#moll davies

[unanchored-ship]

Im pretty sure these are the first women to ever appear on this blog

That makes me either the straightest or gayest person

Also I lied sorry guys im too lazy to draw all the previously posted men realistically. maybe some other day

[sigurism]

Joy Harmon, John Davis Chandler & Neil Burstyn Mad Dog Coll Dir: Burt Balaban

His name is Vincent Coll. Isn't he marvelous looking?

[movie-titlecards]

Galaxis (1995)

My rating: 4/10

Technically there's probably a plot in there somewhere, but it's really just an excuse for Bigitte Nielsen to be rather attractive in a large muscular kind of way, which she admittedly does quite well. Still, would've liked to know what the hell was going on at least some of the time.

[thedevelopmentcommittee]

A continuation in the unending saga of fake comics. As always, this Anglo-centric work (written in English) left much out. The fake-comic did not fully engage in a Dutch narrative. Perhaps one day that narrative will be better detailed. 1672 was a critical year for the Dutch, especially their war with France. The African narrative is always something that could use more illumination as this period was what Ira Berlin called the coming of the ‘Plantation Generation’ on the mainland colonies. Previously the majority of the colonies labor depended on white indentured labor with the black population being a small minority. From my understanding, the Barbados plantation system began in legal form around 1660 and the racial-legal system spread to other English speaking colonies.

[d3ad-on-arriva1]

MY NAME IS MY NAME IS MY NAME IS CHARLES SECOND I LOVE THE PEOPLE AND THE PEOPLE LOVE ME SO MUCH THAT THEY RESTORED THE ENGLISH MONARCHY I'M PART SCOTTISH, FRENCH, ITALIAN A LITTLE BIT DANE BUT ONE HUNDRED PERCENT PARTY ANIMAL CHAMPAGNE?? SPANIELS I ADORED NAMED AFTER ME TOO LIKE ME, THEY WERE FUN WITH A NUTTY HAIR DO! IS TODAY MY BIRTHDAY? I CAN'T RECALL LET'S HAVE A PARTY ANYWAY BECAUSE I LOVE A MASKED BALL!

ALL HAIL, THE KING! OF BLING! LET'S SING! BELLS RING! DING DING! I'M THE KING WHO BROUGHT BACK PARTYING! KING CHARLES, MY DADDY LOST HIS THRONE AND KINGS WERE BANNED THEY CHOPPED OFF HIS HEAD THEN OLLY CROMWELL RULED THE LAND OLD OLLY WASN'T JOLLY HE WAS GLUM, AND HE WAS PROUD WOULD BE MISERABLE AS SIN ONLY SINNING'S NOT ALLOWED! WHEN OLLY DIED, THE PEOPLE SAID 'CHARLIE, ME HEARTY! GET RID OF HIS DULL LAWS COME BACK, WE'D RATHER PARTY! 'THIS ACTION'S WHAT THEY CALLED THE MONARCHY RESTORATION WHICH NATURALLY WAS FOLLOWED BY A HUGE CELEBRATION!THE KING OF ENG! NO SIN! TOO SING! OR ANYTHING! ALL SAY, I'M THE KING WHO BROUGHT BACK PARTYING! GREAT LONDON FIRE WAS A WHOPPER! IN MY REIGN, LONDON CITY CAME A-CROPPER! SO THIS KING DID WHAT WAS RIGHT AND PROPER FOUGHT THE FIRE, PROVED I'M MORE THAN A BOPPER I'M A FIRE STOPPER! MARRIED CATHERINE BRAGANZA SHE WAS A LOVE SO TRUE THERE WOULD NEVER BE ANOTHER WELL... MAYBE ONE OR TWO! LUCY WALTER, NELL GWYNNE MOLL DAVIES, BARBARA VILLIERS YOU THINK THAT'S BAD BUT HER NAME'S NOT AS SILLY AS...HORTENSE MANCINI! AS KING, I MUST ADMIT I BROKE THE WEDDING RULES BUT WHO CARES WHEN I BROUGHT BACK THE CROWN JEWELS? I REINSTATED CHRISTMAS MAKE UP, SPORTS AND EVEN PLAYS I WAS THE MERRY MONARCH THEY WERE GOOD OLD DAYS!

WHEN SAID AND DONE! KING CHARLES DID RUN! ENGLAND FOR FUN! I WAS THE KING LOVED BY EVERYONE MY SONG IS DONE! party anyone?

[princesssarisa]

Opera on YouTube

I've shared links to complete opera performances before, but I love to share them, so I thought I'd make a few masterposts.

These list are by no means the only complete filmed performances of these operas on YouTube, but I decided that ten links for each opera was enough for now.

By the way, some of the subtitles are just a part of the video, while others require you to click CC to see them.

