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yourdarlingness · 1 year ago

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✦ Our Life: Beginning & Always ~ themed　NPT

╰　DAY 5 of @rumblepumm ' s event !

NAMES ︙　cove . seashell . shoal . shoaliette . sholiene . ocean . oceanide . lake . river . riverine . aqua . aqua(mu)rette . aquamarine . coralle . coralette . creek . everett . evelyn . eve . teary . tearie . tweary . tearfall(e) . teardrop . poppy . popp(i)ette . poppeine . lee . lily . leslie / lesley . lynn . francine . jackie . ari . aria . arielle . claire . elizabeth . liz / lizzy / lizzie . lizette . elyssa . elysia . reagan . noe . lain . macy . baxter . bax . baxley . barley . oakley . alexander . oliver . ollie . spade . mono . vince . victor . vincent . vinny . chester . derek . darren . dylan . daryl . darcy . darlene . devon . jaime . jamie . james . jay . taylor . harper . ash(e) . paula . pamela . pauline . miranda . randy . marissa . margot . sage . faith . melissa . terry . alex . robin . radley . marshall . max . chase . jeremy . archie . jayden . jonathan . misery . miserine . miser(i)ette . kyra . kyla . kylie . kyrelle . kier . sydney . chantel(le) . eleanor . shiloh . scout . asher . willow . adam . scott . jude . jade

PRNS ︙　sea . wa / wave . sea / shell / seashell . sea / foam / seafoam . sea / bun / seabun . wae / water / waterfall . pud / puddle . su / surf . ae / aqua . tea / tear(y) . shy . cry . fi / fish . swi / swim . co / cor / coral . pop / poppy . li / lily . da / dance . ste / steps . rhy / rhythm . mo(e) / mono . wa / waltz . fe / fetch . fri / friends . mie / mis / misery . si / silly . lo / love . ado / adore . he(a) / heart . 💧 . 🌊 . 🐚 . 🦈 . 🦑 . 🦞 . ⛴️ . 🚢 . ⛵ . 🎹 . ♠️ . ♣️ . 🖤 . 🎧 . 🎵 . 🎶 . 🎼 . ⚽ . 🏈

TITLES ︙　the alluring mermaid/merman/merperson . the heart of the sea . the [x] / prn who was washed ashore . prns graceful/tidal wave . prn whose soul is pure . the [x] with a peaceful life . prn who surfs . the lady / maiden / [x] of the deep sea . the one who sets sail . the [x] in the sea of stars . prns aquatic adventure . the [x] in coral reefs . prn who swims with fishes/sharks/etc (any aquatic animals) . the [x] of the blue waves . the seashell collector . the master of waltz . the born dancer / prn who is a born dancer . the ballroom dancer . the divine dancer . the charming dancer . the Victorian-era emo man . the one of all smiles . prn who is monochromatic . prn who moves flawlessly . the dancer of arts . the one with conflicting feelings . the [x] whose story begins . prns prologue . prns beginnings . prns start of dreams . prns opening acts/chapter . the [x]'s new beginnings . prns new chapter . prns divine plot twist

[x] — any nouns　;　examples below

the angel who was washed ashore

the ghost whose story begins

the boy of the blue waves

sorry that its long :3

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brokehorrorfan · 5 months ago

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Artwork from Gallery 1988's "The Masters" exhibit paying tribute to Francis Ford Coppola, Martin Scorsese, Steven Spielberg, and Quentin Tarantino is available online. I've highlighted 10 pieces:

E.T. by Kate Dykstra

Jaws by Lou Pimentel

Jaws by Zita Walker

Jaws by Augie Pagan

Kill Bill: Vol. 1 by Shane Houston

Taxi Driver by Jeffrey Everett

Bram Stoker's Dracula by Shauna Lynn Panczyszyn

Jurassic Park by Chris McGuire

Jurassic Park by Doug LaRocca

The Lost World: Jurassic Park by Miranda Dressler

#Francis Ford Coppola #Martin Scorsese #Steven Spielberg #Quentin Tarantino #jaws #jurassic park #art #gift #Shane Houston #Jeffrey Everett #Doug LaRocca #kill bill #taxi driver #e.t.#bram stocker's dracula

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la-femme-au-collier-vert · 18 days ago

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From the Library of Anne Rice (Part 3)

Flynn, Gillian. Gone Girl. New York: Crown Publishing, 2011. Lightly annotated.

