#paul going to hold Andrew's hand

[justalittlesolarpunk]

I’ve teased it. You’ve waited. I’ve procrastinated. You’ve probably forgotten all about it.

But now, finally, I’m here with my solarpunk resources masterpost!

YouTube Channels:

Andrewism

The Solarpunk Scene

Solarpunk Life

Solarpunk Station

Our Changing Climate

Podcasts:

The Joy Report

How To Save A Planet

Demand Utopia

Solarpunk Presents

Outrage and Optimisim

From What If To What Next

Solarpunk Now

Idealistically

The Extinction Rebellion Podcast

The Landworkers' Radio

Wilder

What Could Possibly Go Right?

Frontiers of Commoning

The War on Cars

The Rewild Podcast

Solacene

Imagining Tomorrow

Books (Fiction):

Ursula K. Le Guin: The Left Hand of Darkness The Dispossessed The Word for World is Forest

Becky Chambers: A Psalm for the Wild-Built A Prayer for the Crown-Shy

Phoebe Wagner: When We Hold Each Other Up

Phoebe Wagner, Bronte Christopher Wieland: Sunvault: Stories of Solarpunk and Eco-Speculation

Brenda J. Pierson: Wings of Renewal: A Solarpunk Dragon Anthology

Gerson Lodi-Ribeiro: Solarpunk: Ecological and Fantastical Stories in a Sustainable World

Justine Norton-Kertson: Bioluminescent: A Lunarpunk Anthology

Sim Kern: The Free People’s Village

Ruthanna Emrys: A Half-Built Garden

Sarina Ulibarri: Glass & Gardens

Books (Non-fiction):

Murray Bookchin: The Ecology of Freedom

George Monbiot: Feral

Miles Olson: Unlearn, Rewild

Mark Shepard: Restoration Agriculture

Kristin Ohlson: The Soil Will Save Us

Rowan Hooper: How To Spend A Trillion Dollars

Anna Lowenhaupt Tsing: The Mushroom At The End of The World

Kimberly Nicholas: Under The Sky We Make

Robin Wall Kimmerer: Braiding Sweetgrass

David Miller: Solved

Ayana Johnson, Katharine Wilkinson: All We Can Save

Jonathan Safran Foer: We Are The Weather

Colin Tudge: Six Steps Back To The Land

Edward Wilson: Half-Earth

Natalie Fee: How To Save The World For Free

Kaden Hogan: Humans of Climate Change

Rebecca Huntley: How To Talk About Climate Change In A Way That Makes A Difference

Christiana Figueres, Tom Rivett-Carnac: The Future We Choose

Jonathon Porritt: Hope In Hell

Paul Hawken: Regeneration

Mark Maslin: How To Save Our Planet

Katherine Hayhoe: Saving Us

Jimmy Dunson: Building Power While The Lights Are Out

Paul Raekstad, Sofa Saio Gradin: Prefigurative Politics

Andreas Malm: How To Blow Up A Pipeline

Phoebe Wagner, Bronte Christopher Wieland: Almanac For The Anthropocene

Chris Turner: How To Be A Climate Optimist

William MacAskill: What We Owe To The Future

Mikaela Loach: It's Not That Radical

Miles Richardson: Reconnection

David Harvey: Spaces of Hope Rebel Cities

Eric Holthaus: The Future Earth

Zahra Biabani: Climate Optimism

David Ehrenfeld: Becoming Good Ancestors

Stephen Gliessman: Agroecology

Chris Carlsson: Nowtopia

Jon Alexander: Citizens

Leah Thomas: The Intersectional Environmentalist

Greta Thunberg: The Climate Book

Jen Bendell, Rupert Read: Deep Adaptation

Seth Godin: The Carbon Almanac

Jane Goodall: The Book of Hope

Vandana Shiva: Agroecology and Regenerative Agriculture

Amitav Ghosh: The Great Derangement

Minouche Shafik: What We Owe To Each Other

Dieter Helm: Net Zero

Chris Goodall: What We Need To Do Now

Aldo Leopold: A Sand County Almanac

Jeffrey Jerome Cohen, Stephanie Foote: The Cambridge Companion To The Environmental Humanities

Bella Lack: The Children of The Anthropocene

Hannah Ritchie: Not The End of The World

Chris Turner: How To Be A Climate Optimist

Kim Stanley Robinson: Ministry For The Future

Fiona Mathews, Tim Kendall: Black Ops & Beaver Bombing

Jeff Goodell: The Water Will Come

Lynne Jones: Sorry For The Inconvenience But This Is An Emergency

Helen Crist: Abundant Earth

Sam Bentley: Good News, Planet Earth!

Timothy Beal: When Time Is Short

Andrew Boyd: I Want A Better Catastrophe

Kristen R. Ghodsee: Everyday Utopia

Elizabeth Cripps: What Climate Justice Means & Why We Should Care

Kylie Flanagan: Climate Resilience

Chris Johnstone, Joanna Macy: Active Hope

Mark Engler: This is an Uprising

Anne Therese Gennari: The Climate Optimist Handbook

Magazines:

Solarpunk Magazine

Positive News

Resurgence & Ecologist

Ethical Consumer

Films (Fiction):

How To Blow Up A Pipeline

The End We Start From

Woman At War

Black Panther

Star Trek

Tomorrowland

Films (Documentary):

2040: How We Can Save The Planet

The People vs Big Oil

Wild Isles

The Boy Who Harnessed The Wind

Generation Green New Deal

Planet Earth III

Video Games:

Terra Nil

Animal Crossing

Gilded Shadows

Anno 2070

Stardew Valley

RPGs:

Solarpunk Futures

Perfect Storm

Advocacy Groups:

A22 Network

Extinction Rebellion

Greenpeace

Friends of The Earth

Green New Deal Rising

Apps:

Ethy

Sojo

BackMarket

Depop

Vinted

Olio

Buy Nothing

Too Good To Go

Websites:

European Co-housing

UK Co-housing

US Co-housing

Brought By Bike (connects you with zero-carbon delivery goods)

ClimateBase (find a sustainable career)

Environmentjob (ditto)

Businesses (🤢):

Ethical Superstore

Hodmedods

Fairtransport/Sail Cargo Alliance

Let me know if you think there’s anything I’ve missed!

[asexual-juliet]

saw the outsiders musical last night (7/20/24) and thought i would make a little post about some of my favorite parts!! brody, sky & daryl were out so i saw trevor wayne as pony, josh strobl as johnny & henry julián gendron as two-bit!

there’s a bit after pony gets jumped by the socs where darry and soda are cleaning the blood off his face and when they’re done and have gotten up johnny comes and sits next to him and takes out a rag and starts also cleaning pony’s face <3 it’s so so sweet

henry does a couple little opt-ups as two-bit in both grease got a hold and hoods turned heroes where i was like “ooh!” i adore daryl tofa so i was a little disappointed when i found out i wouldn’t be able to see him but henry was SO fantastic!! such a talented dancer and you could tell he was having so much fun with the character! such a standout for me.

was deeply impressed by how many items were successfully thrown and caught in grease got a hold like holy shit dude

the LIGHTING in great expectations has pony pointing his flashlight at darrel on “darrel was on his way up in the world” & johnny on “johnny has no kind of chance in this world” and then as the verse goes on he points it at all of the greasers standing all over the stage and the light lingers on them for the rest of the song it’s so fucking cool-looking! and during the chorus the stage starts to look like a starry sky which is a choice they bring back for the little great expectations reprise at the end of far away from tulsa. 

the moment where pony & johnny do their little cool guy walks over to cherry and marcia at the drive-in with their popped collars was so precious to me

i ADORE cherry valance and i ADORE emma’s take on her!! her little convo with pony at the drive-in was really sweet and i loved that they chose not to make the dynamic feel like a crush on ponyboy’s part it was such a nice moment of two people finding and genuinely understanding each other so deeply <3

lighting sound & everything was so next-level during the fountain scene-bob’s death like i don’t even think i can describe it it was so much and so crisp and so visceral in the absolute best way

staging for run run brother was SO cool — there’s a part at the end where they use the tires and boards from the set to make two platforms that the other actors can roll them back and forth while johnny is on one and pony on the other and they roll them away from each other and they are both reaching out so desperately towards each other its so fantastic

i also really liked the part in run run brother where dally gives pony his jacket like he just wordlessly put it on for him it’s so nice

lighting & subsequent blackout at the end of run run brother as pb&j are in the air after jumping off the “train” was ELITE

pony is holding johnny’s switchblade during death’s at my door and at the end of the song johnny reaches out to take it from him but he doesn’t pull away so he’s just holding pony’s hand and then he puts his other hand over pony’s too and they sit there like that until the lights go down <3

LOVED what they’ve done with darry’s character here!! i know people have some nitpicky things with it but he is such a fascinating character and i’m so glad that the musical theater medium was able to do so much with him that the limited pov of the novel couldn’t — brent comer plays darry so so well and my heart aches for him like fuck dude he cares about his brothers so fucking much and he’s doing his best and he’s so so tired :((( give him a break!!