Die Zauberflöte (The Magic Flute)

Hamburg Philharmonic State Opera, 1971 (Nicolai Gedda, Edith Mathis, William Workman, Christina Deutekom, Hans Sotin; conducted by Horst Stein; English subtitles)

Ingmar Bergman film, 1975 (Josef Köstlinger, Irma Urrila, Håkan Hagegård, Birgit Nordin, Ulrik Cold; conducted by Eric Ericson; sung in Swedish; English subtitles)

Salzburg Festival, 1982 (Peter Schreier, Ileana Cotrubas, Christian Bösch, Edita Gruberova, Martti Talvela; conducted by James Levine; Japanese subtitles)

Bavarian State Opera, 1983 (Francisco Araiza, Lucia Popp, Wolfgang Brendel, Edita Gruberova, Kurt Moll; conducted by Wolfgang Sawallisch; English subtitles)

Metropolitan Opera, 1991 (Francisco Araiza, Kathleen Battle, Manfred Hemm, Luciana Serra, Kurt Moll; conducted by James Levine; English subtitles)

Paris Opera, 2001 (Piotr Beczala, Dorothea Röschmann, Detlef Roth, Desirée Rancatore, Matti Salminen; conducted by Ivan Fischer; no subtitles)

Royal Opera House, Covent Garden, 2003 (Will Hartman, Dorothea Röschmann, Simon Keenlyside, Diana Damrau, Franz Josef Selig; conducted by Colin Davis; no subtitles) – Act I, Act II

La Monnaie, Brussels, 2005 (Topi Lehtipuu, Sophie Karthäuser, Stephan Loger, Ana Camelia Stefanescu, Harry Peeters; conducted by René Jacobs; French subtitles)

Kenneth Branagh film, 2006 (Joseph Kaiser, Amy Carson, Benjamin Jay Davis, Lyubov Petrova, René Pape; conducted by James Conlon; sung in English)

San Francisco Opera, 2010 (Piotr Beczala, Dina Kuznetsoca, Christopher Maltman, Erika Miklósa, Georg Zeppenfeld; conducted by Donald Runnicles; English subtitles)

La Traviata

Mario Lanfrachi studio film, 1968 (Anna Moffo, Franco Bonisolli, Gino Bechi; conducted by Giuseppe Patané; English subtitles)

Glyndebourne Festival Opera, 1987 (Marie McLaughlin, Walter MacNeil, Brent Ellis; conducted by Bernard Haitink; Italian and Portuguese subtitles)

Teatro alla Scala, 1992 (Tiziana Fabbricini, Roberto Alagna, Paolo Coni; conducted by Riccardo Muti; English subtitles)

Royal Opera House, Covent Garden, 1994 (Angela Gheorghiu, Frank Lopardo, Leo Nucci; conducted by Georg Solti; Spanish subtitles)

Teatro Giuseppe Verdi, 2003 (Stefania Bonfadelli, Scott Piper, Renato Bruson; conducted by Plácido Domingo; Spanish subtitles)

Salzburg Festival, 2005 (Anna Netrebko, Rolando Villazón, Thomas Hampson; conducted by Carlo Rizzi; no subtitles)

Los Angeles Opera, 2006 (Renée Fleming, Rolando Villazón, Renato Bruson; conducted by James Conlon; English subtitles)

Opera Festival St. Margarethen, 2008 (Kristiane Kaiser, Jean-Francois Borras, Georg Tichy; conducted by Ernst Märzendorfer; English subtitles)

Teatro Real di Madrid, 2015 (Ermonela Jaho, Francesco Demuro, Juan Jesús Rodríguez; conducted by Renato Palumbo; English subtitles)

Teatro Massimo, 2023 (Nino Machiadze, Saimir Pirgu, Roberto Frontali; conducted by Carlo Goldstein; no subtitles)

Carmen

Herbert von Karajan studio film, 1967 (Grace Bumbry, Jon Vickers; conducted by Herbert von Karajan; English subtitles)

Vienna State Opera, 1978 (Elena Obraztsova, Plácido Domingo; conducted by Carlos Kleiber; English Subtitles)

Francisco Rosi film, 1982 (Julia Migenes, Plácido Domingo; conducted by Lorin Maazel; English subtitles)

Metropolitan Opera, 1987 (Agnes Baltsa, José Carreras; conducted by James Levine; English subtitles)

London Earls Court Arena, 1989 (Maria Ewing, Jacque Trussel; conducted by Jaques Delacote; English subtitles)

Royal Opera House, Covent Garden, 1991 (Maria Ewing, Luis Lima; conducted by Zubin Mehta; English subtitles) – Acts I and II, Acts III and IV

Arena di Verona, 2003 (Marina Domashenko, Marco Berti; conducted by Alain Lombard; Italian subtitles)

Royal Opera House, Covent Garden, 2006 (Anna Caterina Antonacci, Jonas Kaufmann; conducted by Antonio Pappano; English subtitles) – Acts I and II, Acts III and IV

Metropolitan Opera, 2010 (Elina Garanca, Roberto Alagna; conducted by Yannick Nézet-Séguin; English subtitles) – Acts I and II, Acts III and IV

Opéra-Comique, 2023 (Gaëlle Arquez, Frédéric Antoun; conducted by Louis Langrée; English subtitles)