Green, John. The Fault in Our Stars. New York: Penguin Books, 2012. Ownership signature. Annotated.

Le Carre, John. The Spy Who Came in From the Cold. New York: Bloomsbury, 2005. Ownership signature. Tabbed.

Martin, George R.R. A Dance with Dragons. New York: Bantam Books, 2011. Ownership signature.

Metalious, Grace. Peyton Place. New York: Julian Messner, 1957. Ownership signature.

Sebold, Alice. The Lovely Bones. New York: Back Bay Books, 2007. Ownership signature. Annotated.

Sheldon, Sidney. The Other Side of Midnight. New York: Willam Morrow & Company, Inc., 1973. Ownership signature.

Sienkiewicz, Henryk. Quo Vadis. New York: Hippocrene Books, 2002. Ownership signature. Annotated.

Silva, Daniel. The Kill Artist. New York: Random House, 2000. Ownership signature. Annotated.

Susann, Jacqueline. Once is Not Enough. New York: Willam Morrow & Company, Inc., 1973. Ownership signature. Lightly annotated.

Susann, Jacqueline. Valley of the Dolls. New York: New Market Home Library, 1996. Ownership signature. Annotated.

Turow, Scott. Identical. New York/London: Grand Central Publishing, 2013. Ownership signature.

Turow, Scott. Identical. New York/London: Grand Central Publishing, 2013. Ownership signature. Annotated.

Bowman, Carol. Children's Past Lives. New York: Bantam Books, 1998.

Burpo, Todd with Lynn Vincent. Heaven is for Real. Nashville, Dallas, Mexico City, and Rio de Janeiro: Thomas Nelson, 2010.

Fronkzac, Paul Joseph and Alex Tresniowski. The Foundling. New York: Howard Books, 2017.

Greven, Philip. Spare the Child. New York: Vintage Books, 1990.

Joyce, Stephen H. Suffer the Captive Children. By the Author, 2004.

Malarkey, Kevin & Alex The Boy Who Came Back from Heaven. Carol Stream, Illinois: Tyndale House Publishers, Inc., 2011.

Mcfarland, Hillary. Quivering Daughter. Dallas, Texas: Darklight Press, 2010.

Postman, Neil. The Disappearance of Childhood. New York: Vintage Books, 1994.

Rafferty, Mary and Eoin O'Sullivan. Suffer the Little Children. New York: Continuum, 1999.

Reilly, Frances. Suffer the Little Children. London: Hachett UK, 2008.

Szalavitz, Maia. Help at Any Cost. New York: Riverhead Books, 2006.

Taylor, Marjorie. Imaginary Companions and the Children Who Create Them. New York, Oxford: Oxford University Press, 1999.

Tucker, Jim B. Life Before Life. New York: St. Martin's Griffin, 2005.

Woititz, Janet Geringer. Adult Children of Alcoholics. Deerbeach, Florida: Health Communications, Inc., 1983.

Bloom, Harold. The Book of J. New York: Grove Weidenfeld, 1990. Ownership signature. Annotated.

Collins, Andrew. From the Ashes of Angels. Rochester, Vermont: Bear & Company, 2001. Ownership signature. Annotated.

Collins, John J. The Scepter and the Star. New York: Doubleday, 1995. Annotated.

Cook, John Granger. The Interpretation of the New Testament in Greco-Roman Paganism. Hendrickson Publish, 2002. Ownership signature.

Ehrman, Bart D. Lost Scriptures. [Oxford]: Oxford University Press, 2003. Ownership signature. Annotated.

Enns, Peter. The Bible Tells Me So... HarperOne, 2014. Ownership signature.

Fox, Everett. The Five Books of Moses. New York: Schocken Books, 1995. Ownership signature. Annotated.

House, H. Wayne. Charts of the New Testament. Grand Rapids, Michigan: Zondervan, 1981. Ownership signature. Annotated.

Howard, Thomas. Evangelical is Not Enough. San Francisco: Ignatius, 1984. Ownership signature.

Lockhart, Douglas, Jesus the Heretic. Shaftsbury, Dorset: Element, 1997. Ownership signature. Annotated.

Luckert, Karl W. Egyptian Light and Hebrew Fire. State University of New York Press, 1991.

