#patrick clark interview

[r3dsaturntv]

I'll just leave this here. Remember how awesome The Velveteen Dream was? Cancel culture sucks.

[beyonddarkness]

Thoughts on Haladriel/Saurondriel

Okay, can I be COMPLETELY honest?

I always understood the shipping of Halbrand/Sauron and Galadriel, but for the sake of analyzing, I never let myself believe that there was any element of attraction from either side. Because they have a "cosmic connection," you know?

Something changed today (even though that "cosmic connection" is still very much a thing). I came to the conclusion that, while my pain for Galadriel has now increased manifold, I am so relieved from everything Morfydd said in her recent interview, particularly that the ambiguity behind their relationship was Charlie's idea (how dare he) because now I know that Charlie is Sauron, irl. Let me explain. (Prepare for a long read—bonus content at the end):

Charlie never told a lie in press.

"Were we in a relationship of seduction or power? It's up to the viewer to decide" (Morfydd).

What Morfydd said didn't give anything away. It truly leaves everything up to interpretation even more than before, and yet any way you slice it, everything makes sense. It fits with everything that everyone has said in press (the 'cosmic connection', 'it's not romantic', etc.).

Think of it this way:

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If everything was purely platonic, and Galadriel was not attracted to Halbrand in the least, then Sauron was tempting Galadriel with power. This makes sense, since we know that Galadriel left Valinor in large part because she desired to rule over a realm of her own. Power is very enticing to her.

That also means that Galadriel would never, ever, EVER think of anyone but Celeborn, which is nice. I mean, once Elves marry, that's it. No backsies. In this case, Sauron would be playing it safe, not fooling himself into thinking that Galadriel would fall for a MAN (of all things), after she has already been married.

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On the other hand, BOY is Sauron able to seduce.

Now, when we think of seduction, some of us automatically think:

But Galadriel most likely would not be enticed by an extremely forward approach. She would slap that guy so silly.

So here's why Sauron is terrifying: Halbrand is so nice.

His approach would be: Become friends first, to make it difficult to resist joining him in the end. He made himself attractive in a way that, if successful, would make her attached to him for much longer than if he was strictly flirtatious (a few thousand years should do it). He never said anything forward until their friendship developed to a certain point (1x06).

And as long as I've been denying that either side was attracted to the other, the one thing I have never been able to get out of my head is the fact that in episode 7, Galadriel called to Halbrand before anyone else. Later, she mentioned Celeborn to Theo (for the first time in presumably centuries, after she assumed Halbrand had died). Then, when she saw Halbrand again, she called him her friend, and he for some reason had to say:

"Nor will you."

Then he made that STUPID SMIRK, and poor Galadriel looked SO TORN. We just barely learned that her husband was in the picture, so he was fresh on her mind. And then we had this thrown on us, to indicate that something about this friendship was not right.

(Oh, the discomfort and second-hand embarrassment I felt for Halbrand, before I knew that he was Sauron.)

Since Galadriel hasn't seen her husband in centuries (even though she loves him a lot—I mean A LOT), she was very vulnerable to seduction, because... she was alone. Halbrand saved her life, rivaled her intelligence, didn't beg for her attention on account of her beauty, connected with her on a level that probably hasn't happened in a while, became her really good friend, made her feel free fighting at his side, etc. If that doesn't spark someone's interest, I don't know what does. (His looks are a major bonus.)

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Now, here is what's really unfortunate, and causes me pain beyond measure: Sauron wouldn't have fallen in love. But Galadriel would have, and he knew that.

No one (JD, Patrick, Charlie, and Morfydd) ever lied in any interview. Have you ever noticed that whenever they spoke of the lack of romance, they were always talking specifically about Sauron's perspective? :')

Here are some examples:

Charlie: "I mean, look. I don't see it as a... strictly—I don't know. I haven't run this past you guys [Patrick: 'Run it by!']—as a King and Queen thing. I love the reflection bit. But it's not like... I think ultimately, if she had said yes, he's very much the King, and she's like his sidekick, in terms of ruling." Patrick: "And it's not like a marriage—[Morfydd: 'How...]—proposal...—[...dare you.'] [...] Charlie: "You guys sent me something really early on. It's WH Auden, talking about good and evil in Tolkien, and the difference when it gets to evil. It's affection—I'm paraphrasing here—but affection goes out the window. And you see this relationship, and you see affection, but in the end, it's only for personal gain. [...] The whole season, you see them working together, and they have this sort of—we like to call it a 'cosmic connection'. Not romantic. [laughs] Although, I got in a lot of trouble for saying it wasn't romantic yesterday, because of the 'shipping'; the people shipping. [Interviewer: 'How dare you.'] [laughs] Yeah, exactly. And I think it's very clear on the raft that he's just using her for his own personal gain, rather than any sort of love and affection to her." (Empire Spoiler Special)

Charlie: "I think they have a 'cosmic connection', but I don't think it's necessarily, in his mind, a King and a Queen... like husband and wife kind of situation. I think it's more, 'I can use you to get what I want, and effect my designs faster.' Because ultimately, I think he would have ended up ruling by himself, whether she joined him or not. And when she says no on the raft, it angers him, but it's not the end of the world for him." (Deadline Inside the Ring)

So, if Sauron was trying to effectively seduce Galadriel into falling in love with him, it was always going to be one-sided. He would have never felt any real love towards her, but his goal would be to get Galadriel to feel something like that towards him. For personal gain.

