of recreational explosives from the back of his truck and stack them in the minimal space he had cleared by hand. This is a tedious and time-consuming process as this neighbor has purchased a wide variety of recreational and locally illegal explosives instead of many of just a few types, so the individual boxes are rather small.

He begins, and this is crucial to what happens next, by cutting apart the industrial-grade saran wrap his explosives dealer had so carefully wrapped his merchandise in, and discarded it unsecured on his lawn.

Where Outdoor Conditions sometimes happen.

His process for unloading the fireworks is to 1. Climb up through the gate into the bed of his pickup truck (a feat made unusually difficult due to the slope of his driveway, and this man's fascinating decision to wear the world's Siffest and least Flexible Denim Overalls. 2. Once in the pickup bed, he selects ONE (1) box from the pile He is apparently from a niche religious institution that doesn't believe in stacking things. 3. Carries it awkwardly around the palette that barely fits in the truck bed 4. His wife yells "Be careful!" when he nearly falls out of the pickup. 5. He Yells "SHADDUP!" back at her. 6. The Large German Shepherd barks from inside the house. 7. He yells "SHADDUP!" back at her too. 8. He sets the (1) box down on the gate 9. Slowly and awkwardly climbs out of the pickup bed 10. picks the box back up, and carries it into the garage.

Question: Aren't you going to help this poor man? Answer: Absolutely Not.

There's four military veterans, MANY dogs, and several people with dementia in this neighborhood, all of whom are terrified by this chicanery every year and many neighbors have repeatedly asked him to maybe do the fireworks somewhere else. (This is the Eighth Year Running he's held a major demolition event in his driveway, and for those of you who can do math, you may be able to guess the precipitating incident to this little ritual) Additionally, I live in Colorado, a state marginally less prone to spontaneous and catastrophic conflagrations than a rotting grain silo, but only marginally. Our recreational explosives laws are written accordingly.

I am in fact calling the Non Emergency line to report Fireworks violations, and reading off the brand labels to someone named Dorothy, who is gleefully totaling up a SPECTACULAR fine for my oblivious neighbor.

However, while I'm on the phone with Dorothy, I notice the wind begin to pick up. and by "Notice" I mean "The Industrial Saran Wrap he left on his Lawn earlier is suddenly swept up about 100 feet into the air by an updraft intense enough to make my ears pop" And by "Pick Up" I mean "I look up to see the sky has turned a fun and exciting shade of glass green, and the bottoms of the clouds are bumpy and rounded, and the overall effect is not unlike looking up through the bottom of the cup at God's Matcha Boba Tea."

For those of you who do not live in places with Inclement Weather, these conditions mean "You have about 30 seconds before a Major Meteorological Event Occurs."

I move under the eaves. "Hang on Dorothy." I say, nose filling with Petrichor. "The show is about to be cancelled." "Oh, that doesn't matter!" Dorothy cheerfully informs me. "It's illegal for him just to possess those, no matter if he actually gets to set them off or not." "Terrific, because he's gotten maybe five boxes out of a hundred inside."

Sometimes, the weather gods are Merciful and give you a verbal warning, typically in the kind of thunderclap that makes your ears ring.

The Gods were not merciful today.

It's not often that I am in the time, place, correct angle or in a properly observational frame of mind to see this, But I got to see it today. Huh. I thought. I've never seen a cloud just DIVE for the ground before. Oh. I realized as it got closer. That's RAIN.

Sometimes, a thunderstorm will form in such a way that the rain that would normally be distributed over an area of say, five to tent square miles, is instead concentrated into an area of say, my neighborhood exactly.

So today, I was granted the rare privilege of being able to actually see the literal wall of water descend from On High and DIRECTLY onto my porch, my street, and my neighbor's truck, and his pile of unwrapped fireworks.

The sheer impact force of the downpour immediately scatters the teetering pile of fireworks boxes in the back of the truck, like the wrath of God striking down the tower of Babel. Boxes tumble, then are washed out of the bed of the truck by the deluge. Smaller Boxes are carried down the road in a little line by the stream forming in the gutter, like little impotent explosive ducklings.

My neighbor was definitely yelling something, but I could not hear what over the DEAFENING noise several million gallons of water makes upon high-speed contact with the earth's surface, but there was a lot of arm-waving and faces turning red as he went looking for the saran wrap that had probably blown to Nebraska by now, while his wife started disassembling the complex three-dimensional puzzle of interlocking material goods in search of a tarp. They do not have a tarp. They have one of those wretched Thin Blue Line flags though, and my neighbor jogs out in a futile effort to cover what's left in the truck.

Which is when the hail begins.

"HELLO?" Yelled Dorothy. "HI!" I shouted. "WE'RE HAVING SOME WEATHER!" "OH GOOD!" she shouts back. "WE NEED THE MOISTURE!"

I watch for a minute longer, but the loss was immediate and catastrophic- the hail is the size of marbles and dense and cares not for your pitiful cardboard and cellophane, ripping the boxes asunder and punching holes in the few things covered in plastic. The colors on the Thin Blue Line Flag are seeping all over the remains of that it was supposed to protect in a particularly apt visual metaphor. Not even the few boxes that made it into the garage are spared, as the German Shepherd escapes from indoors, and in an attempt to assist her humans, jumps directly into the small stack of not-yet-ruined boxes, scattering them into the driveway and deluge. She even picks one up so her humans will chase her around the yard, before dropping it in the gutter to be swept away.

So. I was raised Agnostic -but even I can recognize when God slaps someone upside the head and shouts "NO!" at them.

---

(If you laughed, please consider supporting my Ko-fi or preordering my book of Strange Stories on Patreon)

[overthinkinglotr]

It's ironic how a major part of Lord of the Rings is that storytellers always overlook hobbits in their legends because their simple lives are "less important" than the lives of Great Royals & Grand Warriors--- since that's ultimately been reflected in the current state of the Tolkien franchise itself! After the LOTR films, big-budget Tolkien franchise installments (and copycats) overwhelmingly focus on their Aragorn analogues, with hobbit-like characters shoved to the sidelines. The Lord of the Rings films may be flawed, but they succeeded because they had a strong central story-- the relationship between Frodo and Sam, and the fairytale-themes about small overlooked people who save the day while the villains are distracted by Great Heroes from Noble Bloodlines, are what give the story the deep lasting emotional impact that it has. But the franchise(tm) quickly decided that the royal warrior elves/men were the far more exciting marketable characters, and their battle skills could allow for more flashy spectacle. The Hobbit films gradually focused more heavily on the warrior characters, with Bilbo being a glorified extra by the last movie; The Amazon LOTR show focuses on a noble warrior elf of royal blood as its main character and political intrigue among the royalty of different kingdoms as its main plot; the recent animated film focuses on a noble hero of royal blood involved in epic battles. I've mentioned before that it's fascinating how all the new "Tolkien franchise" installments (as well as media inspired by LOTR) continue to center their stories on the Aragorn archetype-- a Destined Noble Hero/Warrior from a Royal Bloodline etc etc. The entire premise of Lord of the Rings is that Aragorn represents the hero of a typical generic fantasy epic, while the ordinary Hobbits are the heroes of this one. Aragorn is interesting not in spite of the fact that he is a side character, but because of it. If he were the central character of the story, Lord of the Rings would be very bland and generic. "Let's do a new version of Lord of the Rings but focus on powerful grand royal hero characters instead" is a lot like saying "let's do a retelling of Wicked from Dorothy's point of view." It's like, "congrats! you've successfully reinvented the exact type of story the original writer was commenting on and subverting." XD

[icyg4l]

October 2024 Predictions

Hello beautiful people! Today’s pick a card reading is going to be what you can expect from October 2024. If you resonate with this reading, please don’t hesitate to book a reading with me. Refer to my guidelines and my booking site before doing so. Please help a broke college student out, if you can lol! But anyway, let’s get on with the PAC. Without further ado, please select your pile!

Top Left-to-Bottom Right: (1-4)

Pile One: Somebody’s gonna be having a lot of fun. I can tell that you need moments of relaxation, but also to party! You will get invited into a Halloween party, but please do not get shit-faced. You may end up in the hospital. I feel like you’ll be playing around with different methods of manifesting, if you’re actively manifesting something tangible (a car, new clothes/makeup, etc). You should not get too specific with their manifestations. Leave the why’s/how’s up to the Universe or whatever you believe in. Some of you could be wearing a Santa Muerte necklace or worship Santa Muerte. You may have a dream in which she sends you a message, telling you not to worry. She’s got it. This pile needs to practice safe sex!! Some of y’all are celibate but will soon be giving it up, lol. If you have a partner with a penis, you may find yourself being more fertile than usual. If not, then you should still practice safe sex. Be communicative with your partner’s and thoroughly wash yourself and any objects that you may use during the act. And of course, have fun! Also, some of you will have a dream that will spark a new idea. I get major Pisces energy from this pile. Why are y’all so horny lol??? Don’t lose sight of reality this month. Curveballs will be thrown but you just have to stay put. 

Cards Used: Ace of Cups. 2 of Discs. The Hanged Man. 9 of Cups. The High Priestess. The Moon.

Pile Two: I heard the word “glorious” as I was shuffling for this pile. Pile Two, you are free to do whatever you please. After a time of trials, you will finally feel triumphant. You have been waiting for this moment: to feel uninhibited and abundant. You are going to meet someone that will help open doors for you so that you can receive more clientele, if you are looking to start a business. For others of you, you will meet someone who is well-connected to different people and you may find a few friends/a lover. If it’s a lover, it is something that will be short-lived. This connection will help you get more comfortable in a new environment. Some of you could have moved to a different state/city (congratulations!). It feels chaotic right now, but right now you have to remember that help is on the way. Do not try to do everything on your own. If you do, then you will feel overwhelmed. This month, you will get more familiar with traveling in your downtown area/around the city. Be sure to keep something on you (bear spray, a pocket knife, graffiti spray, amulets, Nazars, etc). Be prepared for what is to come but don’t stress out over the small details (especially if you’re working on a project that will benefit you monetarily). It’s easier said than done, I know. Your plans will come into fruition as long as you keep your eyes on the prize. By any means necessary. 