Parenti, Michael. God and His Demons. Amherst, New York: Prometheus Books, 2010. Ownership signature.

Shaw, Russell. Our Sunday Visitor's Encyclopedia of Catholic Doctrine. Huntington, Indiana: Our Sunday Visitors Publishing, 1997. Annotated.

Sparrow, W. Shaw. The Gospels In Art. New York: Frederick A, Stokes Company, 1904. Annotated.

Townsend, Mark. The Gospel of Falling Down. Winchester, UK: O Books, 2007. Inscribed by author.

Valenti, Connie Ann. Stories of Jesus. Maryknoll, New York: Orbis Books, 2012. Inscribed by author.

Yallop, David A. In God's Name. Toronto: Bantam Books, 1984. Annotated.

Zuesse, Eric. Christ's Ventriloquists. New York: Hyacinth Editions, 2012. Ownership signature. Annotated.

Cayce, Edgar. On Atlantis. New York: Grand Central Publishing, 1968. Ownership Signature. Annotated

Collins, Andrew. Gobekli, Tepe Genesis of the Gods. Rochester, Vermont: Bear & Company, 2014. Ownership Signature. Annotated

Cremo, Michael A. and Richard L. Thompson. Forbidden Archaeology. Los Angeles: Bhaktivedanta Book Publishing, 2003. Ownership Signature. Annotated

Eno, Paul F. Faces at the Window. By the Author, 1998. Ownership Signature. Annotated

Fiore, Edith. The Unquiet Dead. New York: Ballantine Books, 1988. Ownership Signature. Annotated

Hoagland, Richard C. and Mike Bar. Dark Mission: The Secret History of Nasa. Feral House, 2007. Ownership Signature. Annotated

Icke, David. The Biggest Secret. David Icke Books, 1999. Ownership Signature.

Joseph, Frank. The Atlantis Encyclopedia. Career Press, 2005. Ownership Signature. Annotated

Knight, Christopher and Alan Butler. Before the Pyramids. London: Watkins Publishing. 1988. Ownership Signature. Annotated

Leshan, Lawrence. A New Science of the Paranormal. Wheaton, Illinois: Theosophical Publishing House, 2009. Ownership Signature. Annotated

Peake, Anthony. The Out-of-Body Experience. Watkins, 2011. Ownership Signature. Annotated

Redfern, Nick. Shapeshifters Woodbury, Minnesota: Llewellyn Publication 2017. Ownership Signature. Annotated

Roberts, Scott Alan. The Secret History of the Reptilians. Pompton, N.J.: New Page Books, 2013. Ownership Signature.

Spence, Lewis. The Occult Sciences in Atlantis. London: The Aquarian Press, 1970. Ownership Signature. Annotated

Temple, Robert with Olivia Temple. The Sphinx Mystery. Rochester, Vermont: Inner Traditions, 2009. Ownership Signature. Lightly Annotated

Thyme, Lauren O. The Lemurian Way. Lakeville, Minnesota: Glade Press, 2012. Ownership Signature.

Wilson, Colin and Rand Flem-Ath. The Atlantis Blueprint. Delta Trade Paperback, 2000. Ownership Signature. Annotated.

#Anne Rice #Interview with the Vampire #bonhams auction

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whileiamdying · 3 months ago

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How Gena Rowlands Redefined the Art of Movie Acting

Gena Rowlands in “Opening Night.” Photographs courtesy Everett

The actress, who died last week, at the age of ninety-four, changed the history of cinema in her collaborations with the actor and director John Cassavetes.

By Richard Brody August 19, 2024

Gena Rowlands, who died last Wednesday, at the age of ninety-four, is, of all the actresses I’ve ever seen onscreen, the greatest artist. She’s the one whose performances offer the most surprises, the most shocks, the most moment-to-moment inventiveness, and, above all, the most almost-unbearable force of emotional expression, combining extremes of strength and vulnerability, of overt display and inner life. Her mighty talent is also a peculiar one, the strangeness of which is exemplary of the art of movies: it might never have come so fully to light were it not for her marriage to John Cassavetes and for the movies that they made together—especially the personal six that extend from “Faces” (filmed in 1965, released in 1968) to “Love Streams” (1984).