La Bohéme

Franco Zeffirelli studio film, 1965 (Mirella Freni, Gianni Raimondi; conducted by Herbert von Karajan; English subtitles)

Metropolitan Opera, 1977 (Renata Scotto, Luciano Pavarotti; conducted by James Levine; no subtitles)

Teatro alla Scala, 1979 (Ileana Cotrubas, Luciano Pavarotti; conducted by Carlos Kleiber; no subtitles)

Opera Australia, 1993 (Cheryl Barker, David Hobson; conducted by Julian Smith; Brazilian Portuguese subtitles)

Teatro Regio di Torino, 1996 (Mirella Freni, Luciano Pavarotti; conducted by Daniel Oren; Italian subtitles)

Teatro alla Scala, 2003 (Cristina Gallardo-Domâs, Marcelo Alvarez; conducted by Bruno Bartoletti; Spanish subtitles)

Zürich Opera House, 2005 (Cristina Gallardo-Domâs, Marcello Giordani; conducted by Franz Welser-Möst; no subtitles)

Robert Dornhelm film, 2009 (Anna Netrebko, Rolando Villazón; conducted by Bertrand de Billy; no subtitles)

Opera Australia, 2011 (Takesha Meshé Kizart, Ji-Min Park; Shao-Chia Lü; no subtitles)

Sigulda Opera Festival, 2022 (Maija Kovalevska, Mihail Mihaylov; conducted by Vladimir Kiradjiev; English subtitles)

[filmnoirfoundation]

#TCMFF Day 4 morning screenings. Eddie Muller will introduce DOUBLE INDEMNITY with Fred MacMurray's daughter Kath MacMurrary, TCL Chinese Theatres IMAX, 9:00. Also for the criminally minded, MURDER, SHE SAID, the first of the Miss Marple films starring Margaret Rutherford, TCL Multiplex, House 4, 9:15 Plus a repeat of THE BIG HEAT, Multiplex, House 6, 11:45.

DOUBLE INDEMNITY (1944): Barbara Stanwyck—in a platinum blonde wig—plays Phyllis Dietrichson—the consummate femme fatale who lures insurance salesman and all-around chump Walter Neff (Fred McMurray) into a plot involving murder and insurance fraud. His friend, and insurance adjuster, Barton Keyes (Edward G. Robinson) smells a rat. Nominated for seven Oscars: Best Actress in a Leading Role; Best Cinematography, Black-and-White; Best Director; Best Music, Scoring of a Dramatic or Comedy Picture; Best Picture; Best Sound, Recording; and Best Writing, Screenplay. Dir. Billy Wilder

MURDER SHE SAID (1961): When nobody believes she witnessed a murder, Miss Marple (Margaret Rutherford) investigates herself along with her friend Jim Stringer, played by Rutherford’s husband Stinger Davis. Based on Agatha Christie’s "4:50 from Paddington". Trivia: Joan Dixon has a small part in the film and would go on to become the definitive Miss Marple in the BBC series that aired from 1984-1992. Dir. George Pollock

THE BIG HEAT (1953): In this seminal noir, a police detective (Glenn Ford) whose wife was killed by the mob teams with a gangster's moll (Gloria Grahame) to bring down a powerful racketeer (Alexander Scourby). Lee Marvin steals the film as Grahame’s abusive boyfriend and eventual object of her revenge. Dir. Fritz Lang

[twistedtummies2]

Year of the Bat - Number 16

Welcome to Year of the Bat! In honor of Kevin Conroy, Arleen Sorkin, and Richard Moll, I’m counting down my Top 31 Favorite Episodes of “Batman: The Animated Series” throughout this January. We’ve reached the halfway point of the countdown! TODAY’S EPISODE QUOTE: “Fear’s a prison, you see, and I’ve just broken out!” Number 16 is…Never Fear.