And if Galadriel did feel something, how much more ashamed and violated would she feel in the end, knowing that he did it on purpose?

:'))))

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

Here is the ultimate question:

Did Sauron tempt Galadriel with power, or seduction (or both)?

Here's the thing -> Charlie

Morfydd said in her interview that "Halbrand's hold on Galadriel was less connoted in the storylines," meaning it was more straight forward, and not much was implied. But she did not say which direction the scripts leaned, meaning Charlie said one of two things:

"Let's make it seem less romantic."

"Let's make it seem more romantic."

Either way, he's actually so mean, I can't put it into words.

Here's why both possibilities work perfectly: Every time Charlie or anyone else has talked about the lack of romance in interviews, they're always speaking from Sauron's perspective; Galadriel's feelings are wide open for interpretation. Whether Sauron tempted her with power or seduction, he never loved her. He knows how to seduce, and he does it well, but it doesn't mean he feels it. That's why I'm terrified of him, and I'm also afraid of Charlie.

Ever since that interview with Morfydd, I've realized that Charlie has a lot more to do with the character than he's letting on. He knows enough about Sauron to propose an idea that fits into the lore. The fact that the scripts were "less connoted," and he managed to convince everyone to make the relationship more ambiguous is just... GAH. How dare he!

Is it power or seduction?? Both work so well, it could very well be both at the same time! (Charlie and his ambiguities. *sigh*)

But again, it's a matter of what Sauron is tempting Galadriel with; not what he feels, himself.

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

So, why am I relieved? Because Chapter 6. :)

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Bonus: Translation of the Haunting Music

It is time.

With all of this in mind, I would like to take a shot in the dark. Remember that ultra creepy/seductive part of the music in The Broken Line? A couple of months ago, I was driven crazy by the fact that right in the middle of a musical phrase, the vocals transitioned from Black Speech to Quenya, when Sauron's doing this:

I wanted to know the translation, so I used Paul Strack's lexicon. I managed to pick out most of the words in the music, but since I'm not fluent in Elvish grammar, I don't dare try to translate it. I will just give you the translation for each word, and let you decide what it means for yourself. It'll be fun. :)

Here's the music:

Here are the words (red is confirmed, purple is what I made out, and the [?] is the last word that I cannot figure out, for the life of me. So if someone could enlighten me, I would greatly appreciate it):

ash gul ishi ghash [ash] gul insangarë antani márië i cilmë [?]

Here are the translations:

Black Speech:

ash: "one" gul: "phantom" ishi: "in" ghash: "fire"

Quenya:

insangarë: "temptation" anta-: "to give, present; to add to" ni: "me, I" márië: "well, happily; goodness, good estate, being well, happiness" i: "the" cilmë: "choice, choosing"

In episode 6, Adar said in Quenya, "What I seek. Give it to me." His sentence ended with "antani". So... if "antani" comes after the subject of a sentence... "insangarë antani"? O_O

Someone please help Galadriel. I can hardly stand it. Where's Celeborn?

[shakespearesdaughters]

What kind of books by Dark Academia do you suggest to me? At the moment I’m on Tolstoj but I wanna to know much

The Secret History by Donna Tartt anything by Donna Tartt (praying we get another book in the next 5 years)

Maurice by E. M. Forester

Brideshead Revisited by Evelyn Waugh

The Patrick Melrose series by Edward St Aubyn

Confessions by Kanae Minato

In the Name of the Rose by Umberto Eco

Piranesi and Johnathan Strange and Mr. Norrell by Susanna Clarke

The Picture of Dorian Gray by Oscar Wilde

Frankenstein by Mary Shelley

Dead Poets Society by N H Kleinbaum

Never Let Me Go by Kazuo Ishiguro

An Interview with the Vampire by Anne Rice

A Little Life by Hanya Yanagihara

The Idiot by Elif Bautman

The Talented Mr Ripley by Patricia Highsmith

Babel by R F Kuang

Jane Eyre by Charlotte Bronte

The Song of Achilles by Madeline Miller

Wuthering Heights by Emily Bronte

The Bell Jar by Sylvia Plath

Stoner by John Williams

The Queens Gambit by Walter Tevis

The odyssey by Homer

Carmilla by J Sheridan le Fanu

We Have Always Lived In The Castle by Shirley Jackson

Picnic at Hanging Rock by Joan Lindsay

Labyrinths by Jorge Luis Borges

The October Country by Ray Bradbury

Inferno by Dante Alighieri

Just to name a few!

[conundrumoftime]

Thank you to Rotem Rusak from Nerdist who did ask them this & let me know! Alas McPayne dodged it in favour of their standard line on Celeborn but ah well.

Channeling s1 Galadriel: “Why, Elrond. You really have become a politician.”