That’s not at all to diminish Rowlands’s art or its basis in her innate talent and hard work, but to locate its essence in the nature of cinema: it’s an art of collaboration, in which more or less every major artistic advance has resulted from two or more people making common cause. It doesn’t have to be romantic, of course, but it should come as no surprise that this couple, married for thirty-four years, until Cassavetes’s death, in 1989, should be responsible for the most profound movies about love that exist. They met in 1951 at the American Academy of Dramatic Arts, where they both studied, and married in 1954, when she was twenty-three and he was twenty-four. To do so, Rowlands broke her own vow not to marry in order to focus on her career.

Rowlands quickly got a career, on live TV dramas, on Broadway, and in Hollywood movies. Cassavetes had a similar acting career, although his Broadway experience was mainly behind the scenes, and he also made a pioneering independent film, “Shadows,” between 1957 and 1959 (she had only a bit part, uncredited). They started a family (eventually having three children, all of whom went on to work in film) and moved to Hollywood, where, in the early sixties, Cassavetes directed studio pictures, an experience he hated. They both continued their acting careers, and then, in 1965, they put their own money into “Faces,” much of which was shot in their own house. It took three years to complete, not least because the first cut ran eight hours; Cassavetes ultimately got it down to just over two. The movie, about the fraying of a marriage, is a drama of romantic frustration, longing, and pursuit—the story of a businessman, Richard, who runs away from his wife to spend a night with Jeannie, a sex worker, at her well-appointed home, while his wife has an affair with someone she meets in a night club. Rowlands, in her first real independent-film role—as the sex worker—achieved hitherto-unimaginable heights in movie performance.

A still from “Faces.”

Contrary to myths about Cassavetes’s films, they’re not improvised. The script for “Faces” was two hundred and fifteen pages long, and Cassavetes wrote the dialogue. What’s not written out is the actors’ physical behavior. They’re free to live out the action uninhibitedly, with Cassavetes’s camera following them in their lurches and dances, their tussles and their embraces. The entire cast, featuring veteran actors (such as John Marley, as the husband) and nonprofessionals (including Lynn Carlin, as the wife), performs with unreserved energy and passion, but it’s Rowlands who, in just a few scenes, expands the boundaries of movie acting. The role is one that has the notion of performance built into it—Jeannie is performing love and desire for her client��but the story involves an emotional reality that bursts through this convention-bound relationship.

The sex worker with a heart of gold is a well-worn type, of course, something that the movie confronts head on, yet there’s nothing hackneyed or even familiar about the way that Cassavetes films this character—or about how Rowlands brings her to life. Jeannie’s tragedy is that she is unable to fit into the conventional contours of her transactional role and instead brings her whole self, all her torrential, impulsive emotionalism, to her work. Her intensity provokes Richard into a wrenching-away of façades and engenders a contact of souls far more galvanic than the contact of bodies—until the transactional and the conditional snap back. Rowlands pours herself completely into Jeannie’s ratcheted-up gaiety and forceful control of tough situations, her rapturous tenderness and devastated disappointment. Cassavetes’s filming matches her beat for beat, throb for throb, leading to a closeup of such melodramatic starkness and catastrophic self-awareness that, to my mind, it’s the closeup of closeups, the one that could stand for the entire historical repertory of cinematic intimacy, of the art of the face.

In Cassavetes’s films, Rowlands was able to give of herself comprehensively, to be herself and to allow the wildest extremes of feeling to overwhelm her on camera. This isn’t solely because of the couple’s personal bond. It’s also because Cassavetes, behind the camera, is giving of himself completely, too, in his responsiveness to the people he’s filming and the situations that they create. She and he seem almost to be meeting at the surface of the image, yielding a sense of shared risk, shared vulnerability, and equality.

Rowlands’s performance in “Faces” set the definitive tone for Cassavetes and his films, as well as for herself. In Cassavetes’s 1963 studio movie “A Child Is Waiting,” Rowlands, who co-stars, is skillful and focussed, with a strong presence but an unexceptional manner. In “Faces,” more than a star is born—she reveals an entire new dimension of acting. She wasn’t in his next film, “Husbands,” from 1970 (in which he co-stars with Peter Falk and Ben Gazzara), but his performance confirms her influence. He was already highly original, but “Faces,” in which he doesn’t appear, produced a watershed in his own performances, and in the acting of his movies in general—a form of acting that the entire future of cinema would be forced to reckon with.