Out of all the Scarecrow’s appearances in B:TAS, this episode from the TNBA era is generally considered to be the best. It’s one of several stories taken directly from the comics, too, as the episode is (somewhat loosely) based on the comic tale “Fear For Sale.” The original comic was published in 1987, and was chiefly created by writer Mike W. Barr, and artist Alan Davis. While that story is really, REALLY freaking good – seriously, one of the Top 5 best Scarecrow comics, in my opinion, without question – I honestly think the Animated Series adaptation is even better. Not only that, but in some ways – despite the fact no one actually dies in this story (though several come awfully close) – I would argue the cartoon is darker than said comic, as well. Wrap your head around that! The premise focuses on the Scarecrow returning to Gotham City, presumably after a long dormancy, with a brand new form of his Fear Toxin: instead of the usual method of installing fear in people, causing them to hallucinate violent apparitions and have horrifying visions of their greatest phobias and traumas, this new gimmick TAKES AWAY people’s fear. Now, one may wonder, why is that such a bad thing? Well, here’s the thing: fear is a rational human response, intended to keep us out of danger. We run away from things that scare us, or stay alert for trouble in times of distress, for self-preservation’s sake; we avoid doing certain things at least partially because fear reminds us of the consequences of those actions. If you REMOVE fear…then a person has no restraints, no cares, and quite possibly no conscience. This is where things get interesting: while going undercover to try and figure out Scarecrow’s plans, Bruce gets a dose of the Anti-Fear Toxin himself. Batman becomes impulsive, thrillseeking…and, most alarming of all, homicidal. It’s therefore up to Robin to keep Batman from going down a path he must not travel, while also trying to stop the Scarecrow’s newest bid for power. The first thing most people talk about with this episode is Scarecrow himself, and for good reason. The character is given a brand new voice, provided by Jeffrey Combs for this outing, as well as a brand new look, which most people agree is far superior to the one from the first three seasons. While the Scarecrow is great in those earlier seasons, I do agree with the apparent majority that the version found in “Never Fear” is a superior rendition, simply because he’s much more creepy to behold and to hear. I was never really scared of the Scarecrow himself in his earlier outings, but this version is a whole new story. The uniqueness of his plan in this story is also worth commending, whether it’s based on an already-published comic or not. However, I think a lot of people underestimate what a good episode this is for Batman and Robin, as well. I may or may not have said this in an earlier entry, but I actually preferred Tim Drake as Robin over Dick Grayson, at least in the Animated Series. This episode is a great example of why. Robin really takes the spotlight and initiative here, as it’s ultimately really Tim that saves the day. There’s this great scene that I absolutely love, where Batman – under the influence of Scarecrow’s toxin – tries to convince Tim, after Robin ties him up to keep him from hurting people or running into trouble, to let him go. Kevin Conroy’s performance is so convincing, it almost tricks the viewer, as well as Robin himself, but Tim doesn’t take the bait. The two really do feel like partners here, in a lot of ways, and it’s a great tale for both. Whether you love it for the heroes or the villain, “Never Fear” is arguably the pinnacle of Scarecrow storytelling in the Animated Series. I say “arguably” because of one other episode I’ll get to later in the countdown…but that’s another story.

Tomorrow we move into the Top 15! Hint: “Kids these days. No respect.”

[lya-dustin]

i feel so dumb because i have only realized Diane de Poitiers (Henry II of France's famous mistress) may have inspired Alys Rivers (along with Alice Perrers a very hated royal mistress who book!Alicent may be inspired by).

while she was not a bastard like Moll Davis --- the first royal mistress who was not a noble and was a bastard--- Diane is clearly a great inspiration to grrm regarding Alys' character.

Diane was 20 years older than Henry who was 15 when they began their affair,

drank liquefied gold to preserve her looks ---which slowly killed her as it was toxic--- well in to her fifties and also took a lot of care of herself to maintain her looks

this resulted in rumors of her being a witch as she needed to visit apothecaries frequently

her influence on Henry was so strong she got him to marry her cousin(Catherine de Medici), name his bastard daughter with another woman after her and had her raise her along with his children with catherine

dude was so in love with her he allowed her to sign court documents for him as Henridiane

the pope gave her a pearl necklace as a gift which was a huge deal

she got Château de Chenonceau as a gift from henry and after she remodeled it with her own wealth Catherine de Medici took it from her after denying her to be at Henry's bedside when he died

she had no children with Henry due to her age and Henry's fertility problems ---she did adopt Diane and have two daughters from her first marriage--- but helped him and Catherine have their ten children

her dad was arrested for treason and the plot was discovered by her husband

was accused of plotting against Francis I due to her immense influence on Henry

[sunnydaleherald]

The Sunnydale Herald Newsletter, Tuesday, June 11

Giles: Um, a medical transport is delivering the monthly supply of blood to the hospital. Buffy: Mm. Vampire Meals-On-Wheels. Giles: Hopefully not. Uh, we'll meet outside the hospital at 8:30 sharp. I'll bring the weaponry. Buffy: I'll bring the party mix! Giles: Just don't be late. Buffy: Have I ever let you down? Giles: Do you want me to answer that, or shall I just glare?

~~Buffy Episode #20: "The Dark Age" ~~

[Drabbles & Short Fiction]

Age is Relative (Buffy/Spike, E) by [personal profile] veronyxk84

https://ao3-btvs-feed.dreamwidth.org/8073275.html by Ice_Queens_rule

Willow's Girl (Willow/Tara, Faith/Tara, E) by tieflingliker

a confused understanding (Buffy/Faith, Dawn, G) by ripslayer

From Spain with Love (Buffy/Spike, T) by Lilacsandorangeblossoms

I love you Spike (Buffy/Spike, T) by Lilacsandorangeblossoms

You‛re an Angel (Buffy/Spike, T) by Lilacsandorangeblossoms

What could have been What is (Buffy/Spike, T) by Lilacsandorangeblossoms

Boyfrenemy, Chapter 9 (Buffy/Spike, E) by Lady Emma

A Lucky Lighter (Buffy/Spike, E) by Geliot99

Sometime Between (Buffy/Spike, E) by Geliot99

Bruises, Chapter 18 (Buffy/Spike, E) by hulettwyo

[Chaptered Fiction]

A Slayer Transformed - Episode 1 Ch. 1/7 (Faith, M, Transformers xover) by Philister