Cards Used: Princess of Swords. Queen of Swords. Wheel of Fortune. 2 of Cups. Death. The Emperor (RX). 

Pile Three: Someone is about to level up! While you are doing better for yourself, some people will not be able to be in your presence anymore. You must cut them loose. If you have a hunch about a friend, specifically if they have any Aquarius placements, then it’s time to cut them loose. You’re too good for them and you know it. I feel like this is a friend outside of your friendship circle. You were warned about them before. Aside from the friendship drama, this month will be a great month to romanticize the little things. Fall may be your favorite season. Being in tune with nature will help you manifest more beauty. Staying grounded = staying beautiful. This month will go by very quickly for you. Some of you will be baking cookies and spending more time with your mother figure. Some of you may have to give advice to an impulsive, younger person to prevent them from making a huge mistake (possibly involving their friends and/or their schoolwork). There is nothing wrong with playing the role of a nurturer. Embrace it. And lastly, if there is anyone or anything that brings you chaos, it is time for you to leave it behind. Starting anew can be scary but this will change your life for the better by making room for what is to come. Out with the old, in with the new!

Cards Used: 3 of Cups. 7 of Swords. 5 of Wands. 6 of Cups. 8 of Wands. The Empress. 

Pile Four: Are you catching a coach flight via Southwest/Spirit Airlines? Are you taking an Amtrak train soon? I can tell you’re really over the bs, lol. I heard “catching flights, not feelings”. But unfortunately for you, you will be catching feelings. Be open to being in a loving relationship. It is safe for you to love. They could be very reminiscent of your loving father figure. You may meet this person as you are traveling. It is possible that you are moving to wherever you plan to travel to. If you are, then you will feel content with your decision. Right now, you are in a waiting period. The momentum is about to pick back up for you. Consider the reality of where you are going and compare it to your head. At this time, you could find yourself being anxious at times, questioning if you are ready, and you in fact are. Things are aligning for you. You could find that people in your position are landing on your for you page on TikTok. You could find that people are wearing/successfully obtaining what it is that you want. A lot of you want a new house/apartment. This will help you gain the confidence to fully pursue your goals and dreams. Don’t put them on hold for anything or anyone. I am channeling the scene where Fiona finally leaves Chicago in Shameless. 

Cards Used: The Lovers, The Emperor, Prince of Cups, The World, 8 of Cups, 4 of Swords.

[melrosing]

What do you think of the Sansa bullied Arya take if you don’t mind me asking (just don’t answer if you don’t want to haha)

per my usual practice on Controversial Topics im putting this under a cut

At the real risk of that lot showing up in my notes again, I think this ‘Sansa bullies Arya’ pins their pre AGOT dynamic squarely on Sansa herself, rather than the way they are both being raised by the adults around them to behave towards one another. Sure, Sansa is mean to Arya sometimes during their childhood! We don’t have a lot of examples besides the oft-mentioned ‘horseface’ insults, but I think it’s fair to assume that more often than not, Sansa was looking down on Arya. Meanwhile, Arya herself feels inadequate and like she just can’t do anything right. She resents Sansa, but also worries that Sansa’s opinion of her may be true.

Fine. But where has Sansa’s opinion of Arya come from? Is it her cold black heart? Fucking no, it’s come from Septa Mordane, Catelyn, and whoever else surrounds them growing up. The men don’t seem to really give much of a shit how Arya acts because it’s not their business and she’s just a kid anyhow, but the women pointedly give many shits. In our first scene with Arya, Septa Mordane scolds her for not being good at ‘women’s work’, and there’s plenty to suggest that this is just another day in the life for Arya. Meanwhile, Sansa gets the carrot for excelling. Both Arya and Sansa are learning their own worth in this chapter, and the worth of one another. Sansa internalises the praise whilst learning that Arya is bad, and everything she mustn’t be. Arya internalises the criticisms whilst learning that Sansa is good, and everything she can never be.

They’ll be getting this from Catelyn as well. Catelyn clearly adores both her daughters, and will move heaven and earth to get them back in ACOK. But one good adjective for Catelyn is ‘dutiful’ - it’s in her house words, and it’s how she’s lived her life up to AGOT. Doing as she’s told, even when it pains her. She expects the same of her daughters, and finds those expectations satisfied in Sansa’s case, and apparently flouted in Arya’s. So again, from their own mother, Sansa internalises that Arya is bad, and that she, Sansa, is good. Arya internalises the same. If societal standards were reversed, perhaps it would be Arya lording over Sansa, but such as it is, it’s Sansa over Arya. 

Now, Sansa is a child. When children are told over and over that X is good and Y is bad, they generally don’t question it, at least until they're older and more experienced in the world. They will also parrot what they hear, often in graceless ways. Because they’re children. Sansa is told that Arya wilfully misbehaves because she’s bad, and so Sansa thinks: then I should look down on Arya. It sounds like Sansa mostly keeps her distance from her sister pre AGOT. Not always - they play together sometimes - but a lot of the time. She has internalised the teaching that Arya is an aberration, and as she herself knows the adults value obedience in girls, and she wants to please them so badly, the distance between her and Arya demonstrates to them just how good she is - she won’t descend to Arya’s behaviour. 

When Sansa does interact with Arya (pre Darry), we see her being a bit bossy - telling Arya what to do, etc. Sansa is replicating what she has seen the adults do with Arya, and is mimicking them to assert her own position as the good, obedient child. If Arya ever doesn’t want to do something, it can only be because she’s bad. 

[sidenote, it all really reminds me of these short stories me and my sister used to get read a lot as kids, called My Naughty Little Sister (lmao) by Dorothy Edwards. They're pretty old and I don’t think they ever got major circulation outside Britain, but for anyone unfamiliar, you can probably guess how these stories go. There’s an elder sister, good and obedient, who narrates short tales of her ‘naughty little sister’ doing terrible things like idk, making a terrible mess etc, and going ‘now I’m sure you [the child audience] wouldn’t do a thing like that!’ They’re supposed to be short morality tales for the children, and amuse the parent reading them aloud, who recognises the mischievous behaviour of the younger and is charmed by the haughtiness of the elder sister, who you can hear is narrating the incidents of her sister’s mischief with the disdain that she’s heard the adults do so, and is asserting her own good behaviour over said sister. And the whole fucking reason we were read these stories was because my younger sister was precisely the kind of kid who got up to all kinds of shit as a little kid (which now all of us find hilarious but DIDN’T AT THE TIME), and I was the elder sister like ‘my goodness how could she do such things as these!!’ (e.g. paint an entire bookcase with grout). It amused us both to see ourselves in the stories. You could say this was life imitating art, but I think this is simply an age old dynamic, familiar to many people with siblings: you would see how the adults spoke to another child in your family, and replicate their manner in an effort to come across as an adult. Except you weren’t an adult, so you weren’t always as graceful about it as they were. That is pre AGOT Sansa, to a T. And I’m sure that’s what GRRM, a child of three who had two sisters of his own, is replicating here.]

But I think there’s also a loneliness in being the ‘obedient child’. Doing as you’re told all the time can be boring, and living up to expectations is a lot of pressure. Sansa wants a companion in all that, but Arya has no interest in sharing in it. Arya is offering friendship, but from a place Sansa believes she can’t reach her sister - Sansa thinks she’d have to ‘descend to Arya’s level’ to accept it, and she can’t do that. You get a sense of Sansa thrilling in trying Arya’s ‘misbehaviours’ for herself when she quietly delights in behaving ‘as wicked as Arya’, but you see in this that she has to condemn such behaviours and herself for exhibiting them, all in the same breath. And in the end, I can easily imagine Sansa resents that Arya has more fun with their brothers than she ever does with Sansa herself: that the one sister she has is one she has nothing in common with. Sansa can’t find a like mind amongst her siblings, and so clings to Jeyne Poole, and the praise of the adults around her.

So with all that in mind, YES! Sansa is sometimes mean to Arya, and calls her horseface. That is because Sansa is a child, nobody is correcting her behaviour, and she understands that Arya is bad, and the way she behaves is frustrating to Sansa herself, so really what does it matter if she’s a little mean sometimes? She knows that she is good, because everyone says so. Even if she calls her sister a name now and then, she’s still the good child. 

AND THEN we get to Darry. And Sansa starts to see that society isn’t a song, and sometimes it doesn’t matter how good you are, horrible things can happen to you anyway. But she doesn’t want to believe that, because it would turn her world upside down, and her future would look a lot darker, too - Ned has not ended her engagement to Joffrey, and Sansa has to live for the foreseeable in KL. So when Arya doing the thing she ‘wasn’t supposed to’ (playing with Mycah) snowballs into a terrible miscarriage of justice where Sansa’s wolf is killed, Sansa rejects the notion that the songs could be wrong about beautiful princes, and shifts the blame onto Arya for that original 'misdemeanour'. The grief at losing Lady is terrible too (the wolves are meant to have a soul deep bond with the Stark children), and so the target of that grief likewise becomes Arya. What was previously a normal, childishly complicated sibling relationship gets twisted into something else.

This is where I think Sansa becomes different level of unpleasant towards her sister. She’s cruel about Arya’s loss of Mycah, tells Arya she wishes she were dead instead of Lady, etc etc. Arya is not giving as good as she gets here - she even tries to make amends with Sansa, but Sansa throws the offer in her face.

The reasons for Sansa’s behaviour are complicated, but not that complicated. She’s been raised to slot perfectly into this world, without ever being told what that world is really like. And when abruptly it turns out that what she’s being raised for is essentially the slaughter, she rejects it. She can’t see Joffrey as he truly is: she’s been told that princes are charming, that Kings are just, Queens are kind, and she herself will be a Queen. Sansa is going to be handed over to the Lannisters, and she’s going to live the song of her dreams, and the only thing between Sansa and the realisation of those is the thing that’s always been wrong: Bad Arya. Because again, if Arya isn't bad, then everything else is, and Sansa is in terrible danger.