By the time Rowlands and Cassavetes made their next movie together, “Minnie and Moskowitz” (1971), they had turned forty, and, in that post-sixties moment, with its slogan of never trusting anyone over thirty, the suburban world of “Faces” was already old-fashioned. Yet, as if to overcome the facile determinism of a generational dividing line, it was this cinematic couple that was singularly rejuvenating the art of movies, dispelling pretenses of comfort and tranquillity to give full and florid expression to the stifled emotions that it concealed. The couple’s films don’t talk politics, but the way that they defied movie conventions to depict experiences with unprecedented intensity gives them a manifest social and metapolitical power.

Seymour Cassel and Rowlands in “Minnie and Moskowitz.”

In their 1974 drama “A Woman Under the Influence,” Rowlands, playing the wife of a construction foreman (Peter Falk), confronts the raw and repressive power of working-class masculinity, in a performance that, for all its fury and reckless playfulness, has a finely composed dramatic arc and a manifest virtuosity. Despite this sense of more careful composition, its scenes from a marriage and its vision of family life are nearly unbearably painful to watch; they were agonizing for Rowlands to portray. In 1976, Rowlands was in the room when Cassavetes was interviewed about the film by a journalist from Le Monde, who asked her if she’d thought of directing Cassavetes in a movie. She first jokingly pretended to strangle her husband, then earnestly said that she didn’t want to direct, then added, “No, sometimes, after difficult scenes, I’d like to turn the camera on John, especially to get revenge . . . ”

Having taken naturalistic drama to unprecedented extremes, the couple next explored the very nature of performance, in “Opening Night” (1977), surely the most powerful and imaginative movie about actors—and about an actress—that exists. Rowlands plays Myrtle Gordon, an actress cast in the lead role of a play by an elderly playwright (Joan Blondell), the subject of which is the character’s transition from youth to maturity. The role terrifies Myrtle, emotionally and professionally: she feels that it will mark the end of her career as she knows it, and it also forces her to confront her own age (which is unspecified, but Rowlands was in her mid-forties). It’s also the story of Myrtle’s terror and horror at one particular moment of stage business—when a co-starring actor named Maurice (Cassavetes) is supposed to slap her.

What Myrtle does, in the face of her resistance to the play’s text and to its direction, is to explode the play in real time, forcing Maurice and the rest of the cast to improvise along with her, to the horror of the playwright but to the delight of the audience in the theatre where the play is opening. Those improvisations (most of which were indeed written) range from the dangerously passionate to the uproariously capricious—and Myrtle delivers them as if directly addressing the audiences attending the play and breaking the fourth wall, and forces Maurice to do the same. It’s as if the actors are tipping their hands at movie viewers as well, suggesting the vast personal realities that fuel great screen performances. Most actors and most filmmakers, bound by industry norms or crowd-pleasing conventions, don’t even hint at such realities, but Cassavetes and Rowlands broke open the screen to let them flood into the world at large. The essential art of Rowlands, the art that she and Cassavetes shared in public and in private, was the art of life, the art of love. ♦

#The New Yorker #Richard Brody #Gena Rowlands #John Cassavetes

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lynnsartsworld · 3 months ago

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Unexpected Romance: A Secret Admirer's Delightful Scheme for Poppy and April!

By: Lynn Gerhardt

(It's just a cute story about Poppy and April going on their first date. I really hope you enjoy it—it's very sweet, and I did my best. Please be kind; I'm a little nervous about sharing it.)

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Natsai, Imelda, Adelaide, Amit, Everett, Ominis and Garreth, have a great idea to get Poppy & April on a surprise date, but Poppy & April have no clue what their friends are up to.

Poppy Sweeting is hanging out with April Miller in a separate part of the castle. While the girls are in a separate part of the castle. And while the boys were also hanging out in a separate part of the castle as well; separately from Poppy and April, Afterwards they decided to separate from one another for a while, Poppy decided to go find Natsai, Imelda and Adelaide and see what they were up to. While April decided to go find Amit, Everett, Ominis and Garreth; see what’s going on.

While the girls were discussing about the plans of the surprise date, that’s when Poppy walked in and said, “Hello girls. What are you girls talking about?” Poppy asked the girls with an inquisitive look on her face; Natsai, Imelda and Adelaide had to think quickly to come up with an excuse to Poppy. They don’t want to ruin the surprise. but Adelaide almost destroyed the whole plan.