Father Returns CH. 5/7 (Spike/Angel, M) by

A Different Path Ch. 17 (Buffy/Faith, M) by Anaxilea

Royal Flush CH. 6 (Ensemble, M) by Xyex

Just like magic Ch. 5/5 COMPLETE (Willow/Tara, T) by Shipper_wlw

In the Company of Witches and Slayers: Ch. 63/200 (Willow/Tara, E) by VladimirHarkonnen (TheLightdancer)

Buffy: Self insert Ch. 9 (OC, Ensemble, G) by NeverluckySMILE

Love Lives Here, Chapter 74 (Buffy/Spike, E) by Passion4Spike

The Neighbor's Point of View, Chapter 112 (Buffy/Spike, T) by the_big_bad

Deliverance From Destiny, Chapter 29 (Buffy/Spike, E) by Ragini

The Boyfriend Swap, Chapter 17 (Buffy/Spike, E) by Maxine Eden

Stranger in her Body, Chapter 5 (Buffy/Spike, E) by Desicat

Darla's Childe 2 Welcome to Hellmouth High Ch. 1 (Xander, E, Harry Potter xover) by redjacobson

[Images, Audio & Video]

PODCAST: ATS 217 - Disharmony by Another Buffy Podcast

PUBLICATION: “Get over it. Don’t bring it up again.” Buffy, Season Six / Angel, Season Three by Tristan "Drunk Napoleon" Nankervis (The Solute)

[Fandom Discussions]

If Faith's was Dawn's sister by Multiple Authors

Buffy Boards Off Google by NoShip

What are some of the most ungrateful acts in the buffyverse? by The Whirlwind

Spike's most heroic moment by The Whirlwind

Angel's most heroic act by The Whirlwind

war and peaches' buffyverse compendium by war and peaches

Was Liam being turned a good thing? by The Whirlwind

What is the thing about shrimp? Did some of the writers have an allergy? by AndrewHeard

What would an interaction be like between Vamp Willow and Drusilla? by jdpm1991

From Beneath You It Devours ending scene was originally SO different by Xyex

The Gentlemen - Comic by enorros

New tattoo by CaptainZir0

Tell me what happened to Sunshine by fearlessleader808

Times you didn't buy what a character was saying? by sadhungryandvirgin

Who really loves Buffy? by Steve-Marchion

what season of buffy works as the standalone season ? by wheel_smith

Oh, the irony by jrow100

How big of a star was Sarah Michelle Gellar during the run of Buffy? by QuaPatetOrbis641988

I really don't Willow (this watch) by Peachy_Witchy_Witch

Character assassinations by After_Lyf

BuffyBot appreciation thread by jdpm1991

First season fav moments? by biggie-molls

Who had the worse hair? by NaviTalks

Does anyone have any good head canon for Spike’s date in Hell’s Bell’s? by westing000

Do you think The Mayor had any children back in his time? by LightBlueSky55

Is Buffy as a character fundamentally good/pure good? by foreseethefuture

[Articles, Interviews, and Other News]

PUBLICATION: Disney Execs Receive Death Threats Over 'Buffy The Vampire Slayer' Rights by The Blast

PUBLICATION: David Boreanaz's Steamy Buffy Throwback Pic Sparked All Kinds Of Hot And Bothered Fans by Cinemablend

PUBLICATION: 'Buffy' Star Sarah Michelle Gellar Reflects On Show's 'Extremely Toxic' Set by Yahoo Sports

Submit a link to be included in the newsletter!

Join the editor team :)

[tunesinthetaberna]

Copiae Horribilium Historiarum - Carolus Secundus, Rex Gemmae [2010 CE]

Meus nomen est, Meus nomen est, Meus nomen est, Carolus secundus!

Amo civitatem Et amant civitatis me, Tantum ut restituerunt regnum Britannici!

Partim Caledonius Galliusque Italiusque Paulum Danius Sed plane celebratio-fera, Vinum?

Spaniels amavi Qui nomini sunt quod me Quasi ego, ludi fuerunt Cum insano capillo!

Hodiene meus natus dies est? Revocare non possum, Celebrationem porro habeamus, Quod amo rem-personam-indutam!

Omnes salutete, rex, Divitiarum! Canemus! Tintinnantes, ding ding, Rex sum, qui celebrationes rettuli!

Rex Carolus, meus pater, Solium amisit, et reges interdicti sunt, Caput eius detruncaverunt, Tum Ollius Cromwellus terram regnavit

Senex Ollius non laetus, Deiectus superbusque Tristis ut nefas, Modo nefas non licet!

Cum Ollius periit, civitatis dixit "Carole, meum cor! Desine senes leges, Reveni, celebrationem habere mallemus!"

Res quam vocaverunt Reductio-regni, Quam plane secuta est Magna celebratione!

Rex Britannici (Terra dixit!) Ne nefas! Canere! (Ita vero!) Aut aliquid, (omnes dicete!) Rex sum, qui celebrationes rettuli!