No one is sitting Sansa down and explaining to her that Arya is not bad, just different from her, and that they should love one another - that there are dark forces here far stronger than them that could tear them apart, that the Lannisters are the greatest of them, and they have to fight together, not each other. Arya gets this talk, funnily enough, but not Sansa. Arya is asked to understand that Sansa is different from her, but Sansa is only ever taught to abhor that her sister as different from her. Where Arya is told to be wary of the court of King’s Landing, Ned leaves Sansa to continue her fantasies, and then, when he abruptly tries to put an end to them, he doesn’t bother to explain why. I’m not saying this is unforgivable on Ned’s part - he has a lot on his mind lol - but it’s quite obviously a major failing. Ned leaves Sansa in a fantasy world. It’s fucking Joffrey who has to step in and clarify for Sansa that actually, she’s been dreaming.

So as long as they’re together, Sansa is never able to come to terms with the fact that Arya was not the aberration, but rather, everything else was. In the absence of one another, they cannot reconcile over that fact. So yes, GRRM says they’ll have deep issues to sort through when they meet again, but those aren’t going to be the times that Sansa called her ‘horseface’ - they’re going to be about what happened since they left Winterfell, when their relationship was twisted by forces much darker than Septa Mordane. 

So no, I think the ‘Sansa is a bully’ diatribes are seriously tedious, because even if you want to insist that calling your sister ‘horseface’ a few times even qualifies, you can still accept such wrongs without deciding that that makes Sansa a fundamentally unkind person who cannot be reconciled with Arya and doesn’t deserve to be. It is on the page that the two of them miss each other. Like I genuinely cannot imagine going through everything Arya does in the story and then, upon reuniting with a sister I thought lost forever, deciding I’m actually still mad about the things she got wrong as a child that she herself has paid dearly for, both physically and emotionally. Like jesus fucking christ man. By all means let them talk about it!! But who do you think Arya is lmao

Tl;dr: Sansa is a kid in a society. She is not the arbiter of Arya’s place in society. She is not mean because she’s cruel, but because she has internalised the exact same things that Arya has, based on the example of the adults surrounding them. It just happens that those things were a carrot for Sansa and a stick for Arya. But then in the end, they weren’t a carrot for Sansa either.

tl;dr 2: clarifying once again - i am a jaime stan. i find the stark sister relationship interesting bc I have experience of a similar sisterly dynamic and find it interesting to see a version of that explored on the page. so if you think one has to be a sansa stan to observe all this then that kind of just demonstrates how dichotomous you've become on this issue lol like if I'm talking about takes I dislike re JB I don't generally feel the need to attribute them to JC fandom. let's all grow up x

tl;dr 3: no i don't hate sansa or arya, since i know these are both conclusions various people reach whenever i even mention these two. in fact i think they are both great girls! imagine

[literaryvein-reblogs]

Writing Guide: 3-Act Structure

ACT I

EXPOSITION

Establish your protagonist, their everyday life, and their "desire"

Sample Synopsis: Young Dorothy Gale lives in rural Kansas and dreams of something more.

Your Synopsis:

INCITING INCIDENT

An event forces a change in your character, setting their adventure in motion.

Sample Synopsis: A tornado whisks Dorothy away to the magical land of Oz, ripping her from the comfort of her everyday existence.

Your Synopsis:

PLOT POINT 1

Your protagonist crosses the point of no return.

Sample Synopsis: Realising that her only way back is by finding the Great and Powerful Oz in the Emerald City, Dorothy sets off down the Yellow Brick Road.

Your Synopsis:

— 25% through your story —

ACT II

RISING ACTION

The protagonist encounters roadblocks on the way to achieving their goal.

Sample Synopsis: Dorothy befriends the Scarecrow, the Tin Woodsman, and the Cowardly Lion. Together they encounter minor obstacles (e.g., apple-throwing trees).

Your Synopsis:

MIDPOINT

The hero faces their biggest challenge, which threatens to completely derail their mission.

Sample Synopsis: Dorothy discovers that the Wizard is a charlatan.

Your Synopsis:

PLOT POINT 2

The protagonist — who has so far been reactive — makes a choice to become proactive.

Sample Synopsis: So that she may have a chance to go home, Dorothy and her friends decide to take on the Wicked Witch by themselves.

Your Synopsis:

— 75% through your story —

ACT III

PRE-CLIMAX

As the protagonist faces their final challenge, it would seem that all is lost.

Sample Synopsis: On the way to the castle, Dorothy is captured by the witch who reveals her plans to kill Dorothy.

Your Synopsis:

CLIMAX

The protagonist manages to overcome whatever is holding them back. They triumph over the antagonist.

Sample Synopsis: Dorothy defeats the wicked witch!

Your Synopsis:

DENOUEMENT

Our hero returns to their previous life, having changed. Loose ends are tied up and tension is released.

Sample Synopsis: Dorothy waves goodbye to her new friends and returns to Kansas, grateful for the life she has there.

Your Synopsis:

Note:

Use this outline to define all 9 of your story's major plot points.

You can then use the 'Scene-by-Scene' guide below to plot out your entire story.

As you write, revise, and edit, return to this guide and update the structure to reflect your latest draft.

Scene-by-Scene Guide: 3-Act Structure

Scene Number (1, 2...):

Act (I, II, III):

Plot Point (Exposition, Inciting Incident...):

Location:

Date/Time:

Characters in Scene:

Synopsis (What action takes place in the scene?):

Changes (How are the characters or situation now different?):

Note: Not every scene features one of the major plot points.

Source ⚜ More: Writing Worksheets & Templates Writing References: Plot ⚜ Character ⚜ Worldbuilding

[little-annie]

Just another @strangerthingswritersguild drabble.

G | WC 635 | Steve, Eddie & Robin

It was a typical Thursday evening in Buckingson home -as previously named by a very inebriated Robin and Eddie. Some random record playing on low, the small space lit by nothing but the orange glow of lamp light and candle flame.

To anyone it would sound like a peaceful night at home.

But not just anyone had Eddie for a live-in boyfriend and Robin for a best friend who also happened to be a roommate. And surely no one had the pair of chaos twins constantly bringing in stray animals to their home.

The first time it'd been a bird, some small feathery thing with a damaged wing that Robin carried into their home with her bare hands and made a nest for out of grass clippings Eddie had gathered in the park. They named the chirpy little thing Squeaker, and by the time it's wing had healed the small animal had been on several road trips and one memorable trip to the grocery store. He'd (?) joined the next migration and now every year since when his flock comes through the city, he'll perch himself on their balcony and chitter until Robin or Eddie come out to say hello.

Then there had been Bambi. A small abandoned fawn Eddie somehow managed to sneak past Steve and into Robin's room where the pair cared for the thing until a wildlife rehabilitation centre could pick it up. Steve didn't find out about that one until he answered the call from the rehab centre offering their update on the creature several weeks later.

There was also Bob the baby Racoon, Dorothy the dumpster cat, Roco the abandoned puppy and now, there was Pumpkin, apparently.

Steve had been in the kitchen slaving away over dinner when he heard the soft click of the front door and the insanely uncharacteristic whispers between Eddie and Robin.

And then there was a meow.

A wretched, croaky thing that sounded as if the newest addition to their home had the same nicotine problem as Eddie.

“Shhhh,” Steve could hear Eddie whisper as he continued to stir the pot of pasta sauce he was making, “Don't want Stevie finding out about you just yet.”

“We gotta bath you first baby,” Robin added.

Steve could only imagine the condition of this animal, let alone the event it would be for Robin and Eddie to bathe it.

But as he had a handful of times before, he pretended he hadn't heard a thing and let the chaotic two carry on.

Just the sound of them attempting to wash the cat was rather comical. Of course there was lots of swearing and one quite loud yelp from Eddie, accompanied by Robin's hushed placating. Funny enough they were still trying to be quiet, but Steve could still hear the murmurs of…

“Are you bleeding?”

“Of course I'm bleeding, Buckley. Did you see the claws on this thing.”

“Did you see the nuts on ‘em?”

“Unfortunately, yes. What the fuck?”

“Should they be that big?”

“I don't know. We'll ask Steve.”

“What do you think happened to his tail?”

“Probably froze off like his ears.”

Jesus Christ.

Twenty minutes, several yowls from the cat, one loud painful sounding yelp from Eddie later, Steve is introduced to Pumpkin.

He's a scraggly looking thing.

One eyed, half tailed and missing the majority of his two ears. The definition of a dumpster cat. Steve's sure the cat stunk before the bath the apparently three before him endured.

Robin and Eddie are soaked head to toe. Bloodied and bandaged. Hair in utter disarray. They look exhausted. But they also look to be just beaming with excitement.

The cat on the other hand, held tightly in Robin's arms looks less than thrilled.

“Steve,” Robin starts, joined by Eddie a moment later, “Sweetheart,”

“Meet Pumpkin.”

[wowevenmoreloveonearth]

You know what? I have become a gaylor sympathiser

This is going to be a long post, sorry! Please read the full post before even thinking about commenting.

Over the past few days I’ve seen a few posts on my dash about taylor swift and her fans that have left a bad taste in my mouth.

I know that a lot of people think that some fans of her are “trying to make her gay” and I just wanted to put the record straight and defend some people after actually looking at what’s going on. And I know I’m probably opening myself up for tumblr’s poor reading comprehension but before I start I’m going to say this:

I do not think taylor swift is a lesbian

Ok? Now let’s have a conversation.

First of all from what I’ve seen most of the fans who talk about Taylor swift and queerness do it from a point of literary analysis and learning queer history. This is a huge part of the community and lots of people have said that they never would have learnt so much about queer history without reading taylor swift’s works through a queer lens.