jason schmidt’s voice is SO fantastic holy fuck throwing in the towel was GORGEOUS!! and the little bit at the end where soda hugs darry and it looks like he maybe kisses him on the head a little is so darling <3

the entire “do i look like julie andrews?” scene is so fucking good… genuinely made me laugh out loud. “fine, paul newman, then!” “…no shit?” is so fantastic and johnny’s little “she is pretty as hell :)” about cherry is adorable. and ofc the “goldilocks and her ugly sister” line is fucking great

the way that johnny perks up when he hears “say hey to johnny for us :)” in soda’s letter is so cute

the church fire scene is perhaps the coolest shit i have ever seen onstage

ponyboy is crying so hard after johnny dies that has to sit down on the floor of the hospital room and soda sits behind him and just holds him <3

ponyboy is like actively crying as he narrates dally’s death its so fucking heartbreaking. i liked that they drew the parallels between the train crashes in order to make dally’s death meaningful despite its departure from the book. and the detail about the train derailing when it hit him was wonderfully written. 

there is a scene where ponyboy is like inconsolable sitting on the living room floor with his head in his arms after johnny and dally die and cherry comes by the house because she has been volunteering at the hospital and no one came to pick up johnny’s clothes after he died and she thought ponyboy should have them and she tells him there’s a letter in the pocket addressed to him and after she leaves he just sits there for a while and when he finally moves he picks up johnny’s jean jacket and fucking like hugs it and buries his face in it and it’s so so so heartbreaking and soda has to come over and start reading the letter to him before johnny appears and starts singing stay gold <3

johnny starts SR at the beginning of stay gold while pony is sitting on the car at SL but he is slowly moving closer to pony as the song goes on and right before they start singing in harmony johnny sits down next to him <3 <3 <3

josh’s stay gold made me CRY!! especially him and trevor singing “i have known a love that many never know / and that love lives on no matter where i go” holy shit. their voices blend together so beautifully

overall i fucking ADORED trevor’s ponyboy!! he embodies the role so so well and has such a fourteen-year-old boy vibe when he’s onstage that i definitely did not expect from an actor in his twenties! i’ve heard that his pony is a little more emotional than brody’s & josh’s and that was a choice i really really vibed with!! and his voice was like jaw-dropping, what a talent!!

stagedoor afterwards was so so wonderful! i made drawings for the entire cast and everyone was so so nice and seemed to really like them! the ensemble & understudies especially seemed really thrilled that i had made something for them

henry in particular was so so sweet and seemed like he couldn’t believe that i had drawn him! he was like “is this me for real?” and someone (i think it was trevor) told him to look at the back where i had written his name and a little note and he was really excited about it!! he actually was like “this is awesome i have to go inside and give this to my mom right now so i don’t lose it” and his family was right inside the stagedoor and he pointed me out to them and they were so excited! he gave me a hug too it was really nice :)

trevor was also really excited and was like “this is a drawing of me for real? not brody?” and he was so happy when he turned it around and saw his name <3

i gave melody and sarahgrace copies of the same drawing of both of them and as soon as i gave it to melody she immediately looked around to find sarahgrace and show it to her (she was still inside but it was very cute) and then she told me they were going to put it on the wall in their dressing room!!

sarahgrace was like “omg you even drew my bracelet!” and was excited when i pointed out the detail i put in for the pattern on her dress!

trevor yelled across the sidewalk to tell josh to stop talking to his (trevor’s) mom as a joke lmfao

everyone except jason & kevin c came out to stagedoor and they were all so so sweet!! got photos with most of them and they all signed my copy of the book!! overall such a fucking fantastic experience! the drawings were a lot of work but it was so nice to see the looks on the cast’s faces when they saw them!!

[kitkatunicorntheatrekid]

The outsiders La Jolla

notes

Barton and Renni’s costumes didn’t change

Brent as Paul feels wrong Like why did he throwing Johnny Half of the greasers are taking their shirts off Daryl Tofa what was that dance move Dally’s shirtless in grease got a hold Soda’s misspelling of grease is called out Ace’s little bow Jason’s one hand handstand Did Darry just moonwalk The risk of Pony going into fostercare Sandy is talked about Darry is manspreading Johnny’s parents fighting Socs in the back Soda’s initials are on the benches at the drive in A girl got shot The socs holding up Bob Paul giving Randy a piggy back ride Gross Dally Two-bit is called Two-bit because it’s more french

Mar-bit A greaser(Renni)(Steve isn’t in this version) telling Johnny to not go with Marcia and Two-bit Hard boil egg eating contest Bob breaking the benches

Soda being the medadior Darry gives Pony a allowance

Paul kicks Johnny Buck marials The harmonies No burn Darry and Dally full on brawling Darry is drinking “I FEEL LIKE JULIE ANDREWS” A car in the air Pony sing soda’s letter Soda singing hood turned heroes What is Jason doing The rumble is wild A soc girl in the rumble Stay gold in the hospital I am crying

ps I want to get to 100 follows by the end of the year it's not likely to happen but yea(i'm at 82)

[jtl-fics]

But also... Andreil on the great British bake off (they have celebrity seasons)

Look, I'm gonna be honest.

It's a disaster in two parts.

Neil is there EXPLICITLY because Stuart found out that he had been asked to go do it because he is technically British. Stuart has asked him to be the bane of Paul Hollywood's existence and is willing to do quite a bit to make the man's life hell.

"He knows what he did." is all Stuart will say on the matter.

Neil agrees to come be a Baker on the stipulation that Andrew also gets to come. Andrew has no interest in baking other than what it can produce for him to eat, he has no desire to do the laborious task of baking himself.

Stuart offers him an Aston.

Andrew agrees.

Neil is a nightmare in the tent. He hates desserts. He hates measuring. He has never done a single prep bake. He has no idea what the desserts are during the technical challenge. He just goes with his gut (his iron gut). He produces three straight desserts that Paul will not let Prue eat for fear that she will just straight up die if she eats it. He is a pile of misery upon consuming all three.

When Neil is kicked off in round one no one is surprised. Paul pats Neil on the back as he leaves the tent and Neil just leans in, "Stuart Hatford sends his regards." he says now that the mic has been removed. Paul Hollywood's tan fades but Neil doesn't look back.

Andrew is a nightmare for a completely different reason and that reason is that he very visibly and honestly does not give a single flying fuck about what he's doing but he's doing quite well. He is the most boring man on camera, zero quips, won't interact with Noel and whoever the fuck is the other presenter by this point, just him doing exactly what the recipe requires and then he always makes a point of grabbing whatever Paul and Prue have judged and taking it all back to his station so that he can eat it. He stares straight into the camera as he eats an entire three tier cake. He dedicates every week he is Star Baker to his inspiration: Kevin Day.

Andrew makes it all the way to the Finals with impressive bakes that he basically just decided on 100% by how much he thinks it would upset Kevin to watch him eat it knowing that he SHOULD be doing weight training for the olympics. ("Weight TRAINING not Weight GAINING Andrew! Do you have to hold up two fingers as you eat the entire thing? Can you at least PRETEND it's not to SPITE me?" Kevin wails as Andrew calls him for the post-credit scene where the star bakers call their families usually but Andrew just uses it so everyone can hear Kevin Day lose his mind on Public Access.)

Andrew gets to the finals and his show stopper....it's immaculate. It's gorgeous. It's a work of art. Paul Hollywood is looking at this feat of modern baking engineering in wonder.

He shakes Andrew's hand before he even tastes it and-

"Stuart Hatford sends his regards."

Paul Hollywood is now nervous to eat this cake. Does he look out at the gathered friends and family of the contestants and see Stuart Hatford? Does he remember what he did?

He eats the cake because show obligations and it tastes as good as it looks but he is oddly silent as Prue talks about it.

Andrew Wins and Paul Hollywood stays exactly one entire party's width away from Neil, Stuart, and Andrew during the entire victory picnic.

Andrew gives his post bake-off speech and flat out says it was kind of boring and he wants to go home to America. The next scene is him driving off with Neil in an Aston Martin.

Edit: Thanks @the-inner-musings-of-a-worm for the idea once again!

[hayleythecannibal]

TWISTED MINDS: Act III- Chapter Twenty-Eight Primavera

TW: Crime scenes, Gore, Implied Death, Death, Cannibalism, Guns, Mental Heath, Pregnancy, Talks of tragic loss

Warning this is Fem!reader. You can also find this on Wattpad and A03 under the name @HayleyMarieOfficial. Comment if you want to be added to the taglist.

Taglist: @punkin-time @miaowkitty @gabriella-aesthetic @urlocalfanficwriter @dilfdemolisher

Twisted Minds Masterlist

HOSPITAL - WILL GRAHAM'S ROOM - DAY-

WILL GRAHAM'S EYES Slowly flutter open. He gasps, wincing as he draws air into his rib cage. He takes in his surroundings to find he is… A hospital bed holds him. Glowing monitors flank him. His abdomen is freshly bandaged and stitched.

His eye finds a WALL CLOCK. In his shifting, blurring vision, the numbers sag and drift onto the wall. Will stares a moment -- until the minute hand CLICKS. Time is passing and will continue to pass. This is no fiction of his mind. He gazes over at a Sleeping Y/N, One hand on a small bump and another holding his.

A FIGURE Until now unseen, moves at the foot of Will's hospital bed. A DOCTOR Inspecting Will's chart. He replaces it and turns and smiles, pleased to see Will is conscious.

“How do you feel?” The man's question seems almost alien in its simplicity. “Thirsty.” The doctor hands Will the hospital-issue cup next to the bed, and Will drinks slowly through the straw. The doctor looks to the open door of the ICU; an indistinct shadow indicates someone standing just around the corner.