But look at this as an answer to the question about the Uruk and Tolkien’s orc issues:

I am so intrigued! The show’s treatment of the orcs touching on Tolkien’s moral dilemma was one of my favourite things about s1, and then s2 did more with it but seemed to end potentially on a “never mind they’re all irrevocably evil now” note which was disappointing. (And learning that the s1 rumours about Adar’s role originally being planned as a shorter one were true AND that it was Simon Tolkien who suggested they might want to do more with him?!)

I have not seen any of the video interviews this time round because life is not very conducive to it now and also because I really dislike a) video as an interview format and b) watching interviews with actors about a role they’re currently in, so I’ve been so thankful to my fandom pals pulling out quotes and clips. love you all!

But I have been trying to keep up with the printed ones, so finally here’s a bit I loved from an interview with Morfydd about Galadriel also from yesterday:

Links:

Nerdist interview with Patrick McKay and J D Payne

Nerdist interview with Morfydd Clark

[seeminglyranch87]

Taylor & Travis Timeline

November 2024 - Part 1

November 1 - Travis has been named one of the most influential athletes by Time Magazine. TIME Special Edition - Sports Greats Past & Present: Influential Athletes Who Changed The World, Stories Of LeBron James, Travis Kelce, Caitlin Clark, Patrick Mahomes, Simon Biles, Aaron Judge & More.

Kelce pulled in 10 catches for 90 yards and a TD last week. KC Chiefs coach Andy Reid says

'It's been great to get him (Travis Kelce) going. He's one of the great ones. You might slow him down a minute but not for very long.' (x)

Taylor Swift wins “International Female Artist” at the 2024 NRJ Music Awards (x)

The Eras Tour, Lucas Oil Stadium, Indianapolis, IN

The Albatross x Holy Ground (guitar) & Cold As You x Exile (piano)

Chariah Gordon - NFL WAG attends The Eras Tour (x)

Taylor needs a replacement battery pack mid performance of Lavender Haze (x)

image 2, 3, 4 📸 Kevin Mazur, 1 November 2024

November 2 - The Eras Tour, Lucas Oil Stadium, Indianapolis, IN

The Prophecy x This Love (x guitar) & Maroon x Cowboy Like Me (x piano)

"Change the prophecy - These hands had to let it go free - To change the prophecy"

“And I chose you - cause you’re a cowboy like me”

Travis Kelce attends his 15th show. Travis arrived as TTPD era began (presumably he flew out from Kansas City after practice). A film crew followed him upon his late arrival.

Travis Arrives (x )

Travis is Her wild boy with all this wild joy (x)

Travis dancing to So High School next to Andrea (x)

Travis & Taylor leave the stadium together (x)

Taylor giddy on stage with Travis in attendance:

Taylor wore the Chiefs colours for the 1989 era ❤️

Taylor did the archer pose during So High School.

Taylor fanned her face with her hands alluding to Travis being hot ❤️‍🔥 during Midnight Rain (x)

Taylor sang “Karma is the guy in the Chiefs” (x)

November 3 - The Eras Tour, Lucas Oil Stadium, Indianapolis, IN N3. Final show in the USA.

Cornelia Street x The Bolter (x guitar) & Death By A Thousand Cuts x The Great War (piano)

“i packed my bags, left Cornelia street - and as i was leaving it felt like breathing”

November 4 - Pat McAfee on his NRL podcast gives a glowing review of the The Eras Tour. Calling Taylor a "f***ing master" for her show and her performance (x)

Chiefs v Buccaneers, Arrowhead Stadium, Kansas City, MO

Chiefs defeat Buccaneers 30-24 in overtime.

Travis arrives ahead game (x) and warming up.

Taylor Swift arriving at Arrowhead Stadium (x). Andrea & Austin Swift & Donna Kelce are also in attendance.

Jason Kelce has sweet response to Taylor's arrival whilst commentating (x) with his colleague calling Taylor his Sister in-law multiple times.

Donna, Chariah Taylor Andrea (above)

Travis interviewed after the Chiefs 8th consecutive win.

November 5 - New Heights Ep. 108 airs. Travis talks about his final visit to The Eras Tour in Indianapolis.

"I wanted to see Tay one more time before [the Eras Tour] got closed up... I heard that it was a lot more rowdy... that thing was rockin!"

Go to previous update -> October 2024 part 4

Go to next update -> November 2024 part 2

Return to the timeline

[malkaleh]

OT3 Verse Headcast

So @onekisstotakewithme asked me this question from a meme:

🎬 If a movie or show were based on your fic, which fic would you choose and who would you fancast?

And listen I usually say ‘Jewish Anne Boleyn’ but I don’t actually know of any biracial Persian Jewish actors to cast for that so I thought I’d do my giant emotional support Tudors AU aka The OT3 Verse. See here for summary of. So I thought I’d write out (with pictures) all the headcasts I have.

PLEASE feel free to ask me about any of them and I will answer like I was a show runner giving an interview to a media outlet because DUH.

Under a cut because LONG.

