#penny dreadful icons

[editfandom]

Vanessa Ives - Penny Dreadful

[hype-queer-fixated]

Dr. Florence Seward / Penny Dreadful (2016)

[eurydices-carnation]

Hey non existent penny dreadful fandom take some memes

[periodcostumefantasylover]

[2voodoo4u2b]

where selene from underworld?

[iconsfinder]

[thebadtimewolf]

anyway if yall want the free billie icons i made to download as a zips:

lily/brona croft from penny dreadful

betty stevenson from a passionate woman

yerma from yerma

vicky from things to do before you're 30

lillah from two for joy

nicola evans from eternal beauty

karen mars from collateral

grace from beast

hero from shakespeare retold: much ado about nothing

suzie pickles from i hate suzie*

bella from bella and the boys

hannah baxter from secret diary of a call girl

*note: im still adding and making season 2 but season 1 is available.

[belovedcelebrity]

Eva Green Twin Sister Crush Jack Nicholson | Hollywood Spotlight & Mesmerizing Beauty

Eva Green most beautiful talented and highest paid French Hollywood actress, iconic roles in films like 'Casino Royale' and 'Penny Dreadful' series,

French actress Eva Green who is the daughter of actress Marlène Jobert, most talented and versatile highest-paid actress who became famous for her role as Spy Vesper Lynd in Cashino Royale due to which she won a Bafta breakout star awar. Eva Green is fluent in both French and English.

[mindsmade]

Despite the almost painful disconnect he'd felt between himself and the act he'd put on for the sake of passage into Europe ( the act Colonel Brewster paid well enough for ), he feels some sense of self-indulgent amusement following Miss Bellecourt's reply. A chuckle finds itself cut-off after the first syllable.

❛ The sharpshootin' display, huh? ❜ He wonders why. Is it the theatrical distortion of dangers she's never faced, never will face, or the blissful unawareness of the tales the acts are based on? Either way, he can't judge without painting himself the hypocrite: he himself capitalized on the very same atrocities by retelling the stories as if humorous.

As prone to self-blame as he is, Ethan chooses not to spend any further thought on it now. Can he not enjoy a normal conversation with a stranger these days?

❛ Oh, I was a performer, all right ... sharpshooter, in fact, ❜ he gives with a nod and a raise of his eyebrows. ❛ But those days are behind me. Think the act's set to move on soon, too. Off to mainland Europe. ❜ With the ensuing pause, he leans back into the bench, crossing one leg loosely over the other. In a flash, he lets his eyes flit across her hands. Not all fingers are visible given that they're folded, but he spots no ring there. ❛ And what is it a lady like yourself gets up to on a day-to-day basis? ❜

The show's headliner rings a bell, but that’s not what rehones Brianne’s attention — learning that the gentleman arrived with the show does. How one can simply meet just anyone in the park these days is beyond the older lady.

     “You don’t say?” Her voice stretches in response, brows lifting to cull more expression on her quiet facade than she’s shown thus far. Was he part of the production team? She wonders. Or, even more ludicrous, a performer? He certainly has the accent for it, but perhaps that's simply par for his origins.

     The question has her recalling sitting on those uncomfortable bleachers to behold a spectacle that proved far from a leisurely day at the races, to which she is more accustomed. But if Queen Victoria endeavored to enjoy it, so could she.

     “If I had to choose,” she brightly drawls as her hands refold on her lap, “Perhaps the sharpshooting display. If I remember correctly, a person shot a cigar out of a man’s mouth. How dreadful.” An amused hum chases; what an anxiety-inducing show but entertaining nonetheless. “Oh, you couldn’t have been a performer?” Nose pinches a smidge as head cants with curiosity about the role he might have played if only he might continue to indulge her.

[lukaslosteyelashes]

Why is it important that Luka trained with Su-Han

Luka found out Ladybug’s and Chat Noir’s true identity in "Whishmaker". He might feigned ignorance for a short amount of time and also tried to play it cool, but knowing this secret surely weighting on him.

He not only has to play the therapist to basically everyone and be emotionally there for them and give them advices while he just wants to play his music; but he also have to be careful with his emotions if he is not intending to get akumatized and spitting out Paris's iconic superhero duo's civil identity.

Just look at what happened in "Migration".

He almost got akumatized because he felt that what happened between Kitty Section and Bob Ross was his fault. Not only that, but his emotions also told Monarch that he knows Ladybug's and Chat Noir's identity. And because of all that he couldn't calm down to resist the akuma, the only way he saw to escape from that dreadful situation was to break his precious guitar. At the end of the episode he had to flee Paris; he didn't trust himself, his emotions enough to stay, he was afraid that Monarch might try to akumatize him again. Furthermore, he wasn't safe from other akumatized villain's attack either, he couldn't became Viperion, and he didn't want to rely on Ladybug and Chat Noir to protect him.