“Feel well enough for a visitor?” The doctor exits through the door. Though it's still open, Will cannot see out it... until his visitor enters: ABIGAIL HOBBS Pale like Will, in a hospital gown of her own. She stands on the threshold, staring at him. Will stares back and his thoughts and ours are the same – Abigail is alive.

Abigail stands in front of Will's hospital bed, Taking Y/N’s Hand. Pillows prop Will up. They look at one another. A reunion neither thought they would ever see. After a moment: “They told me he knew exactly how to cut me. They said it was surgical. He wanted us to live.”

“He left us to die.”

“But we didn't.” Abigail averts her eyes, still looking for rhyme and reason. “He was supposed to take me with him. We were all supposed to leave together. He made a place for us.”

“Abigail…”

“Why did you lie to him?” Will has to consider that a moment, then: “The wrong thing being the right thing to do was too ugly a thought.”

“He gave you a chance to take it all back, and you just kept lying. No one had to die.” An almost-imperceptible wince from Will. “It's hard to grasp what would've happened, could've happened. In some other world... did happen.”

“Having a hard enough time dealing with this world. Hope some of the other worlds are easier on me.”

“Everything that can happen happens. Has to end well, and it has to end badly. Has to end every way it can. This is the way it ended for us.”

“We don't have an ending. He didn't give us one yet. He wants us to find him.” An awake Y/N murmurs in her stage of waking up. Strange for Will to hear that, and stranger yet to believe it.

“After everything he's done, you would still go to him?” Abigail quietly nods.

“If everything that can happen happens, you can't really do the wrong thing. You're just doing what you're supposed to do.”

EIGHT MONTHS LATER - NORMAN CHAPEL - DAY

The chapel's vast interior rings with the multiple languages of the travelers shuffling about the place. Among the TOURISTS, we find, A heavily Pregnant Y/N, Will, and Abigail as they enter. Abigail gazes up at the apse of the chapel and JESUS PANTOCRATOR -- "Ruler of All," an exquisite Byzantine mosaic.

Saint Andrew is depicted on His one side, Saint Paul on His other. The saints' tempera-painted eyes, their unfettered focus -- like Abigail’s -- on their savior. “Even in an enlightened world, we come here to feel closer to God.”

“Do you feel closer to God?” Abigail asks, as I adjust my FBI identification Badge. Because Will and Jack were forced to retire from the Bureau, I have become the Acting Head of the BAU. alongside some new profilers, Gideon and Rossi.

“God's not who I came here to find.” They move further into the chapel, admiring its beauty. Abigail notices a PRIEST watches them; she stares at him a moment, then averts her eyes. “Do you believe in God?” Abigail wonders if she does even as she asks it.

“What I believe is closer to science fiction than anything in the Bible.” Abigail notes the various people sitting and praying; she speaks low so only Will can hear her: “We all know, but no one ever says God won't do a Goddamned thing to answer anybody's prayers.”

“I'm sure answering prayers can be complicated, otherwise He would do it all the time. God can't save any of us because it's inelegant.”

“God allows bad things to happen because it's... elegant.”

“More elegant than stopping the universe to prevent an earthquake, put out a fire, cure cancer. Elegance is more important than suffering. That's His design.” I say as I stand from a Pew.

“You talking about God or Hannibal?” Abigail asks, “Hannibal's not God. Wouldn't have any fun being God. Defying God, now that's his idea of a good time.” I chuckle and rub my belly. Will raises his head, taking in the murals of saints and apostles that decorate the gilded ceilings.

“Nothing would thrill Hannibal more than to see this roof collapse midMass, packed pews, choir singing. He would just love it. And he thinks God would love it, too. Thats What Hannibal sees when he steps inside the frescoed walls of his own mind.”

“Do you feel closer to him here?”

“This isn't Hannibal, it's just where he begins. Beyond this, far and complex, light and dark, is the vast structure of his mind. A thousand rooms, miles of corridors. Everything he remembers, wonderfully and fearfully reconstructed.”

“Why "fearfully"?”

“Hannibal is well armed against the physical world, but there are places within himself he can't safely go. But we can. If we find them. And that's how we'll find him.” Will says as he moves my hair out of my face.

NORMAN CHAPEL - NIGHT-

A HORRIFIC TABLEAU In the center of the chapel's floor, constructed directly above the inlaid skeleton. At first glimpse, it appears to be A HUGE HUMAN HEART. But a second look reveals it's A MAN'S BODY, SKINNED -- limbs and back broken and folded to create the anatomical parts and chambers of the organ. The victim's head, hands and feet are missing, stumps portraying the muscle's severed vessels.

The faux organ hovers above the floor, supported by a makeshift tripod formed by a TRIO OF SWORDS run through the body. Down each blade, blood trickles. A bloody valentine awaiting its intended

NORMAN CHAPEL – DAY-

The white sheet belongs to a row of HOSPITAL PRIVACY SCREENS being erected around the broken and mutilated corpse. VARIOUS POLIZIA SCIENTIFICA AGENTS are busy working around the body. Camera FLASHES bounce off the white sheet dramatically. passing the priest speaking to a local officer, INSPECTOR DONAGGIO, in hushed tones.

Will and Y/N as they enter the chapel, moving with inconspicuous purpose through the CSI agents, reacting to the silhouette of a beating heart near the altar.

“Its him?” Before Will can respond, We’re rapidly approached by a Palermo poliziotto, named LAMANNA, who holds up a waving hand: “Per favore, signore. È proibito qui. La cappella è chiusa.” Will nods to the poliziotto, his eyes still on the display.

“I'm sorry, I don't speak–” Will says confused, I roll my eyes and am about to respond when- “The chapel is closed.”

“Signore…sono la dottoressa Y/N L/N, capo dell'unità di analisi comportamentale dell’FBI.” I try to introduce myself, But the Man is already gone…Me and Will turn to leave, trying to glimpse what we can of the crime scene investigation.

We see Inspector Donaggio talking with the priest, who is now pointing in Will's direction. Donaggio shouts across the chapel at Poliziotto LaManna and Will: “LaManna, non lasciarlo uscire. Voglio parlare con lui.”

“What did he say?” Will turns to me, “He said, he wants to talk to us.”

PALERMO POLICE STATION - BULLPEN - DAY-

past rows of desks, various POLIZIOTTI working in an office haze, some at their own desks, others gathered around Inspector Donaggio's desk.

Will and I sit in a row of empty chairs, a common area, waiting to be summoned for questioning. “Signor Graham...Dr. L/N….” We turn to see CHIEF INSPECTOR RINALDO PAZZI sitting down in a nearby chair. Even as he speaks, he sits facing forward as to obscure the obviousness of their conversation. “Chief Investigator Rinaldo Pazzi. Questura di Firenze.”

“You're a long way from Florence.”

“You're a long way from Baltimore. I read everything I can find on FBI profiling methods. I've read all about your incarceration. Its nice to meet the new Head of the BAU.” Pazzi says, shaking my hand. I smile softly.

“Keep reading. I was acquitted.”

“You come to Palermo and soon – very soon -- a body is discovered, sculptural in its mutilation.” Will doesn't respond. “The priest at the Cappella dei Normanni said you've been spending a lot of time there.”

“I've been praying. Haven’t you heard, I'm going to be a dad.” Will’s hand graces my lower back.

“There is some comfort in prayer. It leaves you with the distinct feeling you're not alone. Will studies Pazzi a moment, and then: “Signore…” Will turns to see Inspector Donaggio walking toward us, signaling for us to follow.

“Vieni con me.” As Will rises and follows Donaggio back to his desk, he glances back at Pazzi one last time. “Ciao.” I smile back, “Ciao.”

PALERMO POLICE STATION - STAIRWELL - DAY-

Will makes his way down the stairs, Guiding Y/N carefully toward Abigail who is waiting on the landing below. He smiles, happy to see her; she indicates Inspector Pazzi leaning against the bannister, a yellowing envelope tucked under his arm.

“Is Will Graham and The Head of the Behavioral Analysis Unit here because of the body at the cappella, or is the body here because of Will Graham and Dr. L/N?” Will glances at Abigail who moves off inconspicuously. “Why are you here?”

“I'm like you. I do what you Two do. We share the gift of imagination.”

“I've got the scars of a man who grabbed his gift by the blade.” Will says as he rubs my belly. “You grabbed the wrong end. Those moments when the connection is made, in that synaptic spasm when the thought drives through the red fuse, that is my keenest pleasure.”

“Knowing.” I say softly. “Knowing. Not feeling. Not thinking. You know who murdered that man and left him in the Cappella Palatina.” Pazzi looks at me, I tilt my head with a smile. “Don't you?”

“I met him twenty years ago. Il Mostro, the Monster of Florence. It was his custom to arrange his victims like a beautiful painting.” That gets our attention. “Il Mostro created images that stayed in my mind. I can still see his tableaux peripherally.”

“Like looking beside an object to see it in the dark.” Pazzi takes PICTURES out of the yellowing envelope tucked under his arm, hands them to Will.

“Twenty years ago, I was dwelling on a couple found slain in the bed of a pickup truck in Impruneta…...bodies placed, strewn and garlanded with flowers, the woman's left breast exposed.”

PALERMO POLICE STATION - STAIRWELL - DAY-

“Like a Botticelli.” I say, I rub my belly. I gaze at the macabre art made from bodies in front of me. “Exactly like a Botticelli. His painting Primavera still hangs in the Uffizi Gallery in Florence, just as it did twenty years ago.” As Inspector Pazzi pulls another picture from his envelope...