Adding on to that point, it seems a little hypocritical for the gay site which loves queer readings of books, tv shows, songs, musicals, films etc to be bullying a pretty small group of people who are mainly doing queer readings of lyrics. Especially when those people get near constant death threats. Instead of bullying these people (who don’t think or do what you think they think and do) why don’t you go outside and think “does this affect me? No. Do I agree with them? No. Am I going to cyber bully them because of this? No.”

Secondly, for the people who believe that any speculation on a real persons sexuality is 100% wrong. I used to think this too but I have changed my mind a bit about this recently after stopping and thinking about it properly. I’m not trying to change your mind at all I just want you to stop and think for a minute.

If you only get mad when speculation is queer in nature, then maybe think about that for a minute. Why is it totally wrong to think a person might be queer. We probably do it in our daily lives with people we know and they likely do it with us, back in the day that’s how queer people found each other-by speculating on sexuality. Would you be upset if you found out someone that you know thought you might be queer? I wouldn’t, maybe you would but if you would, why? Why is it terrible to think someone might be queer (this is NOT about hounding a person to admit to being queer like shawn mendes, this is just thinking in your head and on your small blog that the person will likely never see). Also this is literally the website where we talk about historical (real people) being gay even when they would have never said something to the equivalent.

An addition to this point before people start saying in the comments is that this is NOT the same situation as with kit connor. The issue there was people assuming that he was straight and taking that role away from a queer person. Speculating that he was queer was the opposite of what happened in that situation. So this is not an example of what happens when you speculate queerness.

Final things to say:

1) don’t believe every post you see with someone looking insane about taylor swift being gay, a lot of them are fake.

2) before anyone says “they should listen to real queer artists instead” most of them very much do. There’s a lot of fans of Hayley kiyoko, girl in red, Janelle monae, tegan and sara, zolita, kehlani etc.

3) there are some queer flags that are there. Sorry but there are. Hairpin drops, lavender, the ladder, flag colours, songs about women, friend of dorothy reference. Whether they are intentional is a different matter.

4) shipping real people is not what is happening for the majority of the people in the community. Also this comes back to queer vs straight again. Plenty of swifties ship taylor with men she’s been seen with and no one goes into their inboxes and sends death threats even when they are the ones making taylor swift all about the men she may or may not have dated.

5) taylor swift has never stated her sexuality. I know this may be hard to belive based off of how some people act, but it’s true. She has made vague statements which could have many meanings but she has never clearly stated anything. When gaylors get upset with taylor it is not because she said she is straight, it’s because they are getting death threats and doxxed and she seems to either be unaware of it (which is unlikely given how she seems to be a little terminally online) or she doesn’t care enough to tell her fans to stop.

6) if she does explicitly say she’s straight then there will probably be disappointment in her use of queer history and flags and her potential queer erasure (as we saw with lavender haze, with straight women describing their relationships as lavender) and centring herself in queer spaces (like the you need to calm down music video) but no one will be angry that she’s not gay. And a lot will probably be grateful that she actually explicitly stated for the record to absolve any confusion. The main issue would likely be other fans ramping up the death threats and bullying.

In conclusion: these people who do queer analysis of Taylor’s work are not trying to out her or make her gay etc. if you don’t understand it that’s fine it’s clearly not for you and you can go quite easily without seeing any of it. It’s not illegal to read works through a queer lens and if it means more people know about queer history then I think that’s a very good thing.

I changed my mind after looking at what a lot of people are actually saying rather than what people perceive them to be saying and maybe you will too?

Just be kinder to people online please and if you don’t like what people are saying block them and do not engage!

[12woso12]

Dorothy lands in North London - Part 1

Prologue here

Hope you all enjoyed the Prologue! Let me know what you think and what you'd like to happen next :)

TW: Mentions of suicide, please don't read if you're not feeling up to it

You spent the flight to London watching re-runs of The OC and devouring every ice cream flavour on the plane's menu. Arsenal had flown you first class and so you were taking every opportunity you could to make the most of it. From the fuzzy socks to the free robes, you'd exhausted the expense.

It had been difficult to leave America but your teammates were supportive in your decision and each of them expressed their eagerness to watch you thrive in the WSL. You'd even had a call from Tobin who was the biggest Gooner you knew. Her high praise of the Arsenal team made you feel reassured in your choices knowing that they referred to themselves as a found family.

You hadn't told you dad you were leaving. He was still living in Kansas, still sleeping on the same broken mattress, still eating at the same dining table your mum had shot herself at. If you looked closely at the right back leg, her blood was still splattered across it. Your dad didn't deserve to know where you were.

Heathrow airport was a nightmare to navigate with a trolley of suitcases. Emily Fox, who you knew from the National team, had agreed to pick you up from the airport and let you stay with her until you found your own place. It was something you were nervous about, you got on well with Emily but you'd never spent enough time with her to warrant any type of closeness.

'Em!' you bounded into the arrivals terminal, suitcases in tow, as you spotted the older girl. She stood grinning slightly and holding a sign that read 'Dorothy' which had become your nickname during international breaks after the girls found out you were originally from Kansas.

'Hey!' Emily took in your dishevelled appearance, she'd never been able to understand your habit of constantly appearing like you'd dressed yourself in the dark. 'God Leah is going to have a heart attack when she looks through your wardrobe'

'That's a mean thing to say to someone who's just got off a nine hour flight'

'I'm sure you'll survive, Dorothy.' Emily grabbed half your luggage and led you out to her car. You shiver at the icy chill in the air, suddenly wishing you were wearing a coat.

'Is it always this cold?' You groan, already knowing the answer. This was England after all.

'Stop complaining and help me get your stuff into the car' Emily unlocked the boot and hauled your cases inside. You couldn't help but smirk at how Emily's accent was slowly but surely becoming more British, you hadn't seen her since September and she was definitely becoming indoctrinated with Britishness.

The journey to Emily's apartment was a little less than an hour. She lived in a town called St.Albans, just on the outskirts of London but near to London Colney where Arsenal trained. You sat back quietly for a majority of the car ride, happy for Emily to explain all she'd learnt of London life since making the move.

'You're going to love Kyra' You were told

'Cooney-Cross?' You frown 'Why?'

'She's your age and causes just as much trouble' Emily replied simply. 'She's living with Katie and Caitlin right now until she finds her own place. Never go round there by the way, if they happen to invite you'

You glanced at Emily to see she was grimacing slightly. From what you'd heard Katie and Caitlin were two of the friendliest people on the team, especially Katie. You waited impatiently for Emily to take a sharp corner before she continued.

'It's mayhem there.' she explained. 'It isn't just Kyra living with them, Katie's sister lives there too and Charlie Grant is always there, for some reason. Plus Cooper is so rowdy sometimes'

'Who's Cooper?'

'Katie's cat'

You can't help but think that their house sounded quite fun, really. But you know Emily hates mess and she'd already offered you her home so you decidedly stayed silent. Maybe you'd get an invite if you're lucky.

'Here we are' Emily finally pulls up to a nice looking block of apartments. 'We're on the fourth floor. Beth and Viv live below us. Less, Lotte and Pelova are a few minutes away next to Katie's place.'

'It's like your own private village' you observe, surprised at the close proximity of the players. In the States, nearly everyone on your previous teams had lived at least a ten minute drive apart. 'What about the other girls?'

Emily led you into the building. 'Leah, Kim, Lia and Steph all live about ten minutes that way' she pointed in a direction that you guessed was North but you failed maps so you really had no idea. 'The others all live a little closer to the city centre.'

'Cool. God i can't wait to explore London. Know any good clubs?' you asked Emily knowing she wasn't much of a partier but desperate to wind the the older girl up a little. She paused outside apartment 13 and narrowed her eyes at you.

'Listen, you should be careful over here. I know you're used to the media and fan attention in the States, maybe more than anyone. But Arsenal are massive everywhere, you've already blown up the media with your transfer. Just be...wary, okay?'

The intimate, most personal stories of your life had been splashed across front pages for years now, what could possibly be worse than that?

You were built for pressure, to ignore their harsh words and nasty stories.

You were built for it. Moulded for it.

'Don't worry, Em. I've got this.'

Note to reader. You do not have this.

Next Chapter is going to be fun and short looking at the news stories surrounding your arrival to England :)

part 2

[youremyheaven]

vedic astrology observations

in my previous post, i had observed how pisces rashi and bharani nakshatra gives a native immense acting ability, here i'll provide more examples!!

the legendary indian actor, dev anand was revati moon

ewan mcgregor has UBP sun

James McAvoy has UBP mercury and venus with mars in revati

Anya Taylor-Joy has either UBP/Revati moon and most likely UBP/Revati rising she also has mars and ketu in Revati

Jessica Chastain has UBP sun with mercury and venus in Revati (amatyakaraka and atmakaraka respectively)

michael fassbender has Revati sun and venus

daniel day lewis is a bharani stellium (sun, mercury and venus)

humphrey bogart was a bharani ascendant

3 time Oscar winner, Frances McDormand is bharani moon and ketu

8 time nominee and 2 time Oscar winner, Cate Blanchett is bharani ascendant and has venus in Revati

Joaquin Phoenix, the absolute GOAT has UBP moon

Cillian Murphy has Jupiter in Bharani atmakaraka and Ketu in Bharani as well (they're conjunct)

2. expanding on my previous observation as to how many Punarvasu & Pushya women play mistresses/home wreckers or are involved in such dynamics in real life, here are a few more examples;

Revati & Rohini are two other nakshatras that crop up often

Marion Cotillard played Pablo Picasso's mistress in the movie Midnight in Paris. in real life, she was accused of having an affair with Brad Pitt when he was married to Angelina Jolie (this is a speculation). She has Pushya moon conjunct Saturn and Jupiter in Revati as her atmakaraka

Dorothy Dandridge's best known role is that of a seductress and here, in Tamango she plays the mistress of a naval captain. She was Punarvasu moon and Pushya rising

Anouk Aimee often played vamps/seductresses and in one of her most iconic roles in La Dolce Vita, she played the mistress. She has Revati mercury conjunct mars (her amatyakaraka) She was also rumoured to have had affairs with manyyy people including JFK