That's what so frustrating in akumatization. People can't feel their negative emotions and they have to bottle it up or forcefully resist them, which is really unhealthy. Our emotions, be it positive or negative, they're essentially not our enemy we just have to find methods to deal with them.

And that's where Su-Han comes in the picture.

Do you remember what he did in "Furious Fu"?

"My anger is mine, but I'm not my anger."

This dude just got snaped back to existance into a time when everything is completely different from his time, and the first thing he did was to search for the Miracle box. A dutiful guy, indeed. Obviously, he was angry at Fu for a lot of thing, but as soon as he saw the Akuma, he didn't fall into despair or started panicking. No, instead he started chanting the line above to himself, as if he was casting a spell that chases off the butterfly.

What I think he actually did, was that, he controlled his emotions. He accepted his anger, not suppressing it and transformed it into protective barrier, instead of letting it take a hold of him. This method looks more effective than Ladybug's Magical Charms that Shadowmoth easily overpowered.

So, there's a boy who can't seem to cope with his strong emotions; what could be the best solution for him? Mastering the ancient teachings of a guy from an ancient time (I know he's actually not that old). I can't imagine how could they've met or if they know about each other (that Luka's the Holder of that Snake Miraculous and that Su-Han is a celestial guardian of the Miraculous); but Luka's time in Tibet could be very important for his character. He could've learned, not just kung-fu, but also how to repel Akumas, and knowing this technique allows him to return to Paris and become Viperion again since the chances for him to get akumatized lowered.

Last but not least, his Holder friends could take lessons from him for free (he might as well charge them tho) to further decreasing the possibility of any Holders getting akumatized. Jagged, Penny and Fang also learned kung-fu, and they might as well learned the Akuma repelling stuff too, how cool would that be! They could also open studio or something where they could teach those things.

Anyways, I really hope we'll see more Luka in season 6 and that he actually learned how to repel Akumas.

[purpledemonlilyposting]

Lorch is talking about writing again...

[Lily's Post]

Where do I even start here?

Okay first lets define what subtext is. Subtext is when a detail or meaning is conveyed indirectly through tone, dialog, character actions etc.

I talked about gay icon Gus Fring in relation to Lorch's thoughts on villains recently. Him being gay is entirely subtext. Even his final scene in Better Call Saul that practically hits people over the head who didn't pick up on him being gay is still subtext.

Gus is not the kind of man to come out and say "I'm gay", you won't see him at a Pride parade, you won't see him decking Los Pollos Hermanos in rainbow flags during June. That's just not in character for him. And yet both shows still, through subtext, communicated to us that Max was not just his friend and business partner but his lover.

(even the name of their restaurant Los Pollos Hermanos is a clue. It was not unusual for old school gays to just claim to be siblings in order to explain away why they live together)

And Gus' final scene in BCS shows him very much mooning over the sommelier he seemingly often chats with at his favorite bar. But we can also see him decide at the last moment to not get involved as his cold, dangerous drug and revenge filled lifestyle won't allow for love to spring anew. None of this needs to be stated aloud.

Okay with that out of the way lets dissect Lorch's nonsense:

So as usual Lorch's opinions on writing all absolutely come down to her not getting it and being bitter that other people do.

Whenever she talks about writing or fandom it becomes clear that the one thing Lorch absolutely can't stand is not being the smartest person in the room. But she has never been the smartest person in the room. So instead she has to decide that things other people understand that she doesn't are just worthless and overused and need to be done away with.

Subtext, worldbuilding, metaphor, lore, they're all just stupid things people use to SEEM smart, because LORCH doesn't understand them and so they must not matter.

Notice she doesn't give a single example of these things. She just starts with the assumption that people only use subtext because they think they have to or are trying to "look smart" and not because, you know, most audience members don't want to read or watch something that's basically the cliff notes of a story like you do, Lily. Subtext can aid in immersion and believability, especially when it comes to dialog.

You don't understand how to make an analogy either I see.

How the fuck is Lorch putting serialization in the same category as subtext and metaphor. Serialization is a method of story delivery, Lorch. It goes all the way back to dime novels and penny dreadfuls.

Something could be completely absent of subtext and metaphor and still be serialized. The fuck are you even talking about?

People don't "understand your point", Lorch, because you don't know what you're talking about and every single one of your opinions just comes back to your inability to understand narrative and your annoyance that other people do. But instead of expanding your understanding you try to control how people engage with and discuss narrative. You haven't deconstructed shit you just rage like a child at writing techniques that have been refined over centuries.

