#lund sisters

[godofalgebra]

Lund sisters

14 13 12 5

[revacholianpizzaagenda]

Nuclear hot take on a possible motive for the Lund sisters. We know what they did (erase themselves from history) and we know they wanted to do it (they knew where they'd end up and were looking forward for Zigi to join them there eventually), but why?

It starts from the infamous "Luiga says that he and Kurvitz say that a certain forum post is is correct in positing that Dora is, somehow and to some degree, actually Dolores Dei herself". Specifically, the post says that there was a human Dora who was overtaken by something like an archetype and lost herself into being Dolores Dei.

As a secondary premise, it is possible that Noid was literally right when he suspected Dolores Dei in particular of being somehow not entirely human, an immortal of some kind: in the final dream, she mentions the something or something else of immortality, crown scepter and thingamajig that were "passed onto her by the rulers of late antiquity". She just might have already been around in Perikarnassis' time, before the isolas split. Like, separate from the Dora thing, the game tells us that Dolores Dei was chummy with the rulers of late antiquity, a good few thousand years before her historical relevance.

My impression is that this same... potential for being Dolores Dei... ...somehow... is shared by the Lund girls. Source:

similar if not outright same surname (after all, Jean lampshades twice that he's not sure about Ingerlund being Dora's surname, in a way that may hint at some upcoming twist),

the whole peaches of immortality detour (I'll leave the specifics to Estonian speakers but I'm told it's functionally the same as Dora's apricots, to the point that an older pdf had a stray "apricot" instead of peach)

and, most importantly, Zigi's omen of destruction as he meets Charlotte. She's flat out described as having footsteps that spelled the destruction of Iilmaraa, which just so happens to be where Perikarnassis was, bundled with its rulers of late antiquity (I can do the geographical conspiracy board on a separate post if anyone's interested).

I think that Dora meeting Harry and Charlotte meeting Zigi is the beginning of the same story, one that may have been repeating since antiquity if we take this literally as well. Harry and Zigi, too, famously share an archetype of sorts, by virtue of being overt, straightforward Kurvitz expys. We even have the same emphasis on their cool leather jackets. For the middle class girls, this contact outside their gilded world sparks change. But here is where their stories diverge: Dora eventually rejects this change and falls into the comfort of being bourgeoisie incarnate. The Lund sisters, on the other hand, emphatically go "fuck all y'all" and choose to annihilate themselves.

Sooo, based on these totally solid premises that aren't a stretch in any way whatsoever (source: my beautiful mind, also it was revealed to me in a dream, and also fayde dot co dot uk), here's the take:

By virtue of this parallel between them and Dora, I think it's... not completely impossible... that it was precisely this aspect of themselves that they tried to annihilate, maybe subconsciously. A potential they felt was so wrong that they tried to erase it from history entirely, just walking into the pale wouldn't have been enough, it needed to be scrubbed at its root.

[halimaidmf]

But something is wrong. Always has been. Her surface is flawless, pre-teen, sparkling clean. It is the light that’s mistaken. It is the world itself. Two young girls step next to the third in the dark. At the cusp of the oldest one’s hand, the fourth, a tiny, good fairy godmother, points towards the window with her wand. The window hangs like a cracked smile on the frames. “Look, look!” she says. “It’s going wrong.”

? Could be a commie connection too I mean i wonder if CWA's same logic could be applied to communist will to power I mean recall the 'you against the atom' speech from rhetoric... There are of course many commie fantasy moments seeking to work against reality... Please Rodionov tell me what the hell is going on

You - "What the fascists say makes a certain *gut-level* sense." Coalition Warship Archer - "And therein lies their danger. They 'feel' true without *being* true..." Coalition Warship Archer - "If you believe so strongly in your own destiny that the rest of reality exists only as a warped reflection of it, how can it be contradicted?"