Magnus ignis Londinii vastus est! In meo regno, Londinium in periculo, Ut hic rex egit quod iustus idoneusque, Pugnavit ignem, et probo me melius quam salatator! Ignem-prohibens sum!

Iunxi cum Catharina Braganza Amor verissimus fuit, Numquam alia sit, Tamen una aut duae!

Lucy Walter, Nell Gwynne, Moll Davies, Barbara Villiers, Malum cogitis, Sed nomen eius non fatuius est ut Hortense Mancini!

Cum rex, admittam frangere leges-nupti, Sed qui curant cum gemmas-coronae rettuli? Rettuli Navitatem, offuciam et etiam fabulas, Laetus rex fui, boni senesque dies sunt!

Cum dictus et effectus, Rex Carolus administravit Britannicum ludo! Rex fuit quem omnes amavit, Cantus effectus est!

Celebratio, aliqui?

[deathdyinggrief2023]

Thanatology Bibliography

THANATOLOGY READINGS 

Moll, Rob. (2010). The Art of Dying: Living Fully Into the Life to Come. Downers Grove, IL: InterVarsity Press. ISBN: 9780830837366 

Parkes, C., Laungani, P. and Young, W. (1997). Death and Bereavement Across Cultures. London: Routledge. ISBN: 9780415131377

SELECTED BIBLIOGRAPHY

Alford, John & Catlin, George. (1993). The role of culture in grief. The Journal of Social Psychology, 133(2), 173-84.

Aries, Philippe. (1976). The Hour of Our Death. New York: Bantom.

Burton, Laurel., & Tarlos-Benka, Judy. (1997). Grief-Driven Ethical Decision-Making. Journal of Religion and Health, 36(4), 333-343. Retrieved from www.jstor.org/stable/27511175

Castle, Jason. & Phillips, William. (2003). Grief rituals: Aspects that facilitate adjustment to bereavement. Journal of Loss & Trauma, 8(1), 41-71.

Corr, Charles A., Donna M. Corr, and Kenneth J. Doka. (2019).  Death & Dying, Life & Living. Boston, MA: Cengage.

Crunk, Elizabeth. Burke, Laurie., & Robinson, Mike. (2017). Complicated grief: An evolving theoretical landscape. Journal of Counseling & Development, 95(2), 226-233.

Doughty, Caitlin. (2015). Smoke gets in your eyes and other lessons from the crematory. New York: Northcott. 

Dresser, Norine & Wasserman, Freda. (2010). Saying goodbye to someone you love: Your emotional journey through end-of-life and grief. New York: Demos Medical Publishing. 

Frank, Arthur W. (2013). The wounded storyteller. Chicago: The University of Chicago Press.

Guinther, Paul.,Segal, Daniel. (2003). Gender differences in emotional processing among bereaved older adults. Journal of Loss & Trauma, 8(1), 15-33.

Heath, Yvonne. (2015). Love your life to death: How to plan and prepare for end of life so you can live life fully now. Canada: Marquis Publishing.

Hemer, Susan. (2010). Grief as social experience: Death and bereavement in lihir, papua new guinea¹. The Australian Journal of Anthropology, 21(3), 281-297. 

Kalanithi, Paul. (2016). When Breath Becomes Air. New York: Random House.

Kellehear, Allan. (2002). Grief and loss: Past, present and future. Medical Journal of Australia, 177(4), 176-177.

Kwon, Soo-Young. (2006). Grief ministry as homecoming: Framing death from a korean-american perspective. Pastoral Psychology, 54(4), 313-324. doi:10.1007/s11089-005-0002-1

Lawrence, Elizabeth., Jeglic, Elizabeth., Matthews, Laura., & Pepper, Carolyn. (2006). Gender differences in grief reactions following the death of a parent. Omega - Journal of Death and Dying, 52(4), 323-337.

Leone Fowler, Shannon. (2017). Traveling with Ghosts. New York: Simon & Schuster. 

Lewis, Clive Staples. (2009). The Problem of Pain. New York: Harper. 

Lopez, Sandra. (2011). Culture as an influencing factor in adolescent grief and bereavement. Prevention Researcher, 18(3), 10-13.

McCreight, Bernadette. (2004). A grief ignored: Narratives of pregnancy loss from a male perspective.Sociology of Health & Illness, 26(3), 326-350.

Miller, Eric. (2015). Evaluations of hypothetical bereavement and grief: The influence of loss recency, loss type and gender. International Journal of Psychology: Journal International De Psychologie, 50(1), 60-3. doi:10.1002/ijop.12080

Northcott, Herbert.C., & Wilson, Donna.M. (2017). Dying and death in Canada (3rd ed.) Toronto: University of Toronto Press. 

Nuland, Sherwin B. (1995). How We Die. New York: Vintage.

Penman, Emma., Breen, Lauren., Hewitt, Lauren., & Prigerson, Holly. (2014). Public attitudes about normal and pathological grief. Death Studies, 38(8), 510-516.

Rosenstein, Donald L. & Yopp, Justin M. (2018). The Group: Seven widowed fathers reimagine life. New York: Oxford University Press.