“Oh hello there, said Adelaide to Poppy; Poppy we were just discussing about the surprise we have for you and April…” Adelaide says to Poppy without giving it a second thought, that’s when Adelaide realised that she almost gave the surprise away. And Adelaide switching the subject very swiftly so Poppy wouldn’t get suspicious, “I..I mean the next test...” she said to Poppy nervously.

With an inquisitive look etched on her face; “What do you mean a surprise for April and I?” Poppy inquired.

With the inquisitive look still etched on her face Poppy looked at the girls and asked them once again, “What surprise do you have for April and I?,” the girls tried to think of an answer for Poppy, then Imelda added, “You must’ve heard Adelaide saying something incorrect, what she meant to say was a surprise test…” Imelda giving Adelaide an unpleasant look, after Imelda giving that unpleasant look at her, turned back to Poppy and continued “…You know the surprise test for Professor Ronen in Charms class; Professor Ronen said that he has a test to give us in his class…”

Just then Poppy gives Adelaide and Imelda a suspicious look because she can tell that both of them are lying to her.

Both Imelda and Adelaide could tell that they know that Poppy is getting suspicious about what they told her; they looked at her with guilt written all over their faces.

Imelda and Adelaide look at Natsai with a silent plead for help, saying to Natsai. “Please help us out…”

Natsai sighed and looking back at Imelda and Adelaide with annoyed look on her face, turn to Poppy and added, “Oh, don’t pay attention to these two, we’re just talking about charms that we should use on the boys.”

Still, with a suspicious look on her face, Poppy said, “Okay good luck with that?” Poppy walked away from the three girls still curious about what they said. They all sighed collectively in relief and they started to discuss the plan again; when Natsai said, “That was so close you two almost gave it away. I hope the boys are thinking of something to say just in case April walks into them talking about the surprise. I just hope they don’t squander the big plan.”

Meanwhile…

April walked in while Sebastian, Amit, Everett, Ominis and Garreth we’re discussing about the surprise that they planned they have for Poppy and April, The boys didn’t want April to know their plans. but Everett almost ruined the plan.

April surprise the boys and said, “Hello boys what are you guys talking about?” April asked with a questionable look on her face.

Everett said, “Hello, April we were discussing about you & Poppy’s surprise…I mean…” he pauses and says “Flying class with Madam Kogawa…”

With an inquisitive look on her face “What do you mean a surprise for Poppy and I?” April inquired.

Everett, with a sheepish look on his face. He looked around at the group of boys, asking for help.

Amit chimed in and said “We were actually talking about telescopes too; telescopes looking at the stars in the night sky, isn’t the stars brilliant, don’t you think April?”

April with a inquisitive look on her face said, “Yeah the stars are brilliant…Amit…”

“Is there something you boys aren’t telling me about?” April asked them.

Sebastian added , “No…” he pause and chooses his words carefully not to arouse suspicion in her. “We’re just talking about Cross Wands as well, I just need to know the next time Cross Wands will be.”

I’ll just ask Lucan when the next time Cross Wands will be, he will always tell me.” April said to Sebastian.

“No…” Sebastian said.

“Why can’t I asked Lucan, what time would it be?” April asked, A little bit of aggression in her voice at him.

“Because Lucan is actually in classes today. I don’t want him to miss anymore of his classes…” Sebastian said nervously to April.

“Okay Sebastian…” she looked at Sebastian suspiciously.

Garreth added and said “We were also talking about potions as well. I just came up with a brand new potion today.” “Would you like to try it? April?” Garreth asked April.

“Sounds interesting…maybe later Garreth...” April said to Garreth, getting angrier by the minute.

“Seriously you boys are not telling me anything! So you better tell me something, you guys are all acting suspiciously!!” April retorts more aggressively.

Ominis could tell that April is getting angrier so he steps up, and turns towards April and says, “Don’t mind them. They are all talking nonsense, I don’t even understand what they’re talking about. We’ll just talk to you later April.”

April now calmed turn to him and said, “Okay thank you, Ominis.”

He replied “You’re welcome, you take care April.”

As she was walking away, she thought “That was very odd. I don’t know why they were acting so unnatural towards me, usually they don’t act peculiar towards me it’s unusual behaviour. I’m wondering what’s going on?”