The Triad

Natalie Dormer (Anne Boleyn)

James Frain (Thomas Cromwell)

Jonathan Rhys Meyers (King Henry VIII)

Boleyn Family

Rufus Sewell/Luke Thompson (Thomas Boleyn)

Joanne Whalley/Eleanor Tomlinson (Elizabeth Boleyn)

Jonathan Bailey (George Boleyn)

Morfydd Clark (Jane Boleyn)

Holliday Granger (Mary Boleyn) because @houseofborgia in part because I think she would rock OT3 verse Mary.

Dudley Family

Matthew Goode (John Dudley)

Tom Blythe (Robert Dudley)

(Jane Dudley is obviously here but placeholder for now because stuck on headcast)

Children Of The Triad (adults)

Princess Mary (Sarah Bolger)

Princess Elizabeth (Sophie Turner)

Prince Thomas (Patrick Gibson)

Prince George (Ethan Peck)

Prince William (Ruari O’Connor)

Princess Margaret (Lola Petticrew)

Prince Owen (Ben Barnes)

Prince Edmund (Kerem Busin is the best visual representation I have but honestly like picture Travis Kelce with red hair and Giant)

Princess Philippa (Goldshifteh Farahani)

Other Major Characters

Princess Mihrimah/Mihrimah Sultan (I go between Sujaya Dasgupta for VIBES and because I think she’d kill it and Pelin Karahan)

John Welles, Earl of Norwich (Rupert Graves)

Thomas Howard, Duke Of Norfolk (Jeremy Irons)

Bridget Grey, nee Talbot (Hannah New)

Lionel Grey (Toby Regbo)

Charles Brandon, Duke of Sussex (Henry Cavill)

Mary Brandon, Duchess of Sussex (Debra Messing thank you @the-ships-to-rule-them-all so much for suggestion 🩷)

(I do also have the grandchildrens generation but that’s WAY TOO MUCH)

[which-hospital]

I really want to talk about yesterday’s episode properly because I don’t think I’ve made a proper episode post since Haunted but all I can actually think about is Teddy (and I’ve been feeling a bit ill).

Generally: I’m gonna fight Patrick (positive comment on the quality of writing) and I’m gonna fight Faith (negative comment on the quality of writing). Having Jan and Jacob together was nice. I enjoy Rash and Tariq’s dynamic (love me some family drama).

I’m preparing to start completely ignoring canon with Teddy and make up my own version of events that will actually make sense and deal with the pretty strong start they got off to last week. Also, I would appreciate if Iain would just stop being the way he is being.

I’ve realised I never posted about this so maybe people don’t know about it, MAJOR SPOILERS FOR THE TEDDY STORYLINE: this is going to end up with Teddy joining a fight club (?????????). Milo Clarke did an interview with Metro last week and he mentioned it here:

Which is like… what? I found out about this over a week ago and I still find myself staring at the wall in confusion about it every couple of days. I think I get what they’re trying to do. Like, I think I know the angle they’re going for. BUT IT DOES NOT MAKE ANY SENSE FOR TEDDY’S CHARACTER!! He would absolutely struggle after last week, so much, but I don’t think it makes any sense for his character or will work with the links that this has to his earlier storylines (those links ARE THERE) for it to be like this. That’s why I’m so annoyed about this storyline, knowing that it’s going that way means it doesn’t feel like they want it to be a story about Teddy (which it could be) as much as they want it to be a (sensationalist) story about SA.

[cuteteacakes]

I have a list of dark academia reads in my drafts and I've read 6/35 11/35 of them. I feel the need to increase that number...

(in case anyone is wondering what they are... here's the list I found under the cut) and if anyone has any more dark academia suggestions I'm all ears! I like classical novels personally uwu

The Secret History by Donna Tartt anything by Donna Tartt (praying we get another book in the next 5 years)✔️ (OMG BEST BOOK)

Maurice by E. M. Forester

Brideshead Revisited by Evelyn Waugh

The Patrick Melrose series by Edward St Aubyn

Confessions by Kanae Minato

In the Name of the Rose by Umberto Eco

Piranesi and Johnathan Strange and Mr. Norrell (I watched the show but I want to read the book) by Susanna Clarke

Frankenstein by Mary Shelley✔️

The Picture of Dorian Gray by Oscar Wilde ✔️

Dead Poets Society by N H Kleinbaum

Never Let Me Go by Kazuo Ishiguro

An Interview with the Vampire by Anne Rice✔️

A Little Life by Hanya Yanagihara

The Idiot by Elif Bautman

The Talented Mr Ripley by Patricia Highsmith

Babel by R F Kuang

Jane Eyre by Charlotte Bronte✔️

The Song of Achilles by Madeline Miller

Wuthering Heights by Emily Bronte✔️

The Bell Jar by Sylvia Plath

Stoner by John Williams

The Queens Gambit by Walter Tevis

The odyssey by Homer✔️ (three times actually!)