[local-sourchild]

This is Svea, Isolda & Gabrielle's father if anyone care (FINALLY A DECENT FÉLIKS ART I LOVE THIS MAN)

[yellow-yarrow]

thinking about this part from SATA (and prefacing this long ass post with that I'm just theorizing and I haven't really found anything new)

It had happened overnight, like it did for Dolores Dei. Twenty years ago, on the morning of the twenty-ninth of August, she [Ann-Margret Lund] woke up and her hair had turned grey. She hears music in her sleep; light from the kitchen window floods her hair and, for a moment, it looks golden again

we don't hear about Dolores's hair being gray in the game, and if this is still canon, I wonder when it happened. I think it couldn't have been at the time of her coronation, and the height of her popularity since she is depicted as blond in the church and the text... was it before her assassination maybe? or perhaps after the assassination?

there is a bunch of pale symbolism too with Ann-Margret. you could say it's a little inhuman

It doesn’t matter that the feeling of absence, silence, peace, and the smell of mould in her new shelter had entered her, secretly made her its own. She is a void.

the disappearance of her children took away the past from her body, (for a lack of a better phrase) (her body is shaped like she never gave birth and she has trouble remembering that she had children)

Dolores Dei's assassin said there was something about Dolores that wasn't human

Encyclopedia - Something that had walked in our midst, watching us stumble for hundreds, if not thousands of years, until it decided to interfere -- interfere in the course of our history. 'We were supposed to come up with this ourselves!' the man was reported to have screamed at the innocence... Encyclopedia - Dolores Dei was shot in the chest with a fowling piece, eight times. The man, thought to be insane, said he once touched her and her body had been unnaturally warm, like a furnace -- and that sometimes while on duty he observed her forgetting to breathe for over ten minutes... Encyclopedia - This *inhuman* quality was witnessed by many others as well -- glowing lungs and all. It is commonly attributed to mass hysteria and religious psychology.

what if Dolores's hair turned grey overnight after she died, as this inhuman something left her body

[cyborgghost]

Reading Sacred and Terrible Air after playing Disco Elysium gave me whiplash because how differently female characters are handled in each work...

I like Pjõl! But besides the Lund Sisters, the only other female characters are mothers, a failed date, a suicidal opera singer and a teenage lingerie model. They're all secondary and don't have stories of their own. None of them are in positions of power or playing a major role in the lore.

Not to mention, how off-putting the depiction of the sisters is... I know we're supposed to see them through the lens of hormonal teenage boys and obsessive maladapted men but the over sexualization of this young girls makes it such an uncomfortable read.

No wonder these girls wanted to disappear and never be perceived again if this is the inescapable male gaze that follows them!!

The book obviously condemns pedophilia while making not only the antagonists, but many of the main characters pedophilic or something adjacent. It's a prevalent theme in the story. I am aware of that. My critique is that the only purpose of most female characters in this book is pushing this narrative. In other words, they're only there to show how traumatized the main characters are. A lot of male writers are guilty of this, putting young girls in morbid scenarios as a prop for shock value. It feels exploitative and dehumanizing, it could've been handled better.

I'm glad Disco Elysium is different, its characters are multidimensional and have unique personalities and back stories. They have story relevance within their world. This improvement is probably due to all the year of experience between the two artworks. But I don't want to give Kurvitz too much credit (I think this fandom tends to idealize him, partly because they feel sympathy for the whole ZA/UM legal rights situation), he didn't singlehandedly write Disco Elysium. There were many other writing professionals who contributed to the project to make it better than its novel predecessor. (Many of which are working on the new Summer Eternal project, I'm excited for that!)

[gazorninplat]

As much as I love Disco Elysium, I think I was not prepared for Sacred and Terrible Air. Of course, I was expecting to know more about the world of Elysium as a whole, and Robert Kurvitz is a very good writer, but the thesis of the novel (and how it makes its points) flash-banged me.