Once April was out of earshot the boys sighed in relief. Ominis yelled at Everett, “You big twit, you almost gave it away. We don’t want everyone else to know that we’re coming up with a plan for her and Poppy to go out!!”

“I am glad that nobody else in Hogwarts heard, what we are doing because that would’ve been devastating!” Ominis said.

And the boys started to discuss about their plans again.

Well, Poppy was with her beast friends and April was exploring the Highlands. They got letters from there secret admirers; Poppy thought it was very cute that somebody had a crush on her and April the same way. They got a letter from there secret admirers, they showed their friends their letters. but Poppy and April had no clue who was writing to them the secret admirer letters.

Both Poppy and April read the letters aloud simultaneously to their friends in separate parts of Hogwarts castle, and the letters read:

“My love, I have wondered and hoped with all my heart; would you like to go out with me, I would like to see you tonight in this little tea shop in Hogsmeade. See you soon my love." Sign your secret admirer.

Poppy and April were so excited to go on their dates, and their friends were excited as well, and they already knew what was going on anyway, but they couldn’t tell them, Adelaide and Everett almost spoiled the whole plans.

Poppy was getting ready and she picked out a very lovely yellow dress with a black bow tied around her waist, she looked beautiful in that yellow dress, the sun would be shining on her giving her a golden hour.

April was getting ready for her date and she’s wore a wonderful a white shirt dress, with a yellow bowtie. She looked wonderful in that outfit, and she had a yellow poppy flower in her lapel, and she bought a yellow poppy flower and it’s in her hand for the secret admirer.

Both Poppy and April were excited and scared to meet the secret admirer, who wrote them the letters.

When they were already finished with looking there best, they looked wonderful both of them ready for the date, after waving goodbye to their friends and headed to the tea shop, but the friends followed them under the Disillusionment spell so they weren’t caught by Poppy or April.

Poppy and April were both so shocked to learn, that they were each other secret admirers they both were astonished and blushing at each other; in that moment time just stopped it just them two together.

April approached Poppy and said. “Wow you look wonderful tonight too,” she continued saying, blushing at Poppy. “You look stunning in that dress, here I want to give you this yellow Poppy flower.”

Poppy blushing at April and says, “You look wonderful tonight.” Poppy smiled and continued and at her says. “You look amazing in your suit too.”

Instead of April, handing over the yellow Poppy flower to Poppy. April blushing even more than before looking down at her, decided to step forward and brushed a side Poppy’s hair over to place the yellow Poppy flower into her dark brown hair.

Meanwhile…

They friends were touched by Poppy and April's romantic act, and the spell of disillusionment was almost broken. However, everyone watched the date go well. April and Poppy talked about their friends and their strange adventures, laughing at the stories they shared with each other. Then, at the end of the night, they both stood up and standing close to each other and they are both gazing into each other’s eyes.

“I enjoyed this night together, it was very lovely spending the whole night with you. I really enjoyed it. I really do thank you for this date.” Poppy said to April while gazing up into April’s golden eyes, while Poppy’s arms were around April’s neck.

“I really enjoyed this night with you; it was the most wonderful night I had, I enjoyed the night with you too. It was very nice going on a date with you too, my Poppyseed.” April said gazing down into Poppy’s caramel brown eyes, while April’s hands were around Poppy’s waist.

With those words, Poppy and April closed their eyes and leaned in to finally kiss, the first passionate kiss between two lovers.

They’re friends still under the Disillusionment spell, didn’t want to bother them and let them have their moment. After the kiss concluded, they all broke the Disillusionment spell and cheered at Poppy and April, enough that it snaps them back into reality, and Poppy and April looked at their friends, and they were both blushing and shocked that their friends were here; that they both asked simultaneously at their friends. “Why are you guys here?!”

Their friends responded. “We all wanted you two to go on a date; for almost ruining your surprise date Everett and Adelaide wrote those secret admirer letters. We could tell that you ladies actually have feelings for each other, we just want you two to fall in love.

In that moment, Poppy and April finally figured out that they had a very deep and loving connection with each other and it’s all thanks to their friends getting them together.