Carla Bruni (yes, the woman whose face Bella Hadid stole) has a very chaotic romantic life. She was in a relationship with Raphael Enthoven and was formerly his father's mistress 💀She is Punarvasu rising

Lou Andreas-Salome was a psychoanalyst, essayist and intellectual. She was muse and lover to some of the greatest European minds of her time (and all time) including Freud, Nietzsche and Rainier Maria Rilke; these men were absolutely obsessed with her and she was a major influence on their work. She has Ketu in Punarvasu

Wallis Simpson, the woman for whom King Edward abdicated his throne, thereby forever changing the course of history was still married to her second husband when she met Edward. She has Mars in Revati as her atmakaraka and Jupiter in Pushya (exalted)

Meghan Markle, the woman for whom Prince Harry left the royal family is Punarvasu rising. She has mercury conjunct rahu in Pushya

Eartha Kitt, the complete siren & seductress, who had affairs with Orson Welles, Paul Newman & James Dean and many other businessmen and heirs was a Punarvasu moon. She was a dark skinned mixed race woman who had established herself as a sex kitten in 50s & 60s America after having grown up in abject poverty; she did something that was impossible and then took it to a new extreme and became the nation's obsession

Carolyn Bessette-Kennedy was muse to Calvin Klein & Ralph Lauren and met her future husband JFK Junior when he was still dating actress Daryl Hannah (unsure if they began dating at this time). Their marriage was short lived as they both tragically passed away in a plane crash in 1999. She is remembered for her timeless style. She was Punarvasu moon.

Asia Argento played the titular mistress in the movie The Last Mistress, she has Jupiter in Revati atmakaraka and Saturn in Pushya darakaraka

3. I had previously observed how moon ruled/jupiter dominant/cancerian girlies tend to have a large chest 👀

now ill talk about what placements give men a naturally wide, broad, big, buff and bulky frame and body😌😋

men who have prominent Mars/Jupiter/Cancer placements are naturally big, buff and bulky and have wider frames 😌 another important factor is the involvement of a large yoni animal (buffalo yoni, elephant yoni & cow yoni imo)

Hasta & Swati have buffalo yoni

Revati & Bharani have elephant yoni

UBP & Uttaraphalguni have cow yoni

(others have already discussed how our yoni animal influences our appearance so i wont go into that; just know this much, the bigger the yoni animal, the bigger the guy)

i did not mention Mars in my post about voluptuous women because Mars influence gives a big, broad frame and does not really guarantee big breasts or curves (unless affected by other placements) so its very yang in nature

(obviously other placements will also impact a native's appearance and you can look like this and not have these placements as well!!)

let's start with the legend himself, Arnold Schwarzenegger. he has Pushya sun, Punarvasu stellium (mercury, venus and rising) you can say its the steroids making him look this way (im sure they were involved in his Mr World era) but the man is in his 70s and he's a tall, broad shouldered bulky guy😌so go argue with the wall

Sylvester Stallone is Punarvasu sun and Saturn in Pushya darakaraka. He has Chitra moon conjunct Jupiter

Vin Diesel is Punarvasu sun and mars in Chitra. He has Ketu conjunct Swati ascendant

Dwayne Johnson has Chitra rising with venus & mars in Mrigashira, saturn in Rohini and ketu in Pushya

Jean Claude Von Damme has Chitra sun & rising, Uttaraphalguni moon, mercury (atmakaraka) and venus in Vishaka

Steve Howey, Punarvasu sun amatyakaraka, jupiter in Mrigashira atmakaraka, ketu in Revati and mercury in Pushya

Jason Statham, Pushya sun UBP moon Punarvasu mercury atmakaraka, mars conjunct ketu in Swati, saturn in Revati

Namjoon aka Father of Kpop has Mars in Punarvasu as his amatyakaraka and tropically most likely has Moon in 1h. Anyone who has seen those tiddies knows there is an undeniable cancer influence at play 😋🤭 He has mercury in Hasta, venus & jupiter in Swati and Ketu in Bharani 😋😋

XXXXXXXXXXXXXX

tumblr only allows 30 images per post so look out for part 2 <333

[ladm-daily]

How dare you love me like you’ve never known fear

Song: Home to Me

46/263

[merp-blerp]

Gaylor/Kaylor and Oz: Parallels and Theories 🌼🌈❇️

CW: Light Spoilers for L. Frank Baum's Oz book series (books 1-15) and major spoilers for Return to Oz (1985). And this post is very late-stage-Kaylor-specific, so if that's not up your alley, that's chill.

There is now a Vol. 2 with new additions and info! I recommend reading this part first.

Overblown Analysis Under the Cut ↓

As a huge Oz nerd, I and many others have noticed many Oz media parallels in Taylor's music. I wanted to piece together some I've seen mentioned and some I've noticed myself. More things could pop up as time goes on, so I could imagine me editing or making a second part to this post if necessary.

Part 1: Rainbows 🌈

In the 1939 film, Dorothy's home, Kansas, is portrayed as a dreary sepia or greige color, that way the contrast to the gorgeous technicolor of the land of Oz could be even more effective on the audience. Somewhat surprisingly I guess, this sepia color is reflected in the book, with Kansas being described as "the great grey prairie" and even W. W. Denslow's original illustrations of Kansas being colored in greige; the pages don't include more color until Dorothy is swept into the cyclone on her way to Oz.

So many of Taylor's lyrics describe events turning her world from colorless to colorful or vice versa. "The rest of the world was black and white // But we were in screaming color" from "OOTW", "You showed me colors you know I can't see with anyone else" from "Illicit Affairs", "If all you want is gray for me // Then it's just white noise, and it's my choice" from "BDILH", "Like a rainbow with all of the colors" from "ME!" turning into "I'm just... in shades of greige" from "The Prophecy", etc.

For TTPD, from a gaylor perspective, the sepia and greige theme of the album is supposed to reflect that for Taylor the closet is colorless and sad. It also invokes old Hollywood and how closeting is an old-fashioned practice figuratively and literally. Closeting is a practice based on outdated mindsets and fears and it's been a practice since Hollywood as we know it today was beginning to be established. MGM Dorothy actress Judy Garland was in at least one lavender marriage and might've been queer herself, but the latter isn't as confirmed as other victims of closeting of the time like, say, her husband Vincente Minnelli. Taylor often utilizes vintage imagery in her music, romanticizing it, but the song "TTPD" (and other points in the album) calls her out for it with her lover having to remind Taylor that they are living in modern times despite being held down by old-fashioned ideals. The Wizard of Oz (1939) film is arguably the epitome of old Hollywood nostalgia, so it makes sense for Taylor to use it as a way to tell the story she wants to tell, especially if it's a queer one since Oz is very special to a lot of queer people.

For what it's worth, Ashley Park performed the film's song, "Somewhere Over the Rainbow" on The Drew Barrymore Show in what looks to be the Christian Siriano rainbow dress. Fun! Curiously, I can't find a video of this performance, I just happened to stumble upon this GIF on giphy.com and an article talking about the performance.

As an extra tidbit, in the Oz books, the rainbow is personified in the character Polychrome, the youngest daughter of the rainbow. She happens to be featured in one half of a certain famous quote from The Road to Oz. Polychrome comments, "You have some queer friends, Dorothy," to which Dorothy responds, "The queerness doesn’t matter, so long as they’re friends." This quote is theorized to be the inspiration for the phrase "friend(s) of Dorothy" in queer slang. And it's nice to have a friend like Dorothea, of course. Speaking of which...

Part 2: Dorothy and Ozma 🌪️🌺

Dorothy Gale needs no introduction, but I will give Princess/Queen Ozma one since she's a more niche character. Ozma is the rightful ruler of Oz. The "Wizard", Oscar Diggs, was not meant to rule over Oz. He went to great lengths to usurp the throne from Ozma's father, Pastoria, and hide Ozma away as a baby, dumping her on a witch named Mombi, who enslaves her and disguises her as a boy named Tip so she and others won't know her identity. She learns the truth about who she is and takes back her throne in book 2, The Marvelous Land of Oz (This backstory is why Ozma is a trans icon, along with a sapphic one). Ozma and Dorothy meet each other in book 3, Ozma of Oz, and are inseparable from there on. A common queer interpretation of Oz sees Kansas as like the closet and Oz as being out and free. A part of why the queer interpretations of Oz work particularly well in the books is because in The Emerald City of Oz, Dorothy and her Kansas family move to Oz permanently when Kansas stops being liveable for them. So Dorothy becomes the second ruler of Oz and Ozma's "constant companion" at Ozma's "proposal", as L. Frank Baum describes it. Dorothy is the only person allowed in Ozma's bedroom unannounced, which is cutely domestic. Baum's story and John R. Neil's illustrations of the two often depict them as being very close, holding hands, and kissing. It's not really knowable if Baum intended for it to be seen this way, but many modern Oz book fans see them as a couple.

Naturally, there's the theory that Taylor's song "Dorothea" is about Karlie, as well as the fact that Karlie dressed up as Dorothy for Halloween 2023 and did a partly-Oz-inspired photoshoot in 2010, among other Oz-themed things. Also, after the first book, Baum had a falling out with Denslow and appointed a new illustrator, John R. Neil; Neil's design of Dorothy sports a blonde bob, which reminds me of the "Karlie Kut" a bit, even if that's coincidental. Since the Karlie as Dorothy theory is pretty well established, I want to forward a theory about Taylor taking on the role of Ozma.

For starters, Taylor wears a gingham green dress in her music video for "Karma (ft. Ice Spice)" as she skips and sweeps down a yellow brick road in red shoes, looped braids, and lemon beret. This outfit is a bit perplexing, as while it seems very Dorothy-inspired, it actively makes itself just different enough from how Dorothy is illustrated in the first Oz book and seen in pop culture. It could be suggested that this is for copyright reasons since 1939 Dorothy is not in the public domain yet and using that likeness would require making a payment. However, thanks to the book specifically describing/illustrating Dorothy as wearing blue and white gingham and pigtail braids, these features can still be used, as all of Baum's Oz novels are in the public domain. Oddly, the only potentially copyright-able aspect of Dorothy's costume is the one that Taylor kept, the ruby slippers exclusive to MGM's '39 film, since in the book Dorothy's shoes are silver. So why were all these unnecessary changes here?