Disco Elysium this is not, and it wasn’t supposed to be, but I think I can understand better now what the team at ZA/UM was getting at with this specific setting, and these specific narrative angles. Kinda messy, because it’s been a week since I finished it, but here are some things I’d like to highlight: 

1. The pedophilia. I surely wasn’t expecting this to be such a central theme of the novel, but a lot of its main points revolve around it. The most interesting use of this, as a narrative device, is how the girlfriend of Jesper basically accuses him of being a pedophile because he cannot relate to the adults around him. He’s still obsessed with a girl he met when he was 13 years old, and fetishizes a scrunchie he stole from her bag two decades ago. Yeah, I guess Jesper, well into his thirties, is still in love with a 13 year old girl. His girlfriend is almost half his age, and they started dating when she was 15 years old and a lingerie model (!). Zigi mentions how pedophilia was a bougie disease, and well… That idea went right into my thought cabinet (I call it “Bougie Babies for Sale).

Still processing it.

Now, let’s go back to the rest of the main characters. With all this in mind, a pedophilic overtone covers their interest in these four missing girls, but Jasper is the only one who acts on it, sort of. Khan remains in a sort of arrested development (he still uses a shirt he had when he was 13), foregoing normal adult relationships, and Tereesz joins the police as an investigator with the idea of still finding them some day (essentially letting these eternally prepubescent girls define his entire existence), leading him to a very dark path. I wonder if the brutality they afford to the “actual” pedophiles in the story (Vidkun Hird and the Linoleum Salesman) comes from the realization that they are not that different?

2. Obviously, though, this fetishization of the Lund sisters is also a fetishization of the past. The novel states it in the first few pages; they disappeared twenty years ago, in a time that most conservative people remember as the “good old days”. Basically their version of the American Fifties. Now, being obsessed with the past is a running theme in both SaTA and DE, but the angle here is different.

I already said it: the past is not remembered, is fetishized with an almost sexual yearning by a lot of the male characters of the book. They want to be consumed by it (and lucky them! It will) and do nothing more than serve it. It reminds me of a poem by Yamil Nardil Sadek, which, translated to the best of my ability, goes like: 

She awaits me

sitting on the bed,

wearing leather,

and armed to the teeth,

the Memory.

Yeah, that sums up Sacred and Terrible Air pretty well. Everyone is being consumed by the past, bite by bite, and enjoying it. Vidkun Hird, by the mythologized version of his tribe’s history; Sarjan Ambartsumjan, by a miniature ship model that requires constant, devoted thought or else it will disappear, the three main characters by the memory of that summer with the Lund girls. Even the Linoleum Salesman is being haunted and consumed, of sorts, by his sickness and dementia that only sometimes let him take a peek of the past. Beyond that, there are very few characters that do not spend time being followed by relentless ghosts. Literally, in the case of Zigi. Which brings me to…

3. The Pale. It was a really cool concept in Disco Elysium, and it’s an existential nightmare in Sacred and Terrible Air. It always was, really. But here it lets you take a look into it in a way that’s applicable in real life. The Pale is a metaphor for many things, but actually for a single one: A world where our current Capitalist reality facilitates both apathy and yearning for better days, often idealized in our collective pasts.

My favorite scene, one that was incredibly puzzling but so obvious in retrospect, is a beautiful speech by the ghost (?) of Ignus Nilsen to Zigi. I will just paste it here:

“I said terrible things, yes! I stood on a white horse, in a blizzard, and gave speeches. In the mountains, on the construction site… I swung my sword, with silver sunbeams on the hilt. And all around me fluttered white flags, crests of crowned horns made with silver thread, a pentagon between the prongs of the horns, the branches raised to heaven. Everyone who came here with me became happy, Zigi! Communism is powerful! Believe in Communism, it’s a burst of enthusiasm! I promise! It’s beautiful when you believe in a person, but without it…!”

“Without it, there is nothing.”

“Nothing. It was a blizzard, but it was bright, it was morning. Communism is white, it sparkles! Communism is the morning, it is a jubilation!” 

The Pale begins to recede dangerously around the entroponaut.