Carmilla by J Sheridan le Fanu

We Have Always Lived In The Castle by Shirley Jackson

Picnic at Hanging Rock by Joan Lindsay✔️

The October Country by Ray Bradbury ✔️

Labyrinths by Jorge Luis Borges

Inferno by Dante Alighieri ✔️ (I've read the whole Divine Comedy in high school hhhh)

An Education in Malice by S. T. Gibson (suggested by @s1lxcs)

A Study in Drowning by Ava Reid (suggested by @s1lxcs)

A Dark and Drowning Tide by Allison Saft✔️

A Deadly Education by Naomi Novik

The Cloisters by Katy Hays

[graveyardrabbit]

I was tagged by @chiropteracupola thank you!!

last song: “Me and the Devil Blues” by Robert Johnson

currently watching: I’ve just started a re-watch of Over The Garden Wall. Also I’m gearing up to start watching the Interview With The Vampire tv series. That’s a show that looks exactly like a something I need to watch, but it also takes me an incredibly long time to start anything new.

currently reading: The Mauritius Command by  Patrick O'Brian, along with a re-read of Palimpsest by Catherynne M. Valente and Cannibalism and the Common Law by A. W. B. Simpson  maybe one day I’ll figure out how to focus on just one book at a time

current obsession: I’m still metaphorically chewing on For The Term Of His Natural Life by Marcus Clarke like a rat with a shed elk antler (I’ve finished a painting based on A Certain Scene from the book, and the only reason I haven’t posted it yet is because I cannot get a a good picture that shows the colors right. I’ve also got plans for two new paintings that are both in the planning/mental rotating stage, so those are taking up a lot of brain space. And my current embroidery project (which is another one of the Meat Plants embroider), that’s still occupying the brain space as well.

I’m going to tag (with no pressure, of course) @maingel @cheshirewolff @utsurobunny @kingly-court @bulletproofvendetta2019 @the-antlered-cryptid @im-significant and anyone else who sees this and would like to play should consider themselves tagged as well!

[leguin]

‘The Pride Of Petravore’ demonstrates in microcosm the way Lankum are able to deftly navigate across several different musical strands. Their approach to music is playful, irreverent and experimental, unafraid to suck in influences from leftfield, but the sound they produce has an enormity and depth that can only come from a simultaneous respect for the long histories that many of their songs are rooted in. There are aspects of trad – which the band differentiate from the broader and more amorphous term ‘folk’ – that can be restrictive, but as Ian Lynch, who is also a researcher and lecturer in folklore, points out, that strictness need not be a bad thing. “In order for traditional tunes to be passed on, you do need in some way to have that kind of mindset,” he points out. When he was learning the pipes, he recalls, “they used to say, ‘Always be careful about the music you’re listening to. Don’t be listening to some modern player who’s gonna give you the wrong ideas.’ I hope if someone’s serious about learning traditional music, they’re not listening to us!”

Rather than presenting themselves as exemplars of that serious side, says Peat, “I like to think of us as a gateway.” Ian Lynch agrees. “I think it’s important to have bands who are in some way accessible, then once you’ve got used to those kinds of sounds you’re open to hearing stuff that’s straight-up tradition. It’s like that with any genre, whether you’re talking black metal, noise, or classical music, there’s the outer layer that you have to train your ears to.”

[archivyrep]

Creating Your Own History: Archival Themes in "The Watermelon Woman" [Part 2]

Continued from part 1

Following her setbacks in the library, Cheryl again goes through her mother’s files in the basement. Her mother’s friend, Shirley Hamilton (played by Ira Jeffries), reveals a key clue: the Watermelon Woman’s real name was Fae Richards, which Shirley knew because Fae sang under her real name. Cheryl also learns that, like her, Fae is a “sapphic sister”—a Black lesbian woman—and was in a relationship with Martha Page, the White female director of Plantation Memories and other 1930s films. Through her research, Cheryl learns the lesson that Alta Jett, coordinator for the community-focused Black Woman in the Middle West archives project, pointed out in 1986: “if you want the history of a white man, you go to the library. If you want the history of black women, you go to the attics, the closets, and the basements.” [5]

Reprinted from The American Archivist Reviews Portal. Thanks to Rose and Stephanie for their editing of this article! It was also posted on my Wading Through the Cultural Stacks WordPress blog on Jul. 5, 2022. This review contains some spoilers for the film The Watermelon Woman.

Jolie Braun, a modern literary and manuscripts scholar, has argued that The Watermelon Woman highlights the power of archival limits, critiques how archives and libraries control access to records, and reveals power relations that undergird research in those spaces. [6] John J. Kostka, a moving image specialist, described Cheryl’s contact with the librarian in her reference interview as “frustrating.” His description is accurate: the librarian does not initially listen to Cheryl and only offers assistance and takes her seriously after he realizes that she has done her research. [7] If Cheryl had been a White woman, the librarian may have been more gracious and less hostile, instead of telling her to check the “film,” “women,” and “Black” sections in a derisive tone. [8] The librarian, by redirecting her to look in those library sections, is representative of collections reinforcing cultural bias by marginalizing views that are not White, heteronormative, and male.

Although the librarian’s stance toward Cheryl hints that librarians are gatekeepers of information rather than information providers, Cheryl fully experiences the power of the archive when she travels to the Center for Lesbian Information & Technology (C.L.I.T.) Archive. While at this collective feminist lesbian archive, a parody of the Lesbian Herstory Archive, [9] with her friends Tamara and Annie, she meets an archivist voiced by queer academic Sarah Schulman. While researching at C.L.I.T., Cheryl discovers documents and photographs of Fae, including one given to Fae’s “special friend” June Walker. Later in the film, Cheryl talks to June, who angrily denies that Fae had a relationship with Page, a White woman.