[goblins-riddles-or-frocks]

Some Nosferatu (2024) thoughts, with spoilers:

The movie felt much more in conversation with Dracula than either Nosferatu movie. And my common complaint about the former is that Dracula is the weakest part of Dracula, which I think ended up being applicable here

Whereas in Nosferatu, Orlok tends to be a much more dynamic and present character. But the interpretation in Nosferatu (2024) is very flat. Orlok is a force of nature, and I kind of get what they were going for with the line “I am appetite” but I was very much missing the Herzog film’s horrible sort of shame and vulnerability. I also just disliked the accent and emotionless delivery

I did enjoy how they built a sense of unease by cutting suddenly ahead in several scenes. Seeing Orlok standing to Thomas’ left several feet away and then suddenly reaching around him on his right. The jump from Thomas being at the table to suddenly sitting by the fire

I liked most of the film’s handling of Thomas’ time at the castle and how terrified he was. Nicholas Hoult portrayed petrifying fear and helplessness very well. The dinner sequence with Orlok was very much just from Dracula, but I enjoyed how quickly and sincerely Hoult managed to sell that he was at the point of shaking and weeping in fear by the time Orlok approaches him

That being said the portrayal of Transylvania was… more xenophobic than most. It leaned fully into all the stereotypes which is disappointing for a movie that came out in 2024

I liked Ellen a lot. I enjoyed how much the movie was solely her story. She felt a bit like a bargain brand Vanessa Ives, which, I’ll take it! I did enjoy how the movie handled her relationship with Orlok and it as a metaphor for enduring trauma essentially

The costuming was very good and there were some very fun shots. I didn’t love the color grading and lighting quite frankly and there were a couple of pretty cheap jump scares

Willem Dafoe was a great Van Helsing (Van…Franz? i think?) he was a fun merging of the eccentricities I enjoyed in the 1992 Dracula take, but was definitely a kinder, more empathetic portrayal. He also just had several very funny line deliveries

Aaron Taylor Johnson’s was the standout performance to me actually. I think he brought a lot of dimension to a very generic role while being mindful that he was just a side character. And his unraveling by the end was well done. I was expecting something more to come of him having the odd bit about snatching his hand away from Lily Rose Depp every time she tried to touch him

Ellen’s Vanessa Ives vibe, and there being a general theme of sexual repression, made me think it was going to be revealed that he was attracted to her and treating her poorly for that reason? But nothing really came of that entire plot thread or the larger focus on him being like a condescending patriarch. But he was a fun character!

I liked the ending decently. Though the imagery was simply not as arresting as the Herzog film’s iconic closing shot. I felt in general, that ending with Ellen sacrificing herself was the only real reason this was a Nosferatu adaptation rather than a Dracula adaptation. And I appreciated that as the linchpin of the movie.

Also the choice to never show Orlok’s face lit clearly until the sun shone on him was a very interesting one. And I enjoyed the unflinching emphasis on how much of a corpse he is. Though at times those elements and effects felt very glossy standard horror to me?

Ellen as a doomed protagonist, coming to terms with her this fact, had some shades of Laura Palmer in Fire Walk With Me. The plot and the realization that it’s either her or everyone succumbing to plague/Orlak running free to kill as he pleases felt much more structured and explicitly stated? Which I don’t mind at all, but it’s an interesting difference next to the more surreal vibes based progression of the two Nosferatu movies. In this sense it reminded me more of Penny Dreadful in how much everything was concrete and characters discussed each realization and its repercussions

[diviningtime]

Some people were just easier to read than others; some required no concentration, their lives and struggles, just coming to Lilia as clearly and easily as reading a page from a book. This one was particularly loud, that even with how Lilia suppressed so much of her gifts, hiding them for both her safety and her sanity, it screamed at her; the torment, the tragic beginnings, the even greater tragedy of her journey, all of it. Packaged into one tiny, pale frame.

"A morning, literal or metaphorical, without light isn't possible," Lilia said, thinking of something her maestra had told her centuries ago. There cannot be light without darkness, just as there can't be darkness without light. That is true for everything, Lilia, including your powers. Her fourteen year old self hadn't been particularly impressed with the advice at the time, but the words had stuck with her regardless all these years. "Apparently not, anyway," she added with a shrug, that familiar self-doubt creeping back in even as she made an irritated effort to ignore it.

"Me?" Lilia's brown eyes widened a little, surprised by the question. People didn't usually ask her for insights into herself, only into their own futures, their own lives. Generally she preferred it that way, having no desire to go on any journey of introspection, much as she might privately admit she needed it.

"Death," she finally answered. "I see Her face, I always have, everywhere. Sometimes it feels like it's all I see." It was why she tried to put her power away, to not use it, to even give it thought. But some things were easier said than done.