My main theory is that Taylor is subtly invoking Ozma in a way that would still be recognizably Oz-ian, as I don't think most people would catch on to the Oz reference if Taylor dressed as a more accurate-looking Ozma. Hence why the gingham and red shoes are present even though Ozma is never described as wearing anything like that. Ozma is often depicted in long flowing white or green dresses. And while Ozma's hair is usually free in Neil's illustrations, her hair is sometimes tied into a bun, and Taylor's looped braids seem to be in the same family as a bun (I don't know how else to say that, I hope you get what I mean...). The lemon beret is hard to explain. As far as I know/can recall, lemons have never played a major role in any Oz media, so my guess is that the hat is meant to match the yellow brick road or maybe slightly invoke the fighting trees from the film and book. Since Taylor's outfit is similar but not the same as Dorothy's, it could be interpreted as Taylor dressing as someone adjacent to Dorothy, or a friend of Dorothy's, and Ozma would definitely fit that title. Ozma is also a fairy, so this also lines up with my Taylor is the beast to Karlie's beauty theory, since a fairy is a creature. And as the small, coincidental cherry on top, Ozma was originally described as blonde like Taylor in the story's text, despite the fact that Neil always drew her as a brunette. Dorothy's appearance outside of her clothes is rarely if ever given, that way anyone could see themselves in Dorothy, her design not mattering too greatly. The only clue to her physical looks is in the illustrations, but the consistency changes over the Oz series when it comes to Dorothy's design, so again it doesn't matter. Kind of like how, whether a song has male pronouns or not, it’s always describing Karlie, the "design" of the muse not mattering. And it actually does make some sense for Ozma to have the ruby slippers, even though she never had them in the books, but more on that in the next part. If Karlie is Dorothy, Taylor is Ozma.

An alternate, more flimsy idea is that Taylor is dressed as Dorothy in her green dress returning to the Wizard with the wicked witch's broom as proof that she melted her. However, this doesn't quite work for me personally, as in the film, Dorothy never got a green dress from the Emerald City. And while book Dorothy did get a "green" dress, she never had to bring the witch's broom to the Wizard and her dress wasn't actually green but white; it only appeared green in the Emerald City due to the green spectacles everyone was tricked into wearing by the shamming Wizard. And of course, book Dorothy's slippers weren't red like Taylor's, but silver. Maybe I'm being too particular, but to me, the details of the two titular versions of Oz make this idea weak.

Another idea is that Taylor is dressed as an amalgamation of Dorothy and the witch, which is definitely an interesting thought. In the 1st book, both Dorothy and the witch have no magic of their own and need to obtain magical items, like the silver shoes or the golden cap. But the difference is that the witch uses her power to do evil while Dorothy doesn't know the power she has, even by the time the shoes get her to Kansas again, as they presumably could do way more than that. The idea of Taylor combining the two is interesting, but again the red shoes put me off.

I think the Ozma theory works the best (and I think it's the cutest).

The story of Ozma being unrightfully taken from her throne and hidden away from everyone and herself reminds me of many stories told through Taylor's music. Lyrics like "I (I) don't (don't) like your kingdom keys (keys) // They (they) once belonged to me (me) // You (you) asked me for a place to sleep // Locked me out and threw a feast (what?)" from "LWYMMD" and trapped imagery in MVs like "Willow" feel somewhat reminiscent of that story.

Taylor isn't any kind of genderqueer as far as anyone publicly knows for sure, but Taylor definitely seems to have no problem with aligning herself with masculinity and taking on male roles. Take things like the wonderland photoshoot (Lordy! 🤭), Taylor semi-confirming she's Folklore's JaMEs, "The Man", "Peter", and maybe etc. Ozma being a girl but forced to present as a guy for years could be seen as similar to Taylor having to paint some of her songs about women as being from a male perspective, or some songs never being officially said to be from a male perspective being assumed to be so anyway, like "Question...?"

One more small parallel between Taylor and Ozma: Ozma is often pictured as wearing two poppies, one on each side of her head, seemingly in her hair or connected to her crown. Reminds me of "Say a solemn prayer, place a poppy in my hair" from "The Great War".

Part 3: Return to Oz 👠

Return to Oz (1985) is an unofficial sequel to The Wizard of Oz (1939) made by Disney. It takes the stories of The Marvelous Land of Oz and Ozma of Oz and combines them into an original story. At least in America, this is the only feature-length film to feature Ozma and attempt to vaguely adapt the novels more closely. (Context for RTO photos in the image descriptions, which is the case for every image and GIF on this post because why the hell not)

Return to Oz adds a setting that wasn't featured in any of the Oz books: a mental hospital. Aunt Em and Uncle Henry, concerned that Dorothy isn't sleeping and won't stop insisting Oz is real, send Dorothy to a mental hospital in an attempt to get her help (not out of malice). As we know, TTPD features the theme of asylums prevalently. The treatment chosen to help Dorothy is electroshock therapy, similar to Taylor receiving electroshock therapy in the MV for "Fortnight". In "Down Bad", Taylor says, "They'll say I'm nuts if I talk about the existence of you", just like how Em and Henry thought Dorothy needed psychiatric help when she talked about Oz being real.

When Dorothy stays over at the hospital for treatment, a character named Nurse Wilson (Kansas doppelganger of Mombi) escorts her to her room; Nurse Wilson wears a black dress very similar in style to Taylor's black dress from "Fortnight".

When the power goes out and the electroshock therapy isn't given a chance to begin, a fellow patient revealed later to be Ozma helps Dorothy escape the asylum by freeing her from the bed she's strapped to and bolting with her. Ozma and Dorothy slip into a river while running away, in which Ozma finds an abandoned chicken coop for Dorothy to ride through said river to Oz, Dorothy fearing Ozma drowned during the process until the end of the film. This is similar to Taylor and Post Malone's character escaping the asylum after Post cuts the power in "Fortnight". Ozma unstrapping Dorothy from her bed is similar to the nurse who unchains Taylor from the bed in "Fortnight", theorized to be played by Karlie herself. And Ozma finding the coop for Dorothy to ride away on is reminiscent of Taylor clinging to her piano in "Cardigan". Clinging to something when in rough water is common imagery, so it could definitely be coincidental, but I thought I'd mention it.

In this film, Ozma is trapped in a mirror by the witch Mombi, reminiscent of Taylor depicting herself as trapped behind glass closets in numerous MVs. After Dorothy saves Oz, she is the one to free Ozma from her glass prison by touching her hand and guiding her out of the glass, similar to Post and Taylor in the last scene in the "Fortnight" MV. Ozma in the mirror behaves like Dorothy's reflection, which reminds me of Taylor having Post's tattoos when she wipes her face in the mirror as if to say she's a reflection of his character.

Dorothy gives Ozma the ruby slippers before leaving Oz (Disney paid for the right to use them). That could help to explain why Taylor wears the ruby slippers that Ozma never had in the books if she's truly dressed as Ozma. And notably, when dressing up as Dorothy for Halloween, Karlie wore a full Dorothy costume, except for the ruby/silver slippers, arguably the most important part. As if Karlie was in "Kansas" and gave Taylor her shoes.

Dorothy chooses to return home in the end, but Ozma gifts her a way for them to communicate: through her mirror. This way Ozma can watch over her and when Dorothy wants to return to Oz, Ozma will make it happen. I've mentioned the parallels with the glass closets, but this also reminds me of "A tiny screen's the only place I see you now" from "Dorothea". In the book and '39 film, Dorothy uses her shoes to get back to Kansas, but in RTO, they are presumably going to be used to get Dorothy back to Oz when the time is right. So maybe after Taylor potentially comes out she will use Karlie's ruby slippers to sweep into the rescue and save Karlie from Kansas/the closet and back to Oz/freedom with her. Outside of RTO, it could also work the other way, with Taylor using the shoes to go home, especially with all the lyrics Taylor's had about returning home to/with her lover. Kansas doesn't represent anything bad in the original story, so it's possible that Kansas isn't a debilitating cage/closet, just home where you feel safe with the ones you love. Ozma also encourages Dorothy to keep their communication secret. Dorothy wants Aunt Em and Uncle Henry to know of Ozma, as she calls for Em to come and look as soon as she summons Ozma. But Ozma seems to see it as best kept quiet, no exact reason given to the audience from what I can tell, but it's understood by Dorothy and Ozma themselves. Pretty similar to Kar and Tay maintaining their closet for reasons we gaylors don't fully get to know, at least not yet.

(I didn't know where to put this little factoid, but in this film, the only times Ozma really smiles is at Dorothy. It's not important, just a bit cute and sad.)

And as a bonus for you Spade riddle fans out there, when Dorothy meets Ozma in the hospital, Ozma gifts Dorothy a pumpkin because "it's Halloween soon". The pumpkin is a Kansas doppelganger to an Oz character called Jack Pumpkinhead, who calls both Ozma and Dorothy "Mom" because Dorothy saved him from Mombi and Ozma built him and brought him to life. A bit reminiscent of Karlie and Taylor having Levi and Elijah if you ask me. I'm admittedly not a huge riddles person because it goes a bit over my talents, but I think they're intriguing and I'm curious if the riddles and Oz/RTO together would mean anything.

There's debate on whether Post's character is supposed to represent Taylor working with herself to get free or Karlie. I think it could be either or even both in a convoluted way. I like both theories. If "Fortnight" is based on RTO, the roles of Ozma and Dorthy seem switched, with Dorothy rescuing Ozma from the asylum. However, the tattoo mirror scene suggests that Taylor is mirroring Post's character, or playing him, and if that's Karlie, maybe the MV could be seen as Taylor playing Karlie in a sense since they're "twins" whose pasts are "parallel lines", while Post is either playing Taylor or Karlie; they are one and the same. The MV is really interesting to ponder in general.