At C.L.I.T., Cheryl faces pushback from the archivist, who explains that Black lesbian materials are segregated from the rest of the collection and that their donor wanted the materials to be used “exclusively” by Black lesbians. The archivist declares that she respects Black people by crossing out any White people in the collection’s photographs. It is implied that this brazen act of record defacement was deemed “acceptable” by the collective running the archive but runs against the wishes of the donor. While the donor restricting access to Black lesbians would seem to reverse archives’ typical power dynamics, this liberatory potential is squashed by the archivist who wants to maintain power over the records.

© 2022 Burkely Hermann. All rights reserved.

[5] Darlene Clark Hine and Patrick Kay Bidelman, “Introduction: The Black Women in the Middle West Project,” in The Black Women in the Middle West Project: A Comprehensive Resource Guide Illinois and Indiana (Purdue Research Foundation: Indianapolis, Indiana, 1986), 1.

[6] Jolie Braun, "Review: Make Your Own History: Documenting Feminist & Queer Activism in the 21st Century," RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 14, no. 1 (2013): 49, https://doi.org/10.5860/rbm.14.1.399.

[7] John J. Kostka, “Toward Transgression: The Changing Role(s) of the Postmodern Archivist,” All Access Pass: Theory + Practice, accessed March 3, 2022, https://web.archive.org/web/20190429001349/https://johnkostka.com/toward-transgression/.

[8] Jean Bessette, "Composing Historical Activism: Anecdotes, Archives, and Multimodality in Rhetorics of Lesbian History" (PhD Thesis, University of Pittsburgh, 2013), 169.

[9] Moira Donegan, “The Watermelon Woman Shows the Power of Gay History,” The New Republic, July 5, 2017, https://newrepublic.com/article/143703/watermelon-woman-shows-power-gay-history; Bessette, “Composing Historical Activism,” 184; Rebecka Taves Sheffield, "The Bedside Table Archives: Archive Intervention and Lesbian Intimate Domestic Culture," Radical History Review, no. 120 (2014): 112, https://doi.org/10.1215/01636545-2703751.

[luesmainblog]

btw we recently learned tinnitus is probably a physical thing, so this method working makes perfect sense.

Transcript: The most mind-blowing moment, not only for De La Mata but the scientists too, came when they managed to actually record the sounds that she heard in her ears – which now appear as ‘Left Ear’ and ‘Right Ear’ which begin sides A and B on the album – and in doing so opened up questions about the nature of tinnitus itself. “The NHS definition is that it’s a phantom sound that your brain is creating, that it isn’t something ‘real’, so you should try to ignore it.” By having De La Mata place her ear into an anechoic chamber, with an ultra-sensitive microphone perched in her ear canal, they were able to provide significant evidence to the contrary. “After the first recording of it, it was ‘There’s no way, this isn’t possible.’” They tried again with her breath held, and again with her tensing her ears, and again with other members of staff, but each time it became apparent that yes, the noises De La Mata hears are seemingly something physical.

[thecrackshipdiaries]

Historical September

For each day of September I will be creating crackships from various medieval / historical / fantasy tv series and films. If you have any suggestions please message me and I will add it to this list.

You can pick anyone for this as long as they belong to one of the main themes. Updated: 22 / 09 / 2024

Matt Smith [Daemon Targaryen - House of Dragon] x Adelaide Kane [Mary, Queen of Scots - Reign]

Tom Hiddleston [Loki Laufeyson - MCU] x Olga Kurylenko [Etain - Centurion]

Luke Newton [Colin Bridgerton - Bridgerton] x Hailee Steinfeld [Emily Dickinson - Dickinson]

Ewan Mitchell [Aemond Targarygen - House of Dragon] x Caitlin Stasey [Kenna de Poitiers - Reign]

Sam Reid [Lestat de Lioncourt - Interview with the Vampire] and Paul Wesley [Ripper!Stefan Salvatore - The Vampire Dairies]

Daniel Gillies [Elijah Mikaelson - Viking/Medieval!TVD/TO] x Millie Brady [Aethelflaed - The Last Kingdom]

Regé-Jean Page [Simon Basset - Bridgerton] x Natalie Dormer [Anne Boleyn - Tudors]

Olivia Cooke [Alicent Hightower - House of Dragon] x Jodie Comer [Princess Elizabeth - The White Princess]

Anya Chalotra [Yennefer - The Witcher] x Katheryn Winnick [Lagertha - Vikings]

Freya Allan [Ciri - the Witcher] x Skander Keynes ]Edmund Pevensie - Narnia]

Elle Fanning [Aurora - Maleficent] x Julian Morris [Phillip - OUAT]

Adelaide Kane [Mary, Queen of Scots - Reign] x Nicola Coughlan [Penelope Bridgerton - Bridgerton]