The fucking Pale recedes with talk of Communism! At first it might appear a little heavy handed (yeah, Communism, by itself, could save the world). But then I got into how Communism could be a solution to the antipathy and chronic nostalgia that sustain Capitalism, and then it hit me. Nilsen, a literal ghost from the past, is talking about a future that could have been. That he wanted to accomplish. That people, probably, can still achieve. The Pale is not eternal, it can be pushed back. Because the Pale seems to subsist on the past, it abhors any talk of the future. A better future. That’s how we solve things, and for a central thesis, is not bad at all.

With that being said, and because I’m just rambling here while pretending I’m working, there are also some things that I just didn’t understand, but maybe it was because of the translation. The original novel is written in a very poetic style, and some of that is still here, but I still need to untangle…

1. The Man. It is said that the day the Lund girls disappeared, they were joined by a mysterious Man that nobody seemed to remember correctly. A character even suspects that she was remembering wrong. Now, the Pale erases people and memories retroactively, so maybe it had something to do with it, but… Who was that? Is there any theory about that Man, or I just missed something? Some scenes and narrations were tough to parse for me (my primary language is not English).

2. Was Malin Lund pregnant? That flash with the fetus was sudden and weird.

3. What was the significance of the three meat piroshkis? They mention that it was unusual that the girls bought them (and if you do the math, you can realize early on that they were not planning to get back home. That purchase didn’t leave them enough money for the bus fare back), but that’s it. Were they for the Man? Also, the narration mentions that Lund girls’ picnic basket contained “the kind of things girls like to eat”, so maybe they were planning to see the boys and bring them the kind of things boys eat? I’m overthinking that? The chapter actually titled “Three Meat Piroshkis” just left me even more confused.

4. I don’t understand how Khan’s pen works at all. The one he brought to the school reunion. That was the part I re-read the most. Anyway, even with that, I loved Sacred and Terrible Air. Definitely one of the most enthralling reads I had, with or without the background of Disco Elysium. I’d still like an official translation that could potentially solve the issues I had, but for now, a Top 10 Book for me.

Go for it now.

[renmorris]

Given that Harry tends to be right about things in all the worst most painful ways. How in PJÕL the Lund sisters seem to be experiencing Dolores as a parasitic thoughtform that they have to scrub themselves from reality to escape from?

I think Harry did this. Not intentionally and maybe not wholly on his own, but I think his love for Dora and his deification summoned whatever Dolores is. First it made her lungs glow. Then it eroded her entirely.

[doomandgloomfromthetomb]

Sister Ray In The 70s

Something special to close out the year — SISTER RAY IN THE 70s! This custom-made Doom & Gloom compilation gathers together a whole lot of "Sister Ray," as performed by Lou Reed and his various bands between 1972 and 1980. One hour, 47 minutes. More ding-dongs than Hostess. Would make a great quadruple LP bootleg, if you ask me.

Everyone’s favorite transgressive-in-many-more-ways-than-one Velvet Underground epic wasn't exactly a standard during this time. But when Lou wanted to let everyone (including himself) off the leash for a bit, he'd break "Sister Ray" out as a vehicle for some unholy/unhinged jams/vamps/raveups ... and judging by what we've got here, he really enjoyed doing so. This is gnarly stuff, shameless, harrowing and totally fun. Not for the faint of heart — but none of you are faint of heart, right?!

"Sister Ray" (Leicester University, Oct. 14, 1972)

A roar rises up from the crowd when Lou announces: "This is the sad, sad story of Sister Ray." With the Tots grooving behind him, it starts off in a mellow mode — which is good, because it allows Lou to really sing, making sure to annunciate every nasty lyric. Soon, everyone’s cooking (for the down five).

"Sister Ray" (Kansas City, May 2, 1973)

The short-lived Moogy Klingman-led lineup gives "Sister Ray" a cartoony, streetwalking funk strut, hooting and hollering behind Lou. Extra props to the drummer (known only as Chocolate), who taps out the appropriate beat during the "Who is that knocking?" section. "RIGHT!!!!" Lou exclaims approvingly.