BOTTICELLI'S PRIMAVERA; The painting depicting a group of mythological figures in an orange grove.A woman in diaphanous white is being seized by a winged male from above. His cheeks are puffed, expression intent, and his unnatural complexion separates him from the other figures.

“The garlanded nymph on the right, her left breast exposed, flowers streaming from her mouth as the pale Zephyrus reaches for her.” Pazzi Explains, Will looks at the picture of the Botticelli, and the dead couple who honor it.

“Match. Match.”

“At the Uffizi Gallery... that's where you met il Mostro.” I look from the bodies to Pazzi with curiosity. And he lived this long to tell the tale. Hmm.

“That's where I met this man.” Pazzi produces a BLACK-AND-WHITE PHOTOGRAPH from the yellowing file folder, and Will takes it.

Its subject – HANNIBAL LECTER- Twenty years younger.

“The Monster of Florence.”

UFFIZI GALLERY - DAY-

Primavera hangs in the sparsely-populated museum. “To find the inspiration il Mostro used was a triumph. I went to the Uffizi and stood before the original Primavera day after day, and most days… I’d see a young Lithuanian man as transfixed by the Botticelli as I was. As transfixed as I imagined il Mostro would be. And every day I saw him…”

“...he would recreate the Primavera in pencil, just as he did in flesh.”

NORMAN CHAPEL - TWILIGHT-

Somber shadows have replaced stained-glass daylight. Will and Y/N stand with Inspector Pazzi in the empty church. Evidence of the crime scene investigation is still present, but the sculpturally-mutilated body has been removed.

“I knew. It was the best moment of my life. A moment of epiphany that made me famous and then ruined me.” Will reacts; Inspector Pazzi is a pale, older version of himself, with an entirely-different history with the Monster.

“In haste and heat of ambition, the Questura nearly destroyed the young man's home, trying to find evidence.”

“He doesn't leave evidence.” I say knowingly…..Pazzi Looks at me. “No, he doesn't.” I smile; “He eats it.”

“Another man -- not an innocent man, but innocent of those crimes -- was a dream suspect. He was convicted on no evidence except his character.”

“Blame has a habit of not sticking to Hannibal Lecter.” Will says knowingly. “It has a habit of sticking to you.” Uncomfortable memories, all too raw. In the background, the DULL BANGING of a door as a POLIZIOTTO enters:

“No, no. La chiesa è chiusa. Questa è ancora una scena del crimine.” Pazzi hands Will a folder full of crime scene photos, and approaches the poliziotto, showing his badge.

“Commendatore Rinaldo Pazzi. Questura di Firenze. Sto consultando sull'inchiesta.” Pazzi guides the poliziotto to the exit. “Posso parlare con te fuori?”

We watch as Pazzi glances back over his shoulder one last time before disappearing with the poliziotto. Will stands there a moment, holding Pazzi's crime scene folder. “My love?” I say softly, “Hmm”

“Open the Folder.” Finally, almost reluctantly, he pulls a single photo from the folder.

He takes a breath, exhales, then closes his eyes. We hear the slow THUD of his HEARTBEAT keeping rhythm with the AMBIENT HUM of his CIRCULATORY SYSTEM. A PENDULUM It swings in the darkness of Will Graham's mind, keeping rhythm with his heartbeat. FWUM. FWUM.

His eyes are closed. FWUM. The PENDULUM is now outside his head. It swings behind Will, wiping away the evidence flags. FWUM. The police tape. FWUM.

The HUMAN HEART SCULPTURE. we are no longer in the picture -- The human heart sculpture stands alone as it was intended. Will circles the sculpture, studying it.

“I splintered every bone, fractured them... dynamically. Made you malleable. I skinned you. Bent you, twisted you and trimmed you. Head, hands, arms and legs. A topiary.” The human heart sculpture swells slightly with a low THWUB. “This is my design.”

THWUB-THWUB. The human heart sculpture appears to be beating. Will starts slowly to back away from it, toward the altar. “A valentine written on a broken man.” The body SHUDDERS. One broken arm strains against the cording holding it in place. SNAP! The cord BREAKS and the arm PULLS FREE. Another broken limb BREAKS THE STITCHES holding it fast... and then another...

Bowed in a parenthetical curve, it begins to STRAIGHTEN. Vertebrae realign, setting forth sickly POPS and CRACKS. He stumbles back, unnerved, tripping on the altar steps. More restraints SNAP as another limb realigns... and next, a leg. What resembles a nightmare flower blossoming, the body – still without hands, feet or head -- resurrects its form…

THE BODY, Unfolding now, approximating its original shape, starts crawling forward as its cording and stitching hangs and drags. It crabs forward on stumps and knees. THUD. SLIDE... directly for Will. . FROM THE STUMPS OF THE SEVERED ARMS AND LEGS Horrifying BLACK HOOVES emerge, scraping and pulling at the marble floor, almost fawn-like, as it moves toward Will.

FROM THE SEVERED NECK Two points SPROUT from the raw meat, growing, blossoming bilaterally into familiar shapes -- a PAIR OF ANTLERS. No head emerges to support them -- only the antlers. As the ANTLERED NIGHTMARE that unfurled from Antony Dimmond's corpse is nearly upon him…

NORMAN CHAPEL - NIGHT-

Will leans against the altar, sweating, breathing heavily. He opens his eyes to see Y/N and Abigail walking toward him. “I do feel closer to Hannibal here.” He suppresses a small, uneasy laugh. “God only knows where I would be Without you and Him.”

“What did you see?”

“He left us his broken heart.”

“How did he know we were here?” Abigail asks, In our shared delusion I know its not her. Its a figment of what we want to be reality.

“He didn't. But he knew we'd come.” I say softly. “He misses us.” Strange for Will to consider, but he remains suspicious. “Hannibal follows several trains of thought at once without distraction from any, and one of the trains is always for his own amusement.”

“He's playing with us.”

“Always.” I smirk softly, I take a seat on the steps. My back is killing me, between the heels and the belly. He tosses the photos of the broken man heart on the altar, steps in front of Abigail. “You still want to go with him?”

“Yes.”

“He gave you back to us. Then took you away. Lucy and the football. He just keeps pulling you away.” Will is contemplative a moment, then suddenly sad: “What if no one died? What if we all left together? Like we were supposed to. After he served the lamb. Where would we have gone?”

“In some other world?”

“In some other world.”

“He said he made a place for us.” Will fights back his emotion, then: “A place was made for you, Abigail, in this world. The only place we could make for you.” Abigail looks up at Will and Then to me.

the – NEWLY-HEALED SCAR On her neck DARKENS. The broad line of shiny tissue grows red, like a second smile drawn in lipstick. And then it SPLITS and starts to BLEED. And bleed and bleed. It's a mortal injury -- the same one that left Abigail dead on Hannibal's kitchen floor. Our punishment.

Red pulses down Abigail's front and neither me nor Will try to stem its flow. His eyes unwavering from Abigail's until we reveal no one is beside Will. No one but Y/N.

He's seated in front of the altar, hand on his Fiancee’s belly.

the chapel, finding the CHORUS OF SAINTS AND APOSTLES, a streaming drapery of figures painted onto the high walls and ceiling. CAMERA continues to prowl until it focuses on one figure in particular.

reveal the figure is not part of the extensive mural; it is, in fact, HANNIBAL LECTER. He looks down at Will and Y/N sitting stoically at the altar. Hannibal watching, not moving, part of the chapel...

NORMAN CHAPEL – NIGHT-

Pazzi enters from the back of the church, calling out: “Are you praying?” Will considers that, shakes his head, then: “Hannibal doesn't pray. But he believes in God. Intimately.”

“I wasn't asking Hannibal Lecter.” Will's eyes are drawn to the ceiling and the murals overhead. He strokes Y/N’s back as she rests her head on his shoulder. “I think my prayers would feel constricted by the saints and apostles and Jesus Pantocrator.”

“Not buoyed?”

“Not these prayers.” Pazzi looks to the ceiling, following Will's gaze. “I hope my prayers escaped, flown from here to the open sky and God.” Will stands and helps Y/N as he does so, exploring the vicinity of the crime scene. “Praying you catch him? You should be praying he doesn't capture you.”

“I didn't head the Questura di Firenze for nothing.” Will glances into the GATED STAIRWELL under the pulpit.

“You couldn't catch him when he was just a kid, what makes you think you're going to catch him now?” I ask curiously “You.” A small, polite scoff from Will, unable to take his eyes off the small stairwell to the catacombs. I roll my eyes.

“What makes you think we want to catch him?” Pazzi studies Will -- does he mean to kill Hannibal?

The volume of his CIRCULATORY SYSTEM rises in his ears, drowning out Pazzi speaking in the background.

the gate, OVER THE LIP OF THE FLOOR, to find a small series of steps leading to a WOODEN DOOR. A small gap between the door and the landing. BLOOD starts to seep under the door. He stares, the sound of his CIRCULATORY SYSTEM fills his ears with a rhythmic ebb and flow.

Will slowly turns back to Pazzi. “If you could possibly be content, I would suggest you let il Mostro go.” I say softly, “Can't do that any more than you can.”

“He's going to kill you, you know. Usually right about these things.” Will says, all politeness out the window. “He let you both know him. He sent you his heart. Where has he gone now?”