Part 4: Miscellaneous Oz Connections ❇️

Lightning round (filled with tons of reaches)! ⚡️

In the "ME!" MV, Taylor and Brandon running up to the green building with a rainbow beam on it whilst in green marching band outfits looks similar to Dorothy and her friends running toward the Emerald City in the '39 film.

The all-pink soldiers in the marching band scene of "ME!" remind me of Glinda's all-female red army in the books.

In "loml", Taylor sings "The coward claimed he was a lion", a reference to the cowardly lion.

The men in the "ME!" MV falling from the sky with umbrellas reminds me of Dorothy and her cousin Zeb falling through the sky with an umbrella down to Oz in Dorothy and the Wizard in Oz.

Taylor might've been in a Wizard of Oz play at her school in 2006. The linked post doesn't give too much evidence admittedly, but I think it's worth saying that the play at least happened at her school.

I wasn't sure where to put this mini-analysis, but I think it's interesting that Taylor associates Dianna Agron with Wonderland and Karlie with Oz and the differences that could suggest. Alice and Dorothy go through similar adventures, but the two go about them very differently. Dorothy adapts to Oz very quickly and loves it there, enough for it to be her second home. Meanwhile, Alice certainly doesn't enjoy Wonderland as much as Dorothy loves Oz, itching to get out and stay out. Dorothy is very active in her role, making friends and changing Oz forever, while Alice passively goes through the motions and lets things happen before escaping to the next thing. It seems like Baum wrote the Oz books to give children lessons on friendship, feminism, and more, while Lewis Carroll wrote the Alice books with the exact purpose of saying nothing and giving birth to the genre of "nonsense writing". And Wonderland is definitely a dream in the original two novels while Oz is a very real place in the books. I know the associations seemingly have to do with the muses’ actual taste in fairytales, but I wonder how the differences speak to the story Taylor’s spun in her music about them. Assuming both Oz and Wonderland are freedom to some degree, does Wonderland being temporary speak to Taylor and Dianna as a couple, while Taylor and Karlie are still ongoing IMO, just like the Oz book series to this day (Canonical Oz books are still being written by different authors. There’s 40+ of them)? Is there something in the fact that Alice’s Adventures in Wonderland is an English fairytale and The Wonderful Wizard of Oz is considered the first American fairytale, and Karlie convinced Taylor to stay in America and live in New York rather than London where Dianna was? Do Alice and Dorothy’s different reactions to their discovered worlds speak to how both Karlie and Dianna feel about closeting vs being out or maybe how they feel toward Taylor in some way? I genuinely have no clue, but it's some interesting food for thought. (This isn't Dianna, Swiftgron, or Alice's Adventures in Wonderland slander btw, I don't know enough about Swiftgron besides the basics to do that.)

In Conclusion 🌼

I have no way of knowing if Taylor has even read the Oz books, seen Return to Oz, and knows all this information, but I think it's fun that these connections are there. If there are more connections you thought of or ones that you think I missed, let me know!

Thanks for reading!

[apeekintothepantry]

Meet Violet Fielding, my original historical character from 1918 Boston!

I've been doing some workshopping with my custom historical characters because I've been a little bored with AG's historical offerings of late, and because it's a fun excuse to dig into moments in time that interest me personally, but AG probably wouldn't produce a similar character themselves. (I say that, but my 1940's Hawaii character predates Nanea, so who knows! Maybe I'm manifesting some future stuff I can borrow for my gals.)

Violet is the youngest of three siblings. Her older sister Alice is in her early 20's and either a nurse or a Hello Girl, leaning towards nursing because I'm not sure I want her to go overseas and she could work at a hospital in Boston during the war. Her older brother James is 19 and enlists in the Marines once the US enters World War I. I think by Violet Saves the Day, he's returned home dealing with quite a bit of "shellshock" and that becomes a somewhat major theme.

Her parents are pretty wealthy, and the family lives in a brownstone on Beacon Hill in Boston. Her dad is a doctor and mom is a suffragist who also gets involved in causes supporting the war effort. Both parents are very supportive of their kids following their passions and getting themselves out there in this still relatively new century, which is why Alice has been allowed to go to school instead of immediately marrying some wealthy guy.

Vi herself is a precocious and creative kid. I think she likes to draw and paint and generally be crafty and creative, which comes in handy when brainstorming ways she can support her brother overseas and the war effort more broadly. While she's not afraid to get her hands dirty, she does like typically girly things like having teatime and looking at catalogs filled with new dresses. Her book series would theoretically cover 1917 through 1919 or so, and touch on the war, Women's Suffrage, the Spanish Flu, shellshock, and possibly the Boston Molasses Disaster.

Currently I'm trying to come up with a best friend character for her, as she really needs a Nellie or Ruthie in her life with the age difference and both siblings being off doing exciting and scary things without her. There are a lot of different directions I could go in with said friend - fellow wealthy-ish kid feels boring, Boston had a lot of new immigrant communities in the 1910's, some of whom did live in a specific part of Beacon Hill, Boston historically struggles with insidious covert racism but was still a city with a number of prominent Black and Jewish communities - and nothing's quite clicked as perfect just yet.

Violet is a Marie-Grace doll with a Nanea wig. Someone was selling her on a Facebook group a few years ago and I immediately felt like she was a Violet and needed to join my crew. Her last name was inspired by Lady Dorothie Fielding, a British woman who drove an ambulance during WWI and received several awards for bravery and service. Fielding's letters home were published after her death and are a really fascinating look at what it was like on the front lines doing this incredibly dangerous and important work. I used it as a major primary source for an educational interactive I helped develop in one of my previous jobs.

[justforbooks]

Donald Sutherland

Commanding and versatile actor known for his roles in MAS*H, Don’t Look Now and The Hunger Games

Donald Sutherland, who has died aged 88, brought his disturbing and unconventional presence to bear in scores of films after his breakthrough role of Hawkeye Pierce, the army surgeon in Robert Altman’s M*A*S*H (1970), one of the key American films of its period. It marked Sutherland out as an iconoclastic figure of the 60s generation, but he matured into an actor who made a speciality of portraying taciturn, self-doubting characters. This was best illustrated in his portrayal of the tormented parent of a drowned girl, seeking solace in a wintry Venice, in Nicolas Roeg’s Don’t Look Now (1973), and of the weak, nervous, concerned father of a guilt-ridden teenage boy (Timothy Hutton) in Robert Redford’s Ordinary People (1980).

Although Sutherland appeared in the statutory number of stinkers that are many a film actor’s lot, he was always watchable. His career resembled a man walking a tightrope between undemanding parts in potboilers and those in which he was able to take risks, such as the title role in Federico Fellini’s Casanova (1976).

Curiously, it was Sutherland’s ears that first got him noticed, in Robert Aldrich’s The Dirty Dozen (1967). During the shoot, according to Sutherland, “Clint Walker sticks up his hand and says, ‘Mr Aldrich, as a representative of the Native American people, I don’t think it’s appropriate to do this stupid scene where I have to pretend to be a general.’ Aldrich turns and points to me and says, ‘You with the big ears. You do it’ … It changed my life.” In other words, it led to M*A*S*H and stardom.

Sutherland and his M*A*S*H co-star Elliott Gould tried to get Altman fired from the film because they did not think the director knew what he was doing due to his unorthodox methods. In the early days, Sutherland was known to have confrontations with his directors. “What I was trying to do all the time was to impose my thinking,” he remarked some years later. “Now I contribute. I offer. I don’t put my foot down.”

Sutherland, who was born in Saint John, New Brunswick, Canada, was a sickly child who battled rheumatic fever, hepatitis and polio. He spent most of his teenage years in Nova Scotia where his father, Frederick, ran a local gas, electricity and bus company; his mother, Dorothy (nee McNichol), was a maths teacher. He attended Bridgewater high school, then graduated from Victoria College, part of the University of Toronto, with a double major in engineering and drama. As a result of a highly praised performance in a college production of James Thurber’s and Elliott Nugent’s The Male Animal, he dropped the idea of becoming an engineer and decided to pursue acting.

With this in mind, he left Canada for the UK in 1957 to study at Lamda (the London Academy of Music and Dramatic Art), where he was considered too tall and ungainly to get anywhere. However, he gained a year’s work as a stage actor with the Perth repertory company, and appeared in TV series such as The Saint and The Avengers. He was Fortinbras in a 1964 BBC production of Hamlet, shot at Elsinore castle and starring Christopher Plummer. He also appeared at the Criterion theatre in the West End in The Gimmick in 1962.

In 1959 he married Lois Hardwick; they divorced in 1966. Then he married the film producer Shirley Douglas, with whom he had twins, Kiefer and Rachel; they divorced in 1971. Kiefer, who grew up to become a celebrated actor, was named after the producer-writer Warren Kiefer, who put Sutherland in an Italian-made Gothic horror film, The Castle of the Living Dead (1964). Christopher Lee played a necrophile count, while Sutherland doubled as a dim-witted police sergeant and, in drag and heavy makeup, as a witch.

In an earlier era, the gawky Sutherland might not have achieved the stardom that followed the anarchic M*A*S*H, but Hollywood at the time was open for stars with unconventional looks, and Sutherland was much in demand for eccentric roles throughout the 70s.

He was impressive as a moviemaker with “director’s block” in Paul Mazursky’s messy but interesting Alex in Wonderland (1970), which contains a prescient dream sequence in which his titular character meets Fellini. In the same year, Sutherland played a Catholic priest and the object of Geneviève Bujold’s erotic gaze in Act of the Heart; he was the appropriately named Sergeant Oddball, an anachronistic hippy tank commander, in the second world war action-comedy Kelly’s Heroes; and he and Gene Wilder were two pairs of twins in 18th-century France in the broad comedy Start the Revolution Without Me.