"Sister Ray" (Buffalo, Dec. 8, 1973)

As far as I know, this is the only recording of the Rock & Roll Animal band tackling "Sister Ray," but it's a 20+-minute doozy. Of course, it takes about 10 minutes for Lou to enter the scene — lord only knows what he was getting up to backstage. Despite a wonky mix that occasionally is overtaken by pummeling drums and bass, it's a vicious listen. I like that it all comes to a pretty definitive conclusion before Lou realizes he hasn't sung the concluding verse and revs things for a final ride ride.

"Sister Ray" (Stockholm, May 14, 1974)

This one starts at a blinding white light/white heat pace, everyone riding a locked-groove riff for as long as they can. Guitarist Danny Weis is off the chain here, reveling in both chicken scratch funk and insane feedback. Lou's tambourine accents make me think of On The Corner's infernal sleigh bells, and his "CooooouLLLLDDDNnnnnt hiiiiIIIIIIIIITTTTTttttt iiiIIIIITTTTTtttttt siiiiiIIIIIIIIIdewaaaaaayyyys" vocalizations towards the end are wicked.

"Sister Ray" (Boston, October 29, 1976)

Lou had Doug Yule, an actual member of the Velvet Underground, in his band in 1975, but for some reason, "Sister Ray" wasn't played that year. But she was back in action in '76 — and in Boston, we get to hear a key "Ray" ingredient we haven't heard much of so far: Lou's skronked out guitar work. It's as if he walked past the old Boston Tea Party on the Fenway that afternoon and thought, "Ohhhh yeah, I used to really shred!" And shred he does, dueling mightily and furiously with sax man Marty Fogel. I'll also recommend this video of "Sister Ray" from a week later, which doesn't feature any six-string pyrotechnics but is awesome nonetheless.

"Sister Ray" (Lund, March 26, 1977)

With Michael Fonfara's icy electric keys mixed way up and Michael Suchorsky's locked-in drums, this almost sounds more like "Kicks" than "Sister Ray." I think that's Lou on distorto guitar there at the beginning, but he mainly focuses on delivering his whiplash vocals as the song progresses. Fogel starts to get pretty loose towards the middle, though I wish he'd cut loose even more — and I definitely wish there was a tape of Don Cherry sitting in on "Sister Ray" from around this era! The car crash ending is a blast, too.

"Sister Ray" (New York City, May 21, 1978)

"Sister Ray" takes no prisoners! This one from one of the many Bottom Line sets Lou and the Everyman Band played in 1978 is a tense slow-burner, sometimes dropping down to a whisper, Lou adding profane/profound asides and stopping to tell an old Warhol story. "Andy said, 'Make sure you do the song that's got suckin' on my ding-dong on it.' I said, 'Oh, why? Social commentary?'" Also fun: the band seems to be having a long disagreement about where the changes of this three-chord boogie are. Come on, Moose! (Sadly, this is one of the more lo-fi documents included here — where, oh where, is my Take No Prisoners: The Complete Recordings boxed set?!)

"Sister Ray" (London, April 10, 1979)

One of the weirder "Sister Ray"s I've come across — though that might be partly the fault of the cavernous acoustics we're dealing with. There's a long solo guitar extravaganza (Chuck Hammer, I presume?) to kick things off, and then a monomaniacal/mechanical beat from Suchorsky, the crowd clapping along, Lou hollering over the top; it almost has a Suicide vibe? Then there's a terrifying drone-metal dirge coda ... Chaos! But that's what "Sister Ray" is all about, right?

"Sister Ray" (Avellino, June 16, 1980)

Lou's insane 1970s had ended and the sober 1980s loomed (Loum-ed?) before him. But he wasn't done with "Sister Ray." Or maybe "Sister Ray" wasn't done with him. Fittingly, this version feels a little bit exhausted, some flop-sweat, some out-of-gas fumes. "Give me some rhythm — FUCK!" Lou yells at the gang early on. But it still rocks, don't worry. My favorite part is Fonfara's wildly inappropriate synth solo. Mainline located!