“He hasn't gone anywhere. He's still here.” Will's glance down the stairwell, to the catacomb door…

NORMAN CHAPEL - CATACOMBS - NIGHT-

The catacombs are flooded with BLOOD-TINTED WATER. through the long corridor, like exploring a sunken submarine, passing SUBMERGED CORPSES, Will floats in the flooded corridor, holding his breath. As he can't hold his breath any longer.

He squeezes his eyes closed, and we... He opens his eyes, no longer submerged in his subconscious, and takes a small breath, preparing himself. We are --

NORMAL CHAPEL - CATACOMBS - NIGHT-

Punic stone two millennia old. Will listens, carefully monitoring his breath. He sees the walkway, weaving through DOZENS OF MUMMIFIED CORPSES, leads down into a darkened maze, only partially illuminated by infrequent candlelight. Following the ancient fortress wall as it leads him deeper into less-aged corridors of the chapel's crypts and catacombs.

Overhead, bare bulbs occasionally light the way, but mostly the underground circuit remains shrouded in shadow. In the distance ahead, Will hears unhurried footsteps. “Hannibal.”

The unhurried footsteps stop as Will’s shout echoes along the passageways. No reply. A moment, then the footsteps resume their march.

Will arrives at a fork in the corridors and he considers his choices. Clicks of Heels behind him. “Y/N, are you insane?!?” Will turns around. “Honey, we know this already, I am no more sane than you.” I chuckle.

“This was stupid, you are 8 months pregnant. You shouldn't be down here.” I give him a look. Footfalls come deep from within the darkness; someone is there. Will runs after them, dogged, into the black. I slip off my heels and follow as quickly as I can.

A moment behind Them – PAZZI Arrives at the head of the walkway. He draws his gun and pauses for only a second before he follows Will and Y/N. As the black swallows him as well...

We Pause at a JUNCTION in the subterranean maze. It widens to include a SERIES OF PILLARS, adorned with MUMMIFIED CORPSES, surrounded by passages branching off in different directions. The clatter of footsteps changes. Due to the shape of the gallery and the conducting power of the walls, the sound RICOCHETS, seemingly coming from both directions...

Another beat and Will looks to his rear, realizing it’s no trick of sound -- someone is behind him as well… PAZZI Continues his pursuit as quickly as the darkness allows. His breathing is heavy and his gun leads him like a dowsing rod, his finger on the trigger.

PAZZI Hears only his own footsteps as he arrives at – THE JUNCTION

The same one Will and Y/N encountered. Pazzi slows, taking in the pillars and the many passages... any of which Hannibal or the couple might have taken. He pivots, the seasoned cop, but there are too many blind spots. Too many angles to cover.

“Signor Graham...Dr. L/N” Suddenly – We Approach from behind Pazzi; the inspector is spun around. We’re Calm, quiet, yet unnerved. “You shouldn't be down here alone.”

“I’m not alone. I'm with you two.” I laugh softly, like that would protect him. “You don’t know whose side we’re on.” Pazzi stares at Will, cautious. “What are you going to do when you find him? Your il Mostro?”

“I'm curious about that myself.”

“You and I carry the dead with us, Signor Graham. We both need to unburden. There's no arguing the point.”

“Why don't you carry your dead back to the chapel before you count yourself among them. Will drifts away from him. “You're already dead, aren't you?” ...disappearing in the dark. “Buonanotte, commendatore.” I dismiss him. He stands there in the dark, alone. Listening.

Hannibal has not slipped away. Still and silent as the stone itself, he waits like a spider for Pazzi to come his direction.

Pazzi takes a last look in the darkness where Will disappeared, and he starts back toward the tunnel entrance. He moves deeper into the catacombs. preceding him and, as Will passes the pillar where Hannibal was concealed, we see Hannibal is gone -- no one is there. Will pushes forward...

Will’s imagination has flooded the catacombs in blood-red water. Treading deeper into the tunnels, propelled by guilt. No one materializes and Will moves on nevertheless… No intermittent bulbs light the passage. The frame of the corridor is lost to near utter darkness. Will pauses again.

“I forgive you.” His voice RINGS down the depthless inky black. I place my hand on his back, softly scratching it. I forgave Hannibal long ago….I was just waiting for Will to.

HANNIBAL Stands, hiding among the mummified corpses. He hears the plaintive offering -- and the echo that answers it -- but he says nothing in reply. Instead, Hannibal takes a silent sidestep and is swallowed entirely by the shadows.

WILL Stands, forlorn, with only darkness behind him, awaiting a response that is not to come.

[jeannereames]

As Chilliarch / official second-in-command / right-hand man to the king, what would Hephaistion (or anyone else in that position) have been expected to do? Like if there was an actual “job description” for the role, what historically do you think it would have entailed? From what I can gather, he was essentially expected to:

Field requests to the king or handle them himself otherwise(?)

Oversee internal structural matters, from administration to cultural integration

Curious to know what else would have fallen under his purview.

It also seems to have been a civilian position, i.e., would that mean he'd still have to serve on the battlefield if called for it?

So, this would be a rather complicated, extended answer. Ergo, I’m going to duck this one with a “It’s too long to address as a post." It’s literally part of the book I’m writing. :-D

A couple of quick comments. The Chilliarchy appears to have been based on the Persian office of hazarapatish. Dandamaev and Lukonin address this role in their very important The Culture and Social Institutions of Ancient Iran. In this, they try to give solid definitions of institutions that were fluid and changed over time, which is my main critique of what is otherwise an EXCELLENT book on Achaeminid Persia. Go Forth and Purchase, if you’re interested.

How Hephaistion modified the hazarapatish role or planned to (he didn’t hold it very long before he died, I suspect), is hard to say. It seems to have been a largely civil-service role that had a limited military aspect. But it changed, morphing over time as necessary.

Below are three articles, including one of mine. Don’t go back to my dissertation; there are some wrong things in that. The article is better, but I’ll still modify some of it. Although the Charles article was published after mine, he doesn’t cite mine, but he’s also not focused entirely on ATG. Listed from most recent to earlier.

Michael Charles, “The Chiliarchs of Achaemenid Persia: Towards a Revised Understanding of the Office,” Phoenix 69 (2015) 279-303. (This one does not appear to be available free.)

Jeanne Reames, “The Cult of Hephaistion,” in, Responses to Oliver Stone's Alexander: Film, History, and Cultural Studies, Paul Cartledge and Fiona Greenland, eds. Univ. of Wisconsin Press, 2010. (The second 2/3rds discusses Hephaistion's military and diplomatic role, including the chiliarchy.)

Andrew W. Collins, “The Office of Chiliarch under Alexander and the Successors,” Phoenix 55 (2001): 259–83.

[denimbex1986]

'Andrew Scott has said he “enjoys being gay so much, on so many levels”, and says he feels “lucky” to have been born that way.

Speaking to Attitude about his upcoming film, All of Us Strangers, the Irish actor said it was an “extraordinary privilege” to play the character of Adam in Andrew Haigh’s acclaimed drama.

Scott stars alongside Paul Mescal in the film, which follows screenwriter Adam as he is drawn back to his family home, where he connects with the ghosts of his parents, who died in an accident thirty years earlier.

Based on Taichi Yamada’s 1987 novel, Strangers, the movie explores themes around grief, coming out and loneliness, as Adam and his neighbour Harry (Mescal) find solace in each other.

“I wanted to bring as much of myself as I could, because I feel that’s what the audience is going to relate to the most,” Scott said, adding playing the role had been “cathartic”.

Another of the themes of All of Us Strangers is that his character would have grown up in “the shadow of Aids”, while Harry is younger, meaning the way they relate to their sexuality is vastly different.

I certainly know that the shadow of Aids was looming when I was growing up in the nineties,” Scott went on. “And, of course, that’s going to affect the way we think about sexuality, in the sense that [we felt we were being] punished for being physical or for expressing love.”

The emancipation from that feeling of shame after the crisis is “one of the wonderful things” about being gay, the Fleabag star said.

“I enjoy being gay on so many levels, it’s such a wonderful thing to me. It’s an extraordinary gift and just to be able to see the real beauty in being gay is completely wonderful.

“The older I get, the more I feel lucky to have been born gay, and that pervades my life in the sense of all my friendships. I have so many amazing queer friends [who] I just adore.”

And when he sees same-sex couples holding hands on the street, “I’m like a little weirdo. I’m smiling at them. They’re like: ‘What’s that dude smiling at us for?’ Because I just think it’s so wonderful.”

All of Us Strangers representation of LGBTQ+ romance is critical, Scott continued.

“When we read positive things or see representation on screen, when we see ourselves, we think: ‘Oh, well, we can forge a way in the world’. That’s why a movie like this is so important, because it’s incredibly compassionate and tender, but it also doesn’t erase the fact that it’s painful and it can be lonely being gay.

“There’s a certain thorny path that we all have to go to in order to find love, not just in another person, but in ourselves.”

Scott also believes the phrase “openly gay” should be retired for good, and replaced with the word “out”, with the former phrase making him “uneasy about what it implies”.

He explained: “I do understand that historically we need a word to recognise the fact that there are sometimes people who are gay, but, for whatever reason, aren’t able to be open about it. I totally get that. And so, I just feel the word ‘out’ does that. It’s simpler. It does the job, with less implications.”'