She glimpsed Death now. But not simple death, the kind that collected and was done, but something that lingered around. Unnaturally. Something she'd had her own personal confrontation with before, and Lilia pulled back in surprise as she looked at the woman beside her, the words spilling out of her before she could stop them.

"You have a connection to vampires."

She lit her cigarette, the smoke billowing upward from its tip like a phantom escaping into the air. Her search had given her purpose—yes—but had twisted her sense of self, unraveling what she thought she was and distorting the world she once knew. The darkness was both alluring and frightening, a force that drew her in even as it tormented her soul with haunting images.

“I think often of Lord Byron’s words, particularly these past few months. Perhaps I share his fear—of a morning without light.” Vanessa smiled faintly, but it was hollow, more instinct than sentiment, a habit learned long ago to veil the storm within. “Still, it is vital to cling to hope. Even in the deepest darkness, there is always light to be found.”

She had to believe it. She whispered those words like a prayer, over and over, as she knelt on the wooden floor of her bedroom, her knees raw and aching. The icy air from the window crept beneath her skin, lodging itself deep in her bones. Still, she prayed—prayed to persevere, to endure, no matter the army of tormentors that stalked her dreams and waking hours alike.

“And you?” she asked quietly, her gaze steady but searching. “What darkness do you wrestle with? If you would share it with me.”

Her voice carried a quiet urgency, a yearning for connection. To be seen, to be heard. To share in the heaviness, to feel, if only briefly, that she was not alone.

diviningtime asked: "it's always darkest before the dawn " (For Vanessa Ives) / MEME - accepting!

[sparklefiists]

Click the source link for 464 gifs (245x145) of Anna Chancellor in various period roles between 2012 and 2022: Come Away, Downton Abbey, Grantchester, Mrs. Harris Goes To Paris, Penny Dreadful, The Crown, The Happy Prince, The Importance of Being Oscar, We'll Take Manhattan.  All gifs were made from scratch by me so please don’t claim as yours, include in other gif packs/hunts or make edits with them (if you want to turn them into gif icons, ask me first and give credit); I don’t abide by the classic +/- 5 year rule. For full rules, go HERE. Reblog & like if you find them helpful.

Triggers: eating, drinking, smoking, kissing, sex, illness, seizures, character death.

[mittenlady]

it is incredibly easy to tell when people can not write simon blackquill because his speech — at least for his TwIsTeD sAmUrAi persona — is so distinct. it’s difficult for me to explain in words, but if you look at the game transcripts for any period of time you should be able to get a sense for it and it is so aggravating to see fanworks where he isn’t yapping like some victorian era chap with a disposition for the macabre. a heinous fiend pried from the pages of penny dreadful.

“from the outset, i had no intention of paying heed to any of your babble”? bars. he calls apollo a “whelp.” impeccable. “the defendant sought to sow this confusion”? brilliant. “nothing but claptrap and balderdash if you ask me”? iconic. read some 18th century literature or ask the spirit of jane austen for her aid before putting the name of simon blackquill in your mouth my good chap

[wildwoodsgames]

Halloween is upon us, and I am crowdfunding TWO GMLESS HISTORICAL HORROR RPGs with @jdragsky and Possum Creek Games.

Grand Guignol is a London Gothic game of queer monstrosity, fraught intimacy, secret histories, and community on the margins.

(Cover by the incredible @sticksandsharks).

Step into the skins of iconic Gothic monsters seen through a queer lens—the eerie Gate, the volatile Beast, the radical Scholar, the tormented Hunter, or the hopeful Ward—to flirt and feud, tremble and embrace, and hurt and heal each other in the alleyways and parlors of Victorian London.

If you like queer reads of Gothic classics like Carmilla, The Portrait of Dorian Grey, or The Strange Case of Dr Jekyll and Mr Hyde; are a fan of lush bloody shows like Penny Dreadful and Interview with the Vampire; or are fascinated by historic accounts of queerness, this game is for you!

Harvest is a Folk Gothic game about tradition, necessity, and sacrifice, about a remote British island whose golden paradise only brutal ritual death will preserve.

(Cover by the incredible @sticksandsharks).

Don the mask of key figures out of any good folk horror story—the wary Stranger, the generous Old Name, the defiant Young Blood, the wistful Dreamer, the embattled Wise One, and the ambivalent Homecomer—as the omens pile up and time runs out to answer the age-old questions: "Whose blood must be spilled to feed the land? And who will hold the knife?"

If you enjoyed genre classics like The Wicker Man and Midsommar; want your folklore bloody and your horror feral; or are fascinated by regional British superstition and rural clannishness, check it out!

The campaign runs through to the end of the month, so if either of these games speaks to you then grab a copy of your own!