📷: Lars Jonsson, Copenhagen May 1974 (via weaponsetc)

[whencyclopedia]

Søren Kierkegaard

Søren Kierkegaard (1813-1855) was a Danish philosopher and is considered to be the first existentialist, influencing such notable philosophers as Jean-Paul Sartre (1905-1980) and Martin Heidegger (1889-1976). His works are a reflection of alienation, angst, and absurdity, and include Either/Or (1843), Fear and Trembling (1843), and The Concept of Anxiety (1844).

He was embraced by his fellow existentialists for his belief in the importance of the individual against an apathetic, hostile society. However, unlike other existentialists, his body of philosophical works has a strong theological vein. Denise Despeyroux, in her book The Philosophers, wrote that Søren's life was filled with painful experiences, which colored his works – works that displayed "great dramatic and poetic power. They are filled with parables, aphorisms, fictitious letters and diaries as well pseudonymous and fictitious characters" (110). She added that his struggles with religious questions served as a "potent stimulus" for other writers and thinkers of his generation.

Birth & Education

Søren Kierkegaard was born on 5 May 1813 in Copenhagen, Denmark, to an affluent family as the youngest of seven children. His father, Michael Kierkegaard, was a successful businessman, while his mother, Ane Sørensdatter Lund, had been the one-time maid of Michael's first wife. Søren claimed his father was the most influential figure in his life. Unfortunately, he suffered terribly from anxiety and inner turmoil, and this Søren 'inherited' from his father. Michael was deeply religious, a member of a pietistic form of Lutheranism, and was convinced that because of his past sins – he had once cursed God – none of his children would live past the age of 33, the age of Jesus Christ when he was crucified. Coincidentally, five of Søren's brothers and sisters, as well as his mother Ane, would die before Søren turned 21. Only Søren and his brother Peter survived. To Michael, it was a sign of divine retribution. According to Jeremy Stangroom in his The Great Philosophers, Søren maintained that his childhood was "insane" and "he had come into the world as the result of a crime" (100). Regrettably for Søren, his father passed on his "pessimistic and gloomy religious outlook to his son" (ibid).

Despite a chaotic childhood, his education was "surprisingly normal," attending a distinguished private school – the Borgedydskolen – where he was considered an outsider, "lonely, aloof, and intellectually the superior to his classmates" (ibid). Hoping to become a pastor as his father had suggested, at the age of 17, he entered the University of Copenhagen, where he studied theology, philosophy, and literature. In 1838, while he was attending university, his father died, leaving him with a large inheritance. After graduating in 1840, he began the life of an independent thinker and writer, but it would be a life consumed by inner torment and angst, evident throughout his writings.

Shortly after graduating, he made the mistake of getting engaged to Regine Olson, ten years his junior. He regretted the engagement the moment it was made. One year later, in 1841, he broke off the engagement, believing that his melancholic temperament made him unsuitable for marriage and he considered her to be intellectually incompatible. The affair with Regine had a lasting effect on Søren and would appear in both his journals and other works. Free from an unwanted engagement and with a large inheritance, he was free to begin a career as a writer. Oddly, throughout his life, he only left Copenhagen three times, spending most of his free time walking the streets of the city or attending the theater.

Continue reading...

[hallmark-movie-fanatics]

Upcoming Hallmark Movies for March

Hallmark Channel

The Royal We Saturday, March 1, 8pm/7c When her older sister elopes with a non-royal, Princess Bea who has lived her life away from her royal duties must now step in and honor the arranged marriage to a small kingdom prince. Starring Mallory Jansen and Charlie Carrick.

The Reluctant Royal Saturday, March 8, 8pm/7c Philly mechanic Johnny is surprised to learn that his long-lost father is a duke. But the duke isn't quite what he expected, nor are his growing feelings for the duke's advisor Prudence. Starring Andrew Walker and Emilie de Ravin.

Royal-ish Saturday, March 15, 8pm/7c Lacey is an amusement park princess who befriends 8-year-old Rose, a real-life princess, and is recruited by her handsome father to travel to their kingdom and be the new governess. Starring Nichole Sakura and William Moseley.