[justforbooks]

Towards the end of his life, the actor Adrian Schiller, who has died unexpectedly aged 60, found success and sudden fame in two blockbuster TV shows: The Last Kingdom (2018-22), on Netflix, in which he played the richest man in medieval Wessex, Aethelhelm; and ITV’s drama Victoria (2016-19), as Cornelius Penge, a footman in the royal household.

In both, a fleeting glance would suggest that here was a naturally authoritative actor, blessed with gravitas and style. This camouflaged the demonic comic spirit within, which had informed so many of his memorable stage performances since he first appeared in the German Expressionist Carl Sternheim’s 1911 play The Knickers at the Lyric, Hammersmith, in 1991. In a delicious comic performance, he played a weak-chested Wagner-loving barber thunderstruck by a flash of discarded lingerie as the Kaiser drove by, suggesting, said the Times critic, “a tousle-headed combination of Charlie Chaplin, Egon Schiele and Gollum, whose idea of romance is reading extracts from the Flying Dutchman”.

Schiller proceeded to leading roles with the Royal Shakespeare Company in the 1990s – his Porter in a disappointing 1996 Macbeth was the funniest I had ever seen, while his entertaining Touchstone in an awful 2000 designer knitwear production of As You Like It rescued another dud evening.

He was less prominent in some strange productions at the National – Peter Handke’s wordless The Hour We Knew Nothing of Each Other in 2008, as one of 27 actors playing 450 characters in a town square, coming and going with no interaction, and as a revolutionary tailor in a poor 2013 retread of Carl Zuckmayer’s 1931 Captain of Kopenick, in which Antony Sher did not eclipse memories of Paul Scofield in the NT’s 1971 production.

On the other hand, he was outstanding in Chekhov’s Three Sisters, superbly directed, and modernised, by Benedict Andrews at the Young Vic in 2012, playing Kulygin, a leather-jacketed schoolteacher tragically infatuated with his own disloyal wife; and he was a compelling, original, quietly spoken and sympathetic Shylock in The Merchant of Venice at the Wanamaker, the candle-lit indoor venue at Shakespeare’s Globe, in 2022. The Merchant rekindled the current noise around the play – is it antisemitic or about antisemitism?

In an interview with the Jewish Chronicle, Schiller tilted towards the second view. He averred that he was “a Jew, but not Jewish”.

Schiller was born in Oxford, the second of four children of Judith (nee Bennett), a teacher, and Klaus Schiller, a gastroenterologist whose family had emigrated from Austria to Britain in 1938. When Klaus was appointed a consultant at St Peter’s hospital, Chertsey, the Schillers moved to Surrey.

Adrian was educated at Kingston grammar school and Charterhouse, in Godalming, Surrey, where he pursued a busy life in stage productions. Instead of drama school, he took a good degree in philosophy (after switching from architecture) at University College London, although he always self-deprecatingly said that he majored in “plays and partying”.

His early television career encompassed series such as Prime Suspect, A Touch of Frost, Judge John Deed and much else, through to the first series of Endeavour in 2013. He also popped up in the Channel 4 series The Devil’s Whore (2008) set in the English civil war, and the Doctor Who story strand The Doctor’s Wife in 2011.

One of his most effective cameos on screen was as the barman in a striking government-sponsored advert in the anti-drink-driving campaign in 2007. He leaned deep into the camera with a series of non-equivocal questions to a bemused, unimpressed young glass-holding customer who may or may not have grasped the seriousness of the interrogation.

But he always returned to the theatre, seeking out the most demanding roles with companies who would accommodate him. He gave an almost ideal Cassius, wirily intellectual while bubbling passionately underneath, said Michael Billington, for David Farr’s 2005 RSC touring version of Julius Caesar. In the title role of Tartuffe at the Watermill, Newbury, in 2006, he was cool and venomous, as well as understated, and clearly the star of the show.

And for Stephen Unwin’s English Touring Theatre in 2007, he rebooted the remorseless villain, De Flores, in Middleton and Rowley’s Jacobean shocker, The Changeling. He was more than notable, too, opposite Sher’s Sigmund Freud, as a vividly hilarious Salvador Dalí, in their great encounter scene in Terry Johnson’s Hysteria at the Hampstead theatre, revived there in 2013, 20 years after its Royal Court premiere.

His feature film credits were not extensive, but in 2014 he was well cast as the sardonic high priest Caiaphas in Son of God, Christopher Spencer’s biblical epic. In Sarah Gavron’s Suffragette (2015), scripted by Abi Morgan, he was an imposing Lloyd George, coming round to the persuasion of the militant vote-seeking women led by Meryl Streep as Emmeline Pankhurst and Carey Mulligan as a fictional worker fuelled by the excitement of change and protest.

His last movie, yet to be released, is Red Sonja, in which he plays the king of Turan in a remake of the 1985 sword-and-sorcery Marvel Comics fantasy.

Back on stage in 2023, he returned to questions of Jewish identity and survival in three short new plays at the Soho theatre and a more substantial Holocaust drama, The White Factory by Dmitry Glukhovsky, at the sparky new Marylebone theatre (formerly the Steiner Hall), in which he was a powerful, wise presence in the story of a survivor of the Łódź ghetto in Poland, played by Mark Quartley, adapting to American life in the Brooklyn of the 60s.

At the time of his death, Schiller – who was also a skilled sculptor and guitarist – had just returned from Sydney and the triumphant international tour of The Lehman Trilogy, directed by Sam Mendes, and had been looking forward to the next leg of the tour in San Francisco.

He is survived by his partner, Milena Wlodkowska, a laboratory support technician, and their son, Gabriel, and by his sister, Ginny, and brothers, Nick and Ben.

🔔 Adrian Townsend Schiller, actor, born 21 February 1964; died 3 April 2024

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

[schreibvibe]

oh my god YES you described his earlier characters so well!!! i’m such a sucker for his late 90s-early 00s roles 😩 my fav has to be stuart from kate & leopold (i may or not have his entire passage of time/colourblind dog monologue memorised from watching it so much) 💘 although having watched walking and talking recently for the first time i have to say andrew was adorable too!! as were jerry and carl and hell, even joe (spinning boris)

do you have any favourites?? 🌻

You and me both! That era of his filmography is just (chef's kiss)

I first knew him from Origins, Salt, and Kate & Leopold; out of those three I love Stuart the most because as you just mentioned, that monologue is timeless. TV Tropes said everyone in that movie was cast according to their typecast at that time and his was along the lines of "dorky supporting character, part-cosmic plaything part-comic relief" which as you know was not inaccurate haha

But the best part is how he never fails to make those roles seem so well-rounded, when in the hands of another actor they could've just been milking it for comedy and that's it. It's the small moments like Amelia waking Andrew up so he can hold the steering wheel as she takes off her sweater then letting him to use the sweater as a pillow afterwards. Carl excitedly going up to his idol and freaking him out in the process. Even that stupid little bit when Jerry accidentally dropped the phone on himself. Every single time he takes them as they're written and manages to make them so endearingly human

Sorry talking about his characters from those days always makes me ready to write a whole essay dkfjfkdfhkjdhkf

As for my personal faves, it changes every time but right now it's probably: Chris from Mixed Nuts, Raymond Prentiss Shaw (dare I say his best cinematic performance of all time), both Martys Kantrowitz and Baron, Paul from Spring Forward (which probably only six people have watched including me, but if you or anyone else reading this haven't, couldn't recommend it enough!)

[weclassybouquetfun]

I love awards season, not just to see the films and series I love possibly be rewarded, but because it helps the year go by quickly. My last Oscar FYC event was the day before my first Emmy FYC event. My last FYC Emmy event was late August - my first film awards season FYC event will be this weekend.

Slowly but surely each studio will put forth their FYC slate. So far only a few have updated their page.

Amazon so far has up AIR, AMERICAN FICTION, BOTTOMS, THE BOYS IN THE BOAT, THE BURIAL, CASSANDRO

starring the always excellent Gael Garcia Bernal, with Bad Bunny

GUY RITCHIE'S THE COVENANT, presumably titled as such in case we confuse it for this THE COVENANT.

MORE POTENTIAL OSCAR AND GOLDEN GLOBES NOMINEES

CREED III, FOE starring Saoirse Ronan and Paul Mescal,

A GOOD PERSON, LANDSCAPE WITH INVISIBLE HAND, A MILLION MILES AWAY,

Emerald Fennell's follow-up to PROMISING YOUNG WOMAN, SALTBURN

starring Barry Keoghan and Jacob Elordi

and the documentary SILVER DOLLAR ROAD.

For now Searchlight (a holding of Disney) has gone all in on Yorgos Lanthimos' POOR THINGS starring his THE FAVOURITE star Emma Stone.

The film took the Gold Lion at The Venice Film Festival. While that is the only film they have a page for, their banner includes Taika Watiti's NEXT GOAL WINS, THEATER CAMP, FLAMIN' HOT, CHEVALIER and ALL OF US STRANGERS starring Andrew Scott and Paul Mescal.

Sony has slim pickings for now with only DUMB MONEY, SPIDER-MAN ACROSS THE UNIVERSE and Ridley Scott's NAPOLEON (starring Joaquin Phoenix and Vanessa Kirby) on their site. Surely their big bet is on the latter two.