Ruby Stokes [Francesca Bridgerton - Bridgerton) x Jessica Parker Kennedy [Max - Black Sails]

Caitlin Stasey [Kenna de Poitiers - Reign] x Alex Høgh Anderse [Ivar the Boneless - Vikings]

India Amarteifio [Queen Charlotte - Queen Charlotte: A Bridgerton Story] x Aidan Turner [Ross Poldark - Poldark]

Jacob Anderson [Louis de pointe du lac - interview with the vampire] x kat graham [1920s!bonnie bennett - the vampire diaries]

Kristen Stewart [Snow White - Snow White and The Huntsman] x Mads Mikkelsen [Tristan - King Arthur]

Jonathan Rhys Meyers [King Henry VIII - Tudors] x Eleanor Tomlinson [Demelza Poldark - Poldark]

Luke Pasqualino [D'Artagnan - The Musketeers] x Emma D’Arcy [Rhaenyra Targaryen - House of the Dragon]

Cillian Murphy (as Tommy Shelby) and Nina Dobrev (in The Vampire Diaries as Katherine or Elena)

Claudia Jessie (Bridgerton) x Patrick Gibson (Shadow and Bone)

Johnny Flynn [mr. Knightley - Emma 2020] x Ruby Barker [Marina Thompson - Bridgerton]

Anya chalotra [ the witcher] and bridget regan [legend of the seeker]

Anna Popplewell [Reign] x Sujaya Dasgupta [Shadow and Bone]

Morfydd Clark [Galadriel in The Rings of Power] and Sean Teale [in Reign or Rosaline]

Patrick Gibson [as Nikolai Lantsov] and Kate Beckinsale

Georgie Henley in The Spanish Princess and Ben Barnes in Shadow and Bone

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[ulkaralakbarova]

When CIA Analyst Jack Ryan interferes with an IRA assassination, a renegade faction targets Jack and his family as revenge. Credits: TheMovieDb. Film Cast: Jack Ryan: Harrison Ford Dr. Caroline “Cathy” Ryan: Anne Archer Sally Ryan: Thora Birch Sean Miller: Sean Bean Kevin O’Donnell: Patrick Bergin Annette: Polly Walker Lord William Holmes: James Fox Lt. Cmdr. Robby Jackson: Samuel L. Jackson Adm. James Greer: James Earl Jones Paddy O’Neil: Richard Harris Marty Cantor: J.E. Freeman Dennis Cooley: Alex Norton Watkins: Hugh Fraser Inspector Highland: David Threlfall Owens: Alun Armstrong Sissy: Berlinda Tolbert Lord Justice: Gerald Sim First Aide: Pip Torrens Ashley: Thomas Russell Charlie Dugan: Andrew Connolly Ned Clark: Keith Campbell Jimmy Reardon: Jonathan Ryan Court Guard: P.H. Moriarty Interviewer: Bob Gunton CIA Technician: Ted Raimi Secretary: Brenda James Paddy Boy: Karl Hayden Lady Holmes: Claire Oberman Young Holmes: Oliver Stone The Electrician: Tom Watt Constable: Tim Dutton Constable: Martin Cochrane Rose: Ellen Geer Winter: John Lafayette Ferro: Shaun Duke Spiva: Fritz Sperberg CIA Analyst: Allison Barron Dr Shapiro: Philip Levien FBI Agent Shaw: Jesse D. Goins Avery: Michael Ryan Way FBI Director’s Bodyguard (uncredited): Peter Weireter Film Crew: Director of Photography: Donald McAlpine Original Music Composer: James Horner Screenplay: W. Peter Iliff Producer: Mace Neufeld Producer: Robert Rehme Director: Phillip Noyce Screenplay: Donald Stewart Editor: William Hoy Editor: Neil Travis Casting: Cathy Sandrich Gelfond Makeup Artist: Michael Key Casting: Amanda Mackey Executive Producer: Charles H. Maguire Makeup Department Head: Peter Robb-King Art Direction: Joseph P. Lucky Hairstylist: Anne Morgan Costume Design: Norma Moriceau Makeup Artist: Pat Gerhardt Set Decoration: John M. Dwyer Makeup Artist: John R. Bayless Production Design: Joseph C. Nemec III Stunts: Dick Ziker Stunts: Terry Leonard Visual Effects Supervisor: Robert Grasmere Visual Effects Supervisor: John C. Walsh Stunt Coordinator: Andy Bradford Stunt Coordinator: Steve Boyum Stunts: Michael T. Brady Stunts: Janet Brady Stunts: William H. Burton Jr. Stunts: Bobby Bass Stunts: Keith Campbell Stunts: David Burton Stunts: Clarke Coleman Stunts: Gerry Crampton Stunts: Cynthia Cypert Stunts: Laura Dash Stunts: Gabe Cronnelly Stunts: Steve M. Davison Stunts: Jeff Imada Stunts: Jeffrey J. Dashnaw Stunts: Annie Ellis Stunts: Richard M. Ellis Stunts: Tony Epper Stunts: Elaine Ford Stunts: Kenny Endoso Stunts: James M. Halty Stunt Coordinator: Martin Grace Stunts: Steve Hart Stunts: Scott Hubbell Stunts: Craig Hosking Stunts: Henry Kingi Stunts: Joel Kramer Stunts: Paul Jennings Stunts: Gene LeBell Stunts: Gary McLarty Stunts: Mark McBride Stunts: Bennie Moore Stunts: Valentino Musetti Stunts: John C. Meier Stunts: Alan Oliney Stunts: Chuck Picerni Jr. Stunt Double: Bobby Porter Stunts: Steve Picerni Stunts: Tony van Silva Stunts: Chad Randall Stunts: Rod Woodruff Stunt Double: Vic Armstrong Second Unit Director: David R. Ellis Stunts: Gregory J. Barnett Stunts: Tim A. Davison Novel: Tom Clancy Movie Reviews: John Chard: Good guys are real good, and the bad guys are real bad. Patriot Games is a more than serviceable thriller, perhaps a bit out of date when viewing it now, but still a very effective good against evil piece. The source material is so dense and intricate it was always going to be hard to condense that into a 2 hour movie, but I feel the makers manage to keep it fleshy whilst making the respective characters interesting and watchable. The acting on show is more than adequate, Harrison Ford is great in the role of Jack Ryan, he manages to portray him as a sensitive family man who can step up to the plate when things get ugly, and Anne Archer is solid enough as the wife and mother caught up in the web of nastiness unfolding. The baddies are led by the brooding Sean Bean who is a little under written, whilst Richard Harris is sadly underused. However, the action set pieces make their mark and thankfully we get a riveting...