Hearts Around the Table: Jenna's First Love Saturday, March 22, 8pm/7c Jenna plans a charity event for Billionaire Tom Redlands. But working with Tom's right hand Andrew is proving difficult, especially since Jenna and Andrew have a romantic history. Starring Ashley Newbrough, Steve Lund and Mindy Cohn.

Hearts Around the Table: Shari's Second Act Saturday, March 29, 8pm/7c Shari just moved back to D.C. after a breakup and hopes to start painting again. Inspiration hits when she meets Evan, a repairman who winds up actually being a gallery owner. Starring Mishael Morgan, Brendan Morgan and Mindy Cohn.

Hallmark Mystery

Mystery Island: Winner Takes All Thursday, March 13, 8pm/7c Mystery Island hosts contest winners vying to solve a fake murder for a grand prize, but the event goes awry when an employee is murdered, and secrets are uncovered. Starring Elizabeth Henstridge, Charlie Weber, and Kristin Booth.

[watchinghallmark]

Coming in March to Hallmark Channel!

The Royal We - March 1

When her older sister elopes with a non-royal, Princess Bea who has lived her life away from her royal duties must now step in and honor the arranged marriage to a small kingdom prince. Stars Mallory Jansen, Charlie Carrick.

The Reluctant Royal - March 8

Philly mechanic Johnny is surprised to learn that his long-lost father is a duke. But the duke isn't quite what he expected, nor are his growing feelings for the duke's advisor Prudence. Stars Andrew Walker, Emilie de Ravin.

Royal-ish - March 15

Lacey is an amusement park princess who befriends 8-year-old Rose, a real-life princess, and is recruited by her handsome father to travel to their kingdom and be the new governess. Stars Nichole Sakura, William Moseley.

Hearts Around the Table: Jenna's First Love - March 22

Jenna plans a charity event for Billionaire Tom Redlands. But working with Tom's right hand Andrew is proving difficult, especially since Jenna and Andrew have a romantic history. Stars Ashley Newbrough, Steve Lund and Mindy Cohn.

Hearts Around the Table: Shari's Second Act - March 29

Shari just moved back to D.C. after a breakup and hopes to start painting again. Inspiration hits when she meets Evan, a repairman who winds up actually being a gallery owner. Stars Mishael Morgan, Brendan Morgan and Mindy Cohn.

[revacholianpizzaagenda]

It’s still August, and under the twenty-eighth is written “International Day of Missing Persons”. It is precisely in their honour, on the twenty-eighth of August. This is the day.

To the Lund girls!

[revacholianpizzaagenda]

Yeah I do think there's something to this. Same starting point, inverted character arcs. Dora pushing back at first but eventually subsumed into the bourgeois archetype, the sisters doing Pointedly Not That as per Zigi.

The fact that Ingerlund may not even be Dora's actual surname haunts me btw (the fact that Jean isn't sure of what she was called comes up not once but twice). As a characterization note for Jean I get it but could it be setup? And if so, setup for what?

NONONONO YOU CAN'T DO THIS TO ME SHE CAN'T BE FROM THE SAME COUNTRY AS THE LUND GIRLS

[b-skarsgard]

That Bill Skarsgård, 34, has a special attraction to the dark should be indisputable, but what is it about him that the characters attach to?

- Maybe it's a bit like falling in love with someone, says the actor himself.

read the rest at the link or under the cut. (translated from swedish to english by browser)

In reality, Bill doesn't look the least bit diabolical. The hair is well styled in a wavy James Dean bangs and is matched for the day by a knitted white polo shirt with a luxurious glossy sheen. Overall, he rather exudes a mystique, a bit like a movie star from Hollywood's golden era.

Nevertheless, he has repeated in many international interviews that it is something in him that these characters are drawn to:

- The clearest way for me to formulate it is that I attract them, and they attract me.