Disney has ELEMENTAL, WISH, A HAUNTING IN VENICE, Gareth Edwards (ROGUE ONE: A STAR WARS STORY), THE CREATOR starring John David Washington, GUARDIANS OF THE GALAXY 3, INDIANA JONES & THE DIAL OF DESTINY, THE LITTLE MERMAID, QUIZ LADY starring Sandra Oh and Awkwafina and Jeff Nichols' (MIDNIGHT SPECIAL) THE BIKERIDERS starring Tom Hardy, Austin Butler and Jodie Comer, alongside Mike Faist, Boyd Holbrook and Norman Reedus.

WB hasn't updated their site and to me it's the biggest question mark of what their plans are. Surely the will put up BARBIE, but with DUNE PART TWO being pushed to 2024, the question is will they do the bare minimum qualifying run (releasing it in one of 6 cities by the end of the year) without cast promo or just do the campaign for the 2025 Golden Globes and Oscar season.

[allthishumanityforfree]

Would you mind a Gr***e and Andrew timeline? I was trying to work back from Glastonbury to see where she fitted in amongst Andrew and Paul.

From Reddit and G stans:

1) Paul and G first rumoured to be hanging out/dating Oct 23. She has gigs in UK that month. According to G fangirls they parted after 2 months cos "he wasn't over Phoebe".

Andrew in Vanya until end of October 23. We know Paul saw Vanya at least twice.

2) Dec 23/Jan 24 Andrew and Paul hang out a lot, go on GN show like limpets. Baftas and all happened.

3) April 24, G announces she's recording new album The Secret of Us.

Andrew and Paul spotted in NY. Happy selfie.

4) 14th May 24 Gucci party. Andrew and Paul close again.

5) 16th June 24 Andrew turns up at NP marathon. Paul looks v happy to see him. Spotted heading home together.

6) June 21st 24 G's album released. That same day, P and G are seen together at miserable lunch.

7) June 27th 24 Andrew and Paul on AOUS panel. Lots of physical closeness. Confirmed dancing until dawn at Downlow.

8) July 13th 24 G plays Bristol and there are rumours that Paul met her afterwards and she came back to the Chiltern Firehouse to see him. Another spotting at a gig together that week. Basically there were a few little spottings during this week but they weren't viral. G leaves UK by 15th July.

Andrew at Kylie gig with JB. JB blabs A had "good fun at Glastonbury" about a week later.

9) August 24 Andrew and Paul not seen together since Glastonbury at the end of June. G and Paul papped.

Setting it out does make it look like maybe something happened at Glastonbury. Paul was unhappy about idea of coming out? Or he knew he wasn't going to and told Andrew?

He decided that weekend to get together with a girl who wrote an entire frigging album about him, and told Andrew? Or he decided in mid July that this was the direction he was going to take?

Or Andrew decided they weren't going to work out? But then, why is he talking to JB about "good time" if things went very wrong. Because things didn't go wrong until mid-July when Paul met up with G again?

End of June to mid-August is confusing.

Sorry for saga but I wanted to write it down. What's your ideas about all this?

Thank you so much for this. I am so lost and confused about this situation and the timeline. Of course, none of us actually know anything, but when did that stop us?

Well, we know Paul was out at gay bars with Andrew in October, holding his hand and being dragged to the dancefloor. Yeah, he saw the show at least twice and went out for his birthday and at least one other time. He was also spotted in gay bars multiple times.

Of course, Paul was rumoured to have been with 6 or 7 different women during this period as well. I am still not sold on Paul and Gracie being authentic, as the pap walks are obviously staged and the time in line with Gladiator 2 and the drug video. I am not saying they are fake, but the way this is presented to the public is not authentic which then makes me question things.

Yeah, I know think that he and Andrew spoke about this at Glastonbury and things changed that Saturday/Sunday. But also, Andrew has left heart emojis and Nell posted that super couply photo. I am not convinced that is done and I think we will see them again. I suspect it's all gone a bit quiet for promotional reasons but maybe that is just my Mescott delusion.

IDK about anyone else but Paul's whole look, mannerisms and even voice has changed since the Gladiator promo tour started?

[kudosmyhero]

Legends of the Dark Knight (vol. 1) #139: Terror, part 3: Greatest Fear

Read Date: January 24, 2023 Cover Date: March 2001 ● Writer: Doug Moench ● Penciler: Paul Gulacy ● Inker: Jimmy Palmiotti ● Colorist: James Sinclair ● Letterer: Kurt Hathaway ● Editor: Andrew Hefler ◦ Harvey Richards ●

**HERE BE SPOILERS: Skip ahead to the fan art/podcast to avoid spoilers

Reactions As I Read: ● Hugo Strange under the influence of Scarecrow's fear gas. I don't think I've yet seen him so vulnerable… ● Scarecrow asks the panic Strange what his greatest fear is; Strange doesn't give a straight answer--merely continues running through the house… ● …and falls down into a hole, where he is skewered on a weathervane that Scarecrow has placed there o_o ● 3 nights later, at Selina's place with her kitties ● (I'm not a huge fan of her costume having a tail. I prefer her whip serving as a tail-like addition) ● she goes to a warehouse where she expects to find jade cats, but instead she finds a skull in the crate ● fear toxin goes off in her face ● (really unforunate how the artist draws her figure) ● (she looks amazing here, though!)

● she's just woken up to Scarecrow taking her picture ● Scarecrow demands a service, else he'll release her photos to the police and the press ● Selina has little choice but to agree ● 2 nights later, Gordon is surprised to see the Bat Signal shining ● he and Batman arrive at about the same time. Gordon informs him that he was not the one who activated the signal. ● Catwoman reveals herself then ● (seriously, her suit would have to have huge, separately sewn pockets for her knockers to fit into because that is not how boobs look in clothing) ● she tries to convince Batman and Gordon to just let her operate, but when that doesn't work, she leaps off the rooftop with Batman close behind ● Batman dives face-first into a pile of garbage when she moves out of the way (heheh)

● HAHA, ok, that's straight out of Looney Tunes, with the trashcan lid ● (the art in this issues is really good, but the painted-on clothes with everyone is quite distracting) ● heheh, Batman's getting pissed and I'm here for it ● he goes after her, preparing to no longer hold back, when he realizes she's led him to Crime Alley ● the actual fuck? I know this artist can do better than this. Feels like a rushed panel.

● Batman suspects a trap, though only Hugo Strange knows of the alley's significance. Someone is strung up by his heels at the end of the alley ● a hand-scythe comes out… ● feck, the hanging man's throat is cut. or maybe he was fully decapitated? it's hard to tell ● Batman figures that Strange, Scarecrow, and Catwoman are all working together. ● oh, it wasn't a hand-scythe but a full scythe. not that it matters. but I try to correct my info ^^ ● (not that anyone actually reads these. if you do--hello!) ● at least Scarecrow's clothes aren't painted on… ● Batman just keeps getting kicked in the face tonight ● I wouldn't have expected Scarecrow to hold his own so well against Batman in a physical fight… ● ah, and it was a full decapitation! (see? accurate details matter) ● apparently the years Crane was in Arkham, he honed his martial art skills. good on you, Crane! your progress shows ^^ ● Catwoman comes to Batman's aid ● Scarecrow says to forget the photos--she's just been added to his bully list as he runs off ● Catwoman apologizes to Batman for leading him there, and says she had no idea Scarecrow was going to kill that guy ● …but then when Batman turns his back, she knocks him out with the handle of the broken scythe ● 👏👏👏👏

Synopsis: Terrified by Scarecrow and his fear toxin, Hugo Strange leaves his bed and runs through the house of Sebastian Cole. Strange does not recognize the hole which Scarecrow has cut into the wooden floor and, thus, he falls right onto a spike from a weathervane. Strange looks to be mortally wounded and does not move anymore. Now, Scarecrow wants to make his move against Batman whom he calls the big bully. The first step of his plan is to kidnap Catwoman which he actually achieves. Scarecrow unmasks and takes pictures of her face so that he is able to blackmail the female thief.

Two nights later, Captain Gordon goes onto the roof of GCPD Headquarters because somebody has activated the Bat-Signal. He is surprised to find Catwoman responsible, but as intended by her Batman arrives as well. She talks about reaching an agreement and bribing them which of course is no option for either Gordon or Batman. Quickly Catwoman tries to escape and as planned she is being followed by Batman. Interestingly, the hunt leads them into the alley where Thomas and Martha Wayne were shot. A man unknown to Batman hangs in the alley headfirst and then gets beheaded by Scarecrow using a scythe. Then Crane attacks Batman and he actually is able to best him. But then Catwoman interferes in Batman's favor, so Scarecrow flees screaming about how he will use the photos he took from Catwoman. She apologizes to Batman for luring him into this trap, but when he turns his back she strikes him down …

(https://dc.fandom.com/wiki/Batman:_Legends_of_the_Dark_Knight_Vol_1_139)

Fan Art: Cat Woman by Artgerm

Accompanying Podcast: ● Batbooks for Beginners - episode10

[uozlulu]

I want to see the Vampire Chronicles playlist you keep talking about

Thanks for showing an interest in my playlist :D Not only because yay sharing but also this made me weed out all the accidental duplicates and I ended up with like 10 or so fewer songs lol

I should note I think the AMC show had an influence but also the idea of 80's rocker!Lestat did too, so...

Here is the TIDAL link.

I'll list the tracks under a cut since there are so many of them. There's no real set order to them, this is just the order I added them to the playlist.