Sutherland was at his most laconic, sometimes verging on the soporific, in the title role of Alan J Pakula’s Klute (1971), as a voyeuristic ex-policeman investigating the disappearance of a friend and getting deeply involved with a prostitute, played by Jane Fonda.

Sutherland and Fonda were teamed up again as a couple of misfits in the caper comedy Steelyard Blues (1973). It initially had a limited distribution due mainly to their participation together in the anti-Vietnam war troop show FTA (Fuck the Army), which Sutherland co-directed, co-scripted and co-produced.

Sutherland always made his political views known, although they surfaced only occasionally in his films. In among the many mainstream comedies and thrillers was Roeg’s supernatural drama Don’t Look Now, in which Sutherland and Julie Christie are superb as a couple grieving their dead daughter. Despite the dark subject matter, the film was notable for containing “one of the sexiest love scenes in film history”, according to Scott Tobias in the Guardian, the frank depiction of their love-making coming “like a desert flower poking through concrete”. The actor so admired Roeg that he named another son after him, one of his three sons with the French-Canadian actor Francine Racette, whom he married in 1972.

John Schlesinger’s rambling version of The Day of the Locust (1975) saw Sutherland as a sexually repressed character – called Homer Simpson – who tramples a woman to death in an act of uncontrolled rage. Perhaps Bernardo Bertolucci had that in mind when he cast Sutherland in 1900 (Novecento, 1976), in which he is a broadly caricatured fascist thug who shows his sadism by smashing a cat’s head against a post and bashing a young boy’s brains out. “And I turned down Deliverance and Straw Dogs because of the violence!” Sutherland recalled.

In Fellini’s Casanova, the second of his two bizarre Italian excursions in 1976, Sutherland coldly calculates seduction under his heavily made-up features. The performance, as remarkably stylised as it is, still reveals the suffering soul within the sex machine.

In 1978 he appeared in Claude Chabrol’s Blood Relatives, a made-in-Canada murder mystery with Sutherland playing a Montreal cop investigating the murder of a young woman. More commercial was The Eagle Has Landed (1976), with Sutherland, attempting an Irish accent, as an IRA member supporting the Germans during the second world war, and as a chilling Nazi in Eye of the Needle (1981). Meanwhile, he was the hero of Invasion of the Body Snatchers (1978), who resists the insidious alien menace until the film’s devastating final shot.

In 1981 Sutherland returned to the stage, as Humbert Humbert in a highly anticipated version of Vladimir Nabokov’s Lolita, adapted by Edward Albee. It turned out to be a huge flop, running only 12 performances on Broadway. Both Sutherland and Albee played the blame game. “The second act is flawed,” Sutherland said. “Albee was supposed to have rethought it, but he never did.” Albee told reporters that he had scuttled some of his best scenes because they were “too difficult” for Sutherland because “he hasn’t been on stage for 17 years”.

Continuing his film career, Sutherland played a complex and sadistic British officer in Hugh Hudson’s Revolution (1985), and in A Dry White Season (1989) he took the role of an Afrikaner schoolteacher beginning to understand the brutal realities of apartheid. In Oliver Stone’s JFK (1991), he held the screen with an extended monologue as he spilled the conspiracy beans to Kevin Costner’s district attorney hero Jim Garrison.

After having made contact with young audiences in the 70s with offbeat appearances in gross-out pictures The Kentucky Fried Movie (1977) and National Lampoon’s Animal House (1978), the latter as a pot-smoking professor, he was cast as an unconvincing bearded stranger in Buffy the Vampire Slayer (1992).

On a more adult level were Six Degrees of Separation (1993), in which he played an unfulfilled art dealer; A Time to Kill (1996), as an alcoholic, disbarred lawyer (alongside Kiefer); Without Limits (1998), as an enthusiastic athletics coach; and Space Cowboys (2000), as an elderly pilot. By this time, he was gradually moving into grey-haired character roles, one of the best being his amiable Mr Bennet in Pride and Prejudice (2005).

The Jane Austen novel was also featured in the television series Great Books (1993-2000), to which Sutherland lent his soothing voice as narrator. Other series in which he shone as quasi baddies were Commander in Chief (2005) – as the sexist Republican speaker of the house opposed to the new president (Geena Davis) – and Dirty Sexy Money (2007-09), in which he played a powerful patriarch of a wealthy family.

Sutherland continued to be active well into his 80s, his long grey hair and beard signifying sagacity, whether as a contract killer in The Mechanic, a Roman hero in The Eagle, a nutty retired poetry professor in Man on the Train (all 2011), or a quirky bounty hunter in the western Dawn Rider (2012), bringing more depth to the characters than they deserved. As President Coriolanus Snow, the autocratic ruler of the dystopian country of Panem in The Hunger Games (2012), Sutherland was discovered by a new generation; he went on to reprise the role in three further films in that franchise, beginning with The Hunger Games: Catching Fire (2013).

He played artists in two art-world thrillers by Italian directors: in Giuseppe Tornatore’s Deception, AKA The Best Offer (2013), he was a would-be painter helping to execute multimillion-dollar scams, while in Giuseppe Capotondi’s The Burnt Orange Heresy (2019) he was on the other side of the heist as a reclusive genius targeted by a wealthy and unscrupulous dealer (Mick Jagger).

Aside from James Gray’s science-fiction drama Ad Astra (also 2019), in which he co-starred with Brad Pitt, Sutherland’s best late work was all for television. In Danny Boyle’s mini-series Trust (2018), which covered the same real-life events as Ridley Scott’s All the Money in the World, he played J Paul Getty, the oil tycoon whose grandson is kidnapped; while in The Undoing (2020), he was the father of a psychologist (Nicole Kidman), reluctantly putting up bail when her husband (Hugh Grant) is arrested for murder.

For the latter role Sutherland was in the running for a Golden Globe, having already received an honorary Oscar in 2017.

He is survived by Francine and his children, Kiefer, Rachel, Rossif, Angus and Roeg, and by four grandchildren.

🔔 Donald McNichol Sutherland, actor; born 17 July 1935; died 20 June 2024

Daily inspiration. Discover more photos at Just for Books…?

[randy-jester]

My Imaginary Ride The Cyclone Hybrid Live-Action and Animation Feature Film that only exists in my head: Part 1

I originally wrote this in response to @sleepboysummer 's post about wanting to bring back the "imaginary rtc production in my head' trend, but it got so long I felt like it deserved it's own post. And then that got so long that I had to split it into multiple parts 😅

Anyway, here's my concept for what I would want for a Ride The Cyclone movie. This part covers everything from the beginning (Introduction + Uranium Suite) to "Talia".

The majority of the movie is shot in live-action, but colored in sepia (Think like the Wizard of Oz but while Dorothy is still in Kansas). The coloring is meant to represent how dreary the choir felt like their lives were living in Uranium.

Karnak will be a life-size animatronic creature puppet from Jim Henson's Creature shop.

The warehouse, despite presumably being abandoned for years, appears to look no worse for wear (for now). Sure, lots of old carnival stuff is stored here. Yet for some reason, nothing seems to have fallen into significant disrepair. It just looks kinda old.

Karnak's opening dialogue will have different jokes depending on whether the audience is watching the movie in theaters vs if they're watching it on home video. The theater version can keep the "armrest bit". But the home video will have it's own joke to replace it.

The first half of "Uranium Suite" is shown as a flashback. We see the choir in competition, snippets of them getting their fortunes read and enjoying the other rides at the carnival, then boarding the doomed Cyclone rollercoaster.

When Karnak says the line "hurtling the children to their deaths", we watch the choir's rollercoaster cart fly off the loopty-loop. But rather than hitting the ground, they stay floating through the air for a while. It's only when they say the lines "round and round and round" when they slowly start to descend toward the ground. Right when they're about to crash and hit the ground, the scene changes. We see the choir land in the warehouse, their souls summoned by Karnak. They get back up, almost robotically, and perform some (Karnak-controlled) choreography for the end of the song.

When it comes to the choir's individual songs, the visuals change to animation. And to reflect the individuality of the choir members, every song uses a different art style.

"What the World Needs" will use 3D CGI animation that has a classic Disney/Pixar look to it. This is meant to reflect multiple aspects at once (the happy/poppy style of the song, Ocean's bubbly personality, etc.)

During her number, Ocean dons a dramatic costume change. She's got a bright pink power suit (think like if Barbie was a businesswoman)

After her number, the world returns to normal (live-action and sepia). We see Ocean standing on the human pyramid wearing a loose pink necktie. This is meant to show that the animated sequences are "dreams" acted out by the choir. The costume pieces they get in real life were from storage.

"Noel's Lament" is animated in 2D black and white animation. Think like the classic Betty Boop cartoons from the 1930s. Additionally, his entire song is recorded through a radio filter (think like how Alastor sounds in Hazbin Hotel). That way it really makes him sound like he's from the "olden days".

"This Song is Awesome" will have a gritty, graffiti type art style. Whereas "Talia" will be done entirely in watercolor.

The transition from "This Song is Awesome" to "Talia" will be different from the stage version. "This Song is Awesome" will be framed like Mischa's dream bachelor party. We see him living it up as a world-famous rapper, partying with his friends, then taking the private jet to Ukraine. When he says "And then I see this girl. Shawty." at the end of "This Song is Awesome", there's a visual gap between where Mischa is standing (still in the graffiti art style) and where Talia is standing (in watercolor). We can hear the beginning notes of "Talia" being played in the background. Noel leans close to Mischa and asks, "Who's that?", referring to Talia in front of them. Mischa says, "That is my girlfriend. I was saving up to move back to Ukraine just to see her. Natalia Muruska Bolinska." As he says her name, Mischa steps between the gap, changing his appearance (and the rest of their surroundings along with him) to the "Talia" watercolor style.

EDIT: Here's the link to Part 2! Sorry for splitting it up. Tumblr literally wouldn't let me post it as one large chunk. ^^;