[slash-and-laugh-film-school]

James Wan is an Australian film producer, screenwriter and director of some of the highest grossing box office hits including the Saw (2004), Dead Silence (2007), Death Sentence (2007), Insidious (2010), The Conjuring (2013), among others.

Wan, who was born in 1977 of Malaysian Chinese descent, was raised in Australia. He graduated from The Royal Melbourne Institute of Technology with a Bachelor's degree in 1999. He has been described as “high spirited and a quick-talker, who is used to being the Underdog” (Itzkoff, 2018), and one who has found early success co-directing the “genre-defining” 2004 horror film, “The Saw”.

In Wan’s early days of his career, along with co-writer Leigh Whannell, together, they began writing a script that was inspired from their personal dreams and fears. With basically no budget, they created the film with Whannell and a few other stand-in actors starring in the film. This excerpt from the film later became known as, “The Saw” and began a vast and impressive career in the Supernatural genre of Horror filmmaking. According to Itzkoff, Wan struggled for a decade to produce a follow up film, but approximately 10 years later, Insidious, and The Conjuring, rocked the Hollywood Blockbuster scene.

Peter Safran, Wan’s co-producing partner on the Conjuring film, envisioned the success of the Conjuring film prior to its release, claiming that the film “captured lightning in a bottle”. In fact, “The Conjuring” franchise went on to gross over 2 billion dollars in revenues thereby confirming Safran’s prediction.

Rolling Stone cited James Wan’s film, “Insidious”, as, “creating crazy levels of suspense from the first frame, that do not let up until the credits roll”. When interviewed by Rolling Stone, James Wan expressed concern about being “put in a box” by critics and horror show enthusiast’s. Wan responded that he “created “The Saw” for a calculated purpose; “to get people’s attention”. He goes on to say that he “is a “huge fan of tension, he likes to let fans use their imagination in his films, and prefers not to rely on the shock of blood and guts to get the audience's attention”. For this reason, Wan went on to direct other thrillers which utilize alternative captivating techniques and story storylines.

Although some critics have been harsh in their opinions of James Wan’s horror making capabilities, his success in the Horror Film genre is undeniable as evidenced by his popularity, his financial prowess, and most importantly the effect his work has had on the supernatural Horror Movie genre. In January of 2023, he was coined, “The King of Contemporary Horror” (Caiole, P., (2023) across multiple horror projects and various roles as director, writer, and producer, Caiole adds that “he has defined and shaped the genre since the early 2000’s” and into the 2010’s and beyond”. Wan is expected to continue directing and entertaining audiences of the supernatural horror genre; his most recent film, Night Swim, debuted on screens in 2024, and grossed 54 million.

Citations

Caoile, Patrick, (Jan 2023). Turning the Genre on its Head with Malignant, https://collider.com/james-wan-king-of-horror/#:~:text=Across%20his%20multiple%20horror%20projects,early%202000s%20into%20the%202010s.

Collie, Clark, (July, 2023). Decade of Dread: James Wan on how The Conjuring Spawned a Universe of Horror”. Entertainment Weekly. https://ew.com/movies/the-conjuring-turns-10-james-wan-universe-of-horror/

Itzkoff, David. (Dec. 2018). The New York Times. https://www.nytimes.com/2016/06/05/movies/james-wan-interview-the-conjuring-2.html

Green, Andy (July 2013). “Conjuring Director James Wan on the Legacy of Saw”. Rolling Stone. https://www.rollingstone.com/tv-movies/tv-movie-news/conjuring-director-james-wan-on-the-legacy-of-saw-plans-for-fast-and-furious-7-203482

[m-o-p-e]