Rubinstein, Gidi. (2004). Locus of control and helplessness: Gender differences among bereaved parents. Death Studies, 28(3), 211-223.

Sandburg, Sheryl, & Grant, Adam. (2017). Option B: Facing Adversity, Building Resilience, and Finding Joy. New York: Knopf Doubleday Publishing Group. 

Schonfeld, Davis., Quackenbush, Mike., & Demaria, Thomas. (2015). Grief across cultures: Awareness for schools. Nasn School Nurse (print), 30(6), 350-2.

Stelzer, Eva-Maria., Atkinson, Ciara., O'Connor, Mary F., & Croft, Alyssa. (2019). Gender differences in grief narrative construction: A myth or reality? European Journal of Psychotraumatology, 10(1),

Stroebe, Margaret., & Schut, Hank. (1998). Culture and grief. Bereavement Care, 17(1).

Swinton, John and Richard Payne. (2009). Living Well and Dying Faithfully. Grand Rapids: Eerdmans.

Tarakeshwar, Nalini., Hansen, Nathan., Kochman, Arlene., & Sikkema, Kathleen. (2005). Gender, ethnicity and spiritual coping among bereaved hiv-positive individuals. Mental Health, Religion & Culture, 8(2), 109-125.

Versalle, Alexis. & McDowell, Eugene. (2005). The attitudes of men and women concerning gender differences in grief. Omega - Journal of Death and Dying, 50(1), 53-67.

Walter, Tony. (2010). Grief and culture. Bereavement Care, 29(2), 5-9. 

Walter, Tony. (2010). Grief and culture: A checklist. Bereavement Care, 29(2), 5-9.

Winkel, Heidemarie. (2001). A postmodern culture of grief? On individualization of mourning in Germany. Mortality, 6(1), 65-79.

[ulkaralakbarova]

On the night of the discovery of a duplicate Earth in the Solar system, an ambitious young student and an accomplished composer cross paths in a tragic accident. Credits: TheMovieDb. Film Cast: Rhoda Williams: Brit Marling John Burroughs: William Mapother Alex: Matthew-Lee Erlbach Maya Burroughs: Meggan Lennon Amos Burroughs: AJ Diana Purdeep: Kumar Pallana Symposium Speaker: Bruce Colbert Symposium Speaker: Paul S. Mezey Symposium Speaker: Ana Valle Symposium Speaker: Jeffrey Goldenberg Symposium Speaker: Joseph A. Bove Kim Williams: Jordan Baker Robert Williams: Flint Beverage Himself (voice): DJ Flava Jeff Williams: Robin Lord Taylor Keith Harding (voice): Rupert Reid Career Counselor: Natalie Carter Himself: Richard Berendzen High School Girl: Shannon Maliff High School Girl: Stephanie Le Blanc High School Girl: Jasmine Andrade High School Girl: Kara Tweedie Claire: Ana Cruz Kayne Television Reporter (voice): Yuval Segal Dr. Joan Tallis: Diane Ciesla Radio Reporter #1 (voice): Robert Phillips Television Anchor (voice): Hollyce Phillips Federico: Luis Vega Radio Reporter #2 (voice): Rich Habersham Nurse: Jennifer Jaramillo Valkana Conspiracy Theorist: Ari Gold Television Interviewer (voice): Steve Giammaria Keith Harding’s Secretary (voice): Rebecca Price Film Crew: Writer: Mike Cahill Producer: Hunter Gray Writer: Brit Marling Producer: Nicholas Shumaker Executive Producer: Tyler Brodie Executive Producer: Paul S. Mezey Casting: James Calleri Casting: Paul Davis Makeup Effects: Aileen Alvarez-Diana Dialogue Editor: Sasha Awn Dolby Consultant: James P. Nichols Sound Re-Recording Mixer: Ryan Price Visual Effects Supervisor: Adam Fanton Visual Effects Supervisor: Darren Fanton Assistant Director: Liang Cai Gaffer: Sonny Plescia Script Supervisor: Marketa Tomanova Sound Effects Editor: Sebastian Henshaw Musician: Phil Mossman Post Production Supervisor: Phaedon A. Papadopoulos Production Design: Darsi Monaco Production Coordinator: Morgan Marling Assistant Production Coordinator: Tomás Diaz Production Sound Mixer: Michael Gassert Art Direction: Brian Rzepka Production Coordinator: James Brettell Assistant Editor: Alice Borrelli Supervising Dialogue Editor: Steve Giammaria Musician: Will Bates Makeup Effects: Marni Giannotti Assistant Director: Marcello Montesanti Digital Intermediate Colorist: Joe Gawler Digital Intermediate Colorist: Zak Tucker Digital Intermediate Editor: Jonathan Sanden Digital Intermediate Producer: Molle DeBartolo Digital Intermediate Producer: Darrell R. Smith Movie Reviews: Andres Gomez: More ambitious than interesting. A story that wants to joint an epic sci-fi moment with a drama. Not really working although seeing the Earth in the sky is quite interesting. Peter McGinn: When I first saw Another Earth several years ago I thought that, like some science fiction out there, it was light on the science and heavy on fiction. Fantasy, maybe. I was okay with that as long as the story and characters were strong. Besides, nowadays it seems like many mainstream physicists are seriously promoting the ideas around multiple universes or perhaps even an infinite number of alternate universes, perhaps science is catching up with the fiction. (Though I still think a planet popping into our galaxy so close to us would cause cataclysmic tides and whatnot.) . In any case, I recently bought and downloaded a digital version of it to watch it again. But Another Earth isn’t about physics or science or what would become of humanity if a twin earth and moon suddenly showed up in our sky. It is about a heart-stopping event that cause a planet full of people to stop what they are doing and look up and wonder. Is that earth different than ours? Am I up there, and if so, is that version exactly like me or have they made different decisions that affect who they have become? Could I have made different decisions, or was this version of me locked into what I decided and thought? And in the case of our lead character, Rhoda, it leads her to a path to seek forgiveness and try to make up for a tragic mistake she m...