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aliceisaperson · 11 months ago

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I got bored and made a rocky horror fancast with starkid actors

Dr. Frank-N-Furter: Joe Walker

Rocky: Will Branner

Janet Weiss: Lauren Lopez

Brad Majors: Joey Richter

Riff Raff: Brian Holden

Magenta: Jaime Lynn Beatty

Colombia: Angela Giarrtana

Eddie: Jeff Blim

Usherette: Mariah Rose Faith

Dr. Everett V. Scott: A.J. Holmes

The Criminologist: Corey Dorris

#starkid #the rocky horror show #dr. frank n furter #janet weiss #brad majors #Joe Walker #will branner #lauren lopez #joey richter #Brian Holden #jaime lyn beatty #angela giarratana #jeff blim #mariah rose faith #aj holmes #corey dorris

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viillette · 4 months ago

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THIS BROKEN JAW OF OUR LOST KINGDOMS

A playlist for Sharon Kay Penman's Welsh Princes Trilogy {Here Be Dragons, Falls The Shadow, The Reckoning}

"She must not laugh. If she did, she'd not be able to stop. Like her mother. So many years ago, but Joanna could still hear her, hear peal after peal of that shrill, hysterical laughter as her mother looked at her, at her bastard child, her 'mistake.' We pay and pay for our sins, she'd gasped. We pay and pay."

001. the rains of castomere by the national, 002. family tree (intro) by ethel cain, 003. mausoleum by rafferty, 004. what you done by lera lynn, 005. soldier, poet, king by hildegard von blingin', 006. queen of peace by florence + the machine, 007. foreigner's god by hozier, 008. thanatos by soap&skin, 009. a lyke wake dirge by matt berninger and andrew bird 010. no place to hide by jace everett, 011. kingdom fall by claire wyndham 012. who shall vigil stand by hildegard von blingin', 013. come what may by the last bison, 014. funeral bell by phildel, 015. family tree by tv on the radio, 016. jenny of oldstones by florence + the machine (L I S T E N)

#bookedit #litedit #historicalfictionedit #here be dragons #herebedragonsedit #*#sharon kay penman #genuinely nothing on this earth that i take more seriously than the playlists i make for books no one's read #like i made the cover for this before i had any real intention of posting it this thing's months old now

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disneytva · 7 months ago

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Congratulations to Ariel's Art Director Chrystin Garland for being featured in Animation Magazine's “Rising Stars of Animation 2024.

Garland biggest wish for the future include being showrunner on an original series that she developed.

Chrystin Garland

I knew I wanted to have a career in animation when: I always knew that I loved drawing, but I didn’t necessarily make the connection that animation was something one could pursue as a career. I don’t think I ever really considered who was behind the cartoons I was so eager to watch after school or the amount of effort that went into making these series possible. Animation was simply a wonderful, magical thing that I enjoyed. My parents, ever invested in my education, signed me up for a series of college courses one summer that happened to include an introduction to traditional animation. That class completely changed my life.

First job in animation: Character designer on Niko and the Sword of Light.

What I love about my current project: I’ve always been a huge fan of stage plays and musicals that put their own unique spin on the source material. I am incredibly grateful that our talented crew, led by the incomparable Lynne Southerland, has an opportunity to do the same with another beloved classic. Seeing all the amazing things our creative team brings to the table week after week is truly a highlight! It feels like everyone is doing their best to make something wonderful, and that’s exciting. Biggest challenge: Waiting for the series to premiere!

Favorite animated movie or TV show growing up: I was absolutely obsessed with Sailor Moon as a child and still am a huge fan to this day. I remember having to wake up super early in the morning to catch it on TV, since this was pre-Toonami. Probably the earliest and most consistently I’ve woken up by choice. Animation role model: I consider Everett Downing Jr. to have been my unofficial mentor throughout the course of my career. I really admire his storytelling and sense of collaboration among creatives that he brings to all his projects. Best advice: Everyone’s path breaking into and navigating the animation industry is going to be different. If working in this field is truly your dream, continue to push forward and hone your skills whenever you can. It can also be beneficial to stay open to opportunities that don’t align perfectly with your established goal. You never know where those experiences may lead you. Future plans: To be a showrunner on an original series that I developed. That would be a dream come true!

#Ariel #The Little Mermaid #The Little Mermaid (2023)#Little Mermaid (2023)#Chrystin Garland #Lynne Southerland #Norma P. Sepulveda #Disney Junior #Disney Jr

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