"You Are My Everything" - Gummy

"Tu Mere Samne" - Lata Mangeshkar and Udit Narayan

"Schism" - TOOL

"Cold as Ice" - Foreigner

"Hold the Line" - Toto

"That's All" - Genesis

"Alone I Break" - Korn

"Physical" - Dua Lipa

"Big Empty" - Stone Temple Pilots

"I Want You to Want Me" - Cheap Trick

"Send the Pain Below" - Chevelle

"Stricken" - Disturbed

"The Music of the Night" - Andrew Lloyd Webber

"Tell It to My Heart" - Taylor Dayne

"Knowing Me, Knowing You" - ABBA

"Total Eclipse of the Heart" - Bonnie Tyler

"Stay (I Missed You)' - Lisa Loeb

"Believe It" - White Lies

"Voiceless Screaming" - X JAPAN

"Slow Hands" - Interpol

"Somebody Told Me" - The Killers

"I Get Weak" - Belinda Carlisle

"Yours" - Conan Grey

"White Flag" - Dido

"Nothing's Gonna Stop Us Now" - Starship

"What's Love Got to Do with It" - Tina Turner

"(I Just) Died in Your Arms Tonight" - Cutting Crew

"I Want to Know What Love Is" - Foreigner

"Never Be Me" - Miley Cyrus

"Fade" - Staind

"Broken Jaw" - Foster the People

"I'm the Only One" - Melissa Etheridge

"I Miss You" - blink-182

"The Metro" - Berlin

"Bigger Than Us" - White Lies

"Love Is a Battlefield" - Pat Benatar

"We Belong" - Pat Benatar

"Ordinary World" - Duran Duran

"Self Control" - Larua Branigan

"Love to Hate You" - Erasure

"Time After Time" - Cyndi Lauper

"Send Me An Angel" - Real LIFE

"Shadowboxer" - Fiona Apple

"Sunny Came Home" - Shawn Colvin

"Sweet Surrender" - Sarah McLachlan

"Possession" - Sarah McLachlan

"Who Will Save Your Soul" - Jewel

"Building a Mystery" - Sarah McLachlan

"It's a Sin" - Pet Shop Boys

"Lose Your Soul" - Dead Man's Bones

"Always Something There to Remind Me" - Naked Eyes

"Pieces" - Sum 41

"Save a Prayer" - Duran Duran

"Psycho Killer" - Talking Heads

"절망에 관하여" - Shin Hae Chul

"Disillusioned" - A Perfect Circle

"Driven Under" - Seether

"Foever Young" - Alphaville

"Give A Little Bit" - Supertramp

"What Is Love (7" Mix)" - Haddaway

"Was That All It Was" - Jean Carn

"Kiss from a Rose" - Seal

"End of the Road" - Boyz II Men

"Baby Come Back" - Player

"I Hate Everything About You" - Three Days Grace

"Vitamin R (Leading Us Along)" - Chevelle

"Voodoo" - Godsmack

"Judith" - A Perfect Circle

"Always" - Saliva

"S&M" - Rihanna

"We Found Love" - Rihanna, Calvin Harris

"Hold Me Now" - Thompson Twins

"Is This Love" - Whitesnake

"Juke Box Hero" - Foreigner

"Go Your Own Way" - Fleetwood Mac

"Bad Day" - Fuel

"Iris" - The Goo Goo Dolls

"The Outsider" - A Perfect Circle

"THAT'S WHAT I WANT" - Lil Nas X

"If You Leave Me Now" - Chicago

"Every You, Every Me" - Placebo

"Infra-Red" - Placebo

"Gay Bar" - Electric Six

"Miserable" - Lit

"Control" - Puddle of Mudd

"Flowers" - Miley Cyrus

"C7osure (You Like)" - Lil Nas X

"Tragedy" - Bee Gees

"소나기" - BOOHWAL

"When Doves Cry" - Prince

"Just a Girl" - Gwen Stefani

"Alone" - Hole

"I Wanna Be Your Dog" - The Stooges

"The Power of Love" - Huey Lewis & The News

"Minor Feelings" - Rina Sawayama

"From the Inside" - Linkin Park

"Home" - Three Days Grace

"Standing Still" - Jewel

"Caged Bird" - RŌGUES

"Told You to Run" - RŌGUES

"TALES OF DOMENICA" - Lil Nas X

"Only" - Nine Inch Nails

"Free from Your Love" - RŌGUES

"Let Me Go" - 3 Doors Down

"Sabotage" - Beastie Boys

"Hotel California" - Eagles

"Blue Monday" - New Order

"我愛你" - Cody・Lee(李)

"Bring Me to Life" - Evanescence

"My Immortal" - Evanesence

"Going Under" - Evanescence

"Gives You Hell" - The All-American Rejects

"Flesh (Paul Oakenfold Radio Edit)' - Jan Johnston

"Blood & Glitter" - Lord Of The Lost

"Breath" - Breaking Benjamin

"Unfinished" - X JAPAN

"The Only Time" - Nine Inch Nails

"Telephone Line" - Electric Light Orchestra

"I Will Always Love You" - Whitney Houston

"Right Here Waiting" - Richard Marx

"Oops!...I Did It Again" - Britney Spears

"I'm So Excited" - The Pointer Sisters

"You Keep Me Hangin' On" - The Supremes

[kalereviews8782]

Review: Compound Fracture by Andrew Joseph White

Enjoyment: 2 / Prose: 2 / Characters: 2.5 / Plot: 2.5

Pros: trans aromantic & autistic representation, communism!

Cons: godawful pacing, muddled themes, too didactic, NOT BELIEVABLE AT ALL (I could not suspend my disbelief here, sorry) (ok now I feel mean listing all of this out)

Fuck, I hate this. I hate that I’m giving Andrew Joseph White a 2 star rating again. As a trans autistic person who vehemently disliked Hell Followed With Us, but loved The Spirit Bares Its Teeth, I was looking forward to another five-star, as I thought White had improved on theming, pacing, and prose. But man, there were a few problems with this one. First, the premise here: Miles, a trans boy, is dealing with a hundred year long violent feud between his family and that of Sheriff Davies, which leads to hate-crimes, murder, political activism, coming out, and more, etc.

Prose-wise, this felt like communist theory (sometimes I’m looking for that, but not here). White dumps paragraphs upon paragraphs of socialist and communist history, facts, and terminology, and repeats the same messages and themes of leftism over and over. Rarely is the reader able to piece things together on their own; no, another paragraph describing socialist history is dropped (even right in the middle of the “action”). Painful and boring reading experience. I want to know the characters, their relationships, their thoughts and feelings, not another textbook-ripped description of a historical event. I think references to these things are good and honestly, I haven’t seen many young adult books this OPEN about communism (that’s why it’s in the pros) but the way it is handled is poor. Speaking of the theming, it also seemed implausible that there is one “bad guy” character here (the Sheriff). That’s not…how things work. There’s usually a group of rich people running the show, not just one guy who is killed and then everyone works together and it’s all good again? What? That’s not how systemic power works. You can’t kill one person and expect change. I also don’t get why you’d go after teenagers and not, like, the people who have power, but OK. Another goodreads reviewer (@mars) describes this point in more detail in their review.

Other points:

*Every character becomes a caricature. The leftist characters are so…well, Tumblr-esque? They all muddled together and didn’t feel like real humans. Same with the “evil” teenagers who, honestly, Miles only thinks for a brief second as “victims” (they’re literally 16 year olds…maybe some more nuance about how they’re children should be discussed? Again, they are pretty garbage humans, but are they really holding all the systemic power in town here? Why would they go after these children and not the Sheriff himself? Seems inefficient but..anyway…). And on this point, I as the reader sympathized with Paul, but it would have been more thematically interesting for Miles to kill him (let him be bad! Let him deal with the consequences of doing something immoral! Instead of having Cooper get all the blood on his hands).

*The Sheriff was so unbelievably evil it made me laugh

*Another point about Cooper and Miles: Miles agreed to killing the other teens with Cooper and then, ten seconds after, Cooper is suddenly a bad guy (?) It just didn’t seem believable how quickly Cooper became the bad guy.

*Saint Abernathy???? What was the point of this ghost? (Don’t answer this; I obviously get the point I just don’t think it was necessary, fun, or well-done)

*Pacing-wise, there was just so much didacticism or sitting around

*Another implausibility is how Miles’s parents don’t freak out when he TELLS THEM THAT HE KILLED SOMEONE????? HUH? They just go “well he must have deserved it” lol what

*And finally, the other implausibility that his parents/family let him go meet up with Noah to “talk” ALONE. Again: what. I hope I’m not the only one here who laughed at this part due to disbelief.

I’m…sorry, I’ll calm down. I’m gonna reread The Spirit Bares Its Teeth (it’s beautiful). I’m still forever grateful that White is out here writing and that teens have these books.

[jtl-fics]

can i get uhhhh. cupcake please. (by which i mean docile bake but like if you wanna send me a cupcake go off)

6-12-24 WIP Wednesday (Closed) | Foxhole Bake AU

Andrew holds out his hand towards Paul Hollywood who looks at him in shock, “You want my phone?” Paul asks.

“I’m not calling him on my international number.” Andrew shrugs.

Paul continues to look at him in shock for a minute before Noel decides to place his own phone in Andrew’s hand. Andrew looks at it and then at Noel before shrugging and dialing a number from memory.

6-19-24 WIP Wednesday Options: HERE