[mysterymirrors]

Check out this listing I just added to my Poshmark closet: Under Armour Hustle 5.0 Backpack - Navy.

[collymore]

Always blame the dead; never the living! The normal practice of the British Establishment!

By Stanley Collymore  

I'm no monarchist: and that's literally neither an excuse nor a bitingly scathing condemnation, just a naturally candid explanation on my part, but evidently all the same, rather intelligently, very sensibly, and similarly logically, why I literally don't see, that a now dead Liz Windsor ought obviously really, to be truly dragged into, this latest mess surrounding and discernibly occasioned by her offspring even if, as we all do know, he was truly and effectively her favourite son! As obviously, it was Andrew who of his very own volition, crucially and effectively got involved with Jeffrey Epstein and significantly there's certainly no unequivocal   evidence, positive nor obviously very egregiously circumstantial, that anyone actually forced him into that close and significantly personal relationship that aptly existed, between both of them!

So whether guilty or not of any misdeeds Andrew was most undeniably very physically present and therefore unquestionably had some idea of what was evidently rather distinctly going on; and ought therefore, to have literally distanced himself from it all, at first sight! But, quite self-evidently and for his own personal reasons, he simply didn't! So obviously there was something, whatever it was, which was clearly interesting and likewise also quite beneficially compelling to actually have kept Andrew very genuinely   interested and also participatorily and simply committedly, involved as well, as implacably, interested in obviously what Jeffrey Epstein and an unswervingly dutiful moll, Ghislaine Maxwell were odiously and egregiously noxiously doing!

(C) Stanley V. Collymore 9 January 2024.

Author's Remarks: Mr Alan Dershowitz says? What an utterly sick joke! Seems that anyone can practice law in the USA, including the likes of Alan Dershowitz and Rudy Giuliani, and usually does! And to quote Mandy Rice Davies in the Profumo court case, Alan Dershowitz "would say that, wouldn't he?"

Sensibly, logically and most intelligently why would anyone literally pay millions to any person they publicly claim not to have ever met simply because their mummy told them to? Try fathoming that one out!  

Ah well! It's all about image and actually protecting the supposed sanctity, in the eyes of the gullible and distinctively very sycophantic serfs, of this allegedly quite divine monarchy at all costs. And all this public exhorting of Charles Windsor to be the reincarnation of Jesus Christ requisite to the sinful brother of his Judas Iscariot, Andrew Windsor, is preposterously quite laughable if it wasn't, so bloody serious!

Undoubtedly Andrew was a spoilt rather overindulged child who unrestrictively was allowed to and even decently permitted to grow up to become a pompous middle aged man. But amongst the Windsor of both genders he's not alone in that!

Charles personally for over two decades had very close, personal relationships with noxiously, verminous, paedophiles in the form of Jimmy Savile and Bishop Peter Ball, to name just two among this coterie of paedophiles that infested the Windsor households across the board, had full and unhindered access to these peoples' homes and likewise their personal staff and other employees.

And had Diana not resolutely put her foot down Charles would have had Jimmy Savile as one of Harry's godfathers. As well, there's the issue of another odious paedophile who was commissioned to paint Liz Windsor's portrait. Where is that portrait now that the world knows what an evilly, vile paedophile Rolf Harris was? Damage limitation they've all like bat out of hell distanced themselves after Harris' conviction from it. Go do your research on the aforementioned and other rather sick behavioural patterns of the Windsor family, and not simply concentrate on one convenient bad apple, that fictitious stories about Meghan and Harry were quite racially used to cover up!

Then there's the irony of a serial and odiously adulterous pair, not a single apology in sight, happily going off to Church purely for show and the serfs swallowing it hook line and sinker. But I guess if the Church of which you're the hereditary Head, and founded both on murder and adultery was good enough for Henry VIII it should be equally so in the British feudal system that comprises the 21st Century.

Henry VIII had his blood lust and wanted request with Anne Boleyn and Catherine Howard, Charles his with Diana Spencer; as yet though no one has accused or thinks that Andrew has been complicit in or has actually had murder carried out on his behalf; has he Charles?