- It is a special process to be chosen for a role at all. You have to be inspired, but also be right for the role. So you attract each other, says Bill, but adds:

- After all, I have done an incredible number of different types of characters in over thirty films. But since the biggest projects are in a certain direction, like "It", you become associated with it.

In "Nosferatu" you are unrecognizable. Do you like to completely dissolve into a character?

- In some way, that is always the ambition. I like to find a voice, a physical expression. Making "Clark" wasn't me in any way either, even though he looks more like me.

- The challenge is that it is me who expresses the character, while none of Bill must be there. Nothing of a 32-year-old guy from Södermalm can be found in a 400-year-old Transylvanian count.

You usually succeed. My son has a fear of clowns because of you. On the other hand, it has saved me many visits to Gröna Lund...

- Haha. Is it that bad? Clown phobia? But I apologize. One of my childhood friends got it from the previous "It".

- I don't think I've told anyone this, but when he married my cousin, who is like a sister to me, we organized a kidnapping attempt for the stag party where all his best friends were dressed up as clowns. It was the thing he was most afraid of in the whole world. Someone thought it was too shitty, and that he would break down. But it went well. Then I forced him to attend the premiere of "It", and now he is not afraid of clowns anymore.

Does exposure therapy work?

- Yes, that's a tip. Haha.

But "Nosferatu". Of course you were in the running as Hutter, but then the role went to Nicholas Hoult?

- I actually got it. Several years ago. Then the "Nosferatu" fell apart.

How did you react to the news that the role was no longer yours?

- I was broken.

- I would actually have been in Robert Egger's "The Northman" in the role of Gustav Lindh, Bill continues and then describes how pandemic-related circumstances led to a schedule conflict where he prioritized "Clark" and said no to Eggers.

- "Clark", which I helped develop and produce, felt to me personally as a bigger challenge.

- So I explained that I was sorry, but that it was like this. But I didn't know if he was offended.

- Then "Nosferatu" was on again, and he cast Nick and then Aaron (Taylor Johnson) as Harding. So then I wrote an honest and pretentious letter to Eggers with the title "Wisborg in flames".

It pays to be desperate?

- Yes, if the desperation is motivated by something that is true. I meant every word I wrote in that letter, and I think he felt it.

I interviewed your brother Alexander after "Northman". He described it as isolated. How was your Eggers trip?

- It was up and down. I was also very isolated. Self-isolating.

- I lived in a hotel suite in an 18th-century building where Mozart had lived, and you feel that he is sitting in the walls. I walked around this attic and went a little crazy.

- But there was a madness in Orlok that was worth facing. I've talked a lot about my technical methods, but it was also a psychological journey.

The relief after the recording

How has it been to leave Orlok?

- An enormous relief. You don't always feel that way, but the last day of filming was a really tough fucking day. Not performance-wise, but because it was twelve hours in that outfit, and the soles of my feet were the only thing on me that wasn't covered. It means that the body cannot breathe.

- I was close to fainting and had heat stroke. My heart just skipped a beat, and I started thinking about that gold-covered woman in "Goldfinger"…

Who would have been suffocated by the paint?

- Yes, that's not true. But I thought about it. So when I was done, I was so grateful to be free of this evil entity.

What's next for you?

- I'll be home for a couple of days, and then I'll go to Los Angeles and New York for the premieres there, and then home to celebrate Christmas.

The Skarsgård Christmas is supposed to be something really special?

- This year it is split. Everyone is married and has a partner, so you have to take it in turns, and this year it's just been that everyone is with their respective ones. But last year we ran Skarsgård Christmas, and now we will all see each other in the days in between, so then it will be Skarsgård Christmas!

[yellow-yarrow]

I'm reading the wikipedia page of the disappearance of the Beaumont children, (someone on reddit posted about it, but I think it was mentioned somewhere else before? idk) which is what Sacred and Terrible Air's story is based of, and I'm just realizing now that the meat piroshkis are for Zigi, based on this real life case + piroshkis are slavic ("kojko") and so is Zigi + the chapter with the Three meat piroshkis title is about Zigi

but why 3 of them, that's confusing me...