#richard darling

[smbhax]

Master of Magic (C64, 1985)

[oscarwildin]

the academic trinity of “damn it, richard”

[lunariiia]

Yandere Dick Grayson x reader (romantic)

Restraints -. “Be a good girl and sit still. You don’t want me to be unhappy right?”

Dick Grayson scared you. His behavior scared you, his eyes, his demeanor scared you. Everything about him scared you.

It was funny really. He used to be, one of the few people, that you could feel safe with. Now you can’t say the same thing. The start of your relationship was fantastic, some would say it was even perfect.

However, that paradise period was not meant to last. Eventually the cracks in your relationship came to the surface. Dick started to become possessive and controlling. That meant no more free control for you.

No more hanging out with your friends or going to parties and having fun. Suddenly you weren't allowed to dress like you wanted to. There was always a certain way to behave and act. Around him, your family and his. It became too much.

And then one day you decided enough was enough. You certainly couldn't take it anymore and you truly wanted to get away from Gotham City and its never-ending crimes.

You tried as sweetly, as you could be to break up with him. It didn't go too well. It was a train wreck. You could still remember Dick screaming at you. Begging you not to leave him behind.

Crying over your 'so called betrayal.'

You tried to calm him down. You really did. But somehow, he managed to surprise you with a cloak soaked in chloroform. You woke up in a dark room. Nothing like your cozy and warm bedroom. No, this room was cold and filled with shrines of you.

Things you didn't even realize was gone was in here. The walls were filled with pictures of you. Even some of your clothes was laying around. Soaking wet. You didn't even want to imagine what he'd done to your clothes.

It wasn't soon after that he finally decided to visit you. He was happy to see you up and delusional for thinking that you wanted to be here. Again, you tried to calm him down and plead for him to let you go.

He wouldn't listen. Instead, he chose to inject you with a sleeping serum while rocking you back and forth. Whispering how about how much he loved you and that you were going to spend eternity forever.

And that leads to how you ended up in his kitchen. Currently chained up to a chair and eating dinner with him..

Or rather Dick eating and him trying to force-feed you. His actions leave you shaking. Filled with fear.

"Be a good girl and sit still. You don’t want me to be unhappy right?”

He smiled at you sweetly. Like a delusional predator glancing down at their helpful prey. And like the helpful prey that you were. you hesitantly shook your head. "Of course, not Dick."

"Ahh, how adorable you are! I can't wait for all the things, that I’m going to do to you now.

You should've never agreed to that date.

[twixnmix]

Jackie Curtis, Holly Woodlawn, and Candy Darling photographed by Richard Avedon for Vogue magazine on March 3, 1972.

[lady-sophie-kat]

Films with The Secret History vibe

The Dreamers

The Talented Mr. Ripley

Dead Poets Society

Kill your Darlings

Saltburn

The Goldfinch

Atonement (the summer house scenes...)

The Queens Gambit (show)

[thomascromwelll]

I love that he's just there, waiting for Anne to pick him up and hold him so he can cry like a little baby. "it wasn't me, I swear "(˚ ˃̣̣̥⌓˂̣̣̥ )

Anne Neville and Richard III in The White Queen (2013) | 1x09 "The Princes in The Tower"

[tending-the-hearth]

i love when richard armitage plays a character so utterly in love with his partner and who will do anything said partner will ever ask of him and loved the kids around him more than himself and is the biggest bisexual disaster you’ve ever met in your entire life

[fighting-naturalist]

-You're suggesting Osiris is here on Earth, manipulating Dr. Jackson's dreams? -We think it's possible, sir.

[fallen-angel-adam-frankenstein]

Thinking about how the Big Four of dark academia really feels like the Big Three of dark academia that a last-minute addition was added onto, not because it’s any less a part of and representative of the aesthetic but because its mood and message differs so greatly from the other three - that last-minute addition being Dead Poets Society. Hear me out as I rant about character types, classism, doing it for the aesthetic, themes, tones, and substance abuse (and, obviously, spoiler warnings for Dead Poets Society, The Secret History, If We Were Villains, and Kill Your Darlings):

Firstly, I want to draw comparisons between who I consider to be the protagonists of each story, focusing a lot on how I feel that each of them has a barrier between himself and another group of people within the story. Starting with the one that I relate to the most and progressing in no organisational order after that, we have from The Secret History Richard Papen, an English major who came from an impoverished old town in California to the lovely little college in Hampden, Vermont on account of loads and loads of scholarships. Fascinated and a bit infatuated with the Greek class, he is able through partly his own talent but mostly dumb luck to join their ranks, only to find out that the people he admired and romanticised are all a bunch of classist, selfish, rich addicts. Desperately wanting to be a part of this group, Richard has to break the financial barrier (as well as the seclusion engineered by Julian) between him and them in order to get in with the “cool kids.” However, this doesn’t work out for him at the end, as he doesn’t even get invited to their bacchanal or Bunny’s murder and yet has to suffer for the fallout of both events. It’s made clear that this is not the kind of life you want to live, and Richard even returns to California after the main body of the book concludes. Allen Ginsberg of Kill Your Darlings is confronted with a similar barrier, although his is less financial (he’s well-off enough to make it to college without scholarships) and more the sort of subcultural difference between the life he left at home and how Lu and his friends live. Just like Richard, he risks and loses it all to gain the affection of this new group, who, just like in TSH, leave him high and dry in the end. Oliver Marks also risks it all for his group in If We Were Villains, although they don’t necessarily abandon him in the same sense and really he alienates himself by taking the fall for Richard (Stirling)’s death. His barrier is also mainly financial, as he ends up having to pay for Dellecher through scholarships and a work-study deal, something which you can tell he is ashamed about (hmm classicism -_-) as he tries to hide it from the rest of the group, who can all afford the school on their own (or their families can). Since this story differs from the rest because it starts off with Oliver already a part of the tightly-knit group, you can’t really talk about him vying for approval as in TSH or Kill Your Darlings, but the sense of him being a part of a slightly different world is still there. Meanwhile, you don’t get this same sense in DPS. I maintain that Neil is the central figure in DPS, but for the sake of this let’s look at Todd, who does have to make his way into the group after it was already formed. Todd’s barrier is not financial but all in his own head: his social anxiety and awkwardness prevents him from initiating a relationship with any of the other Dead Poets. Because he has this different kind of barrier, it’s easier for him to overcome it, and it turns out well for him in the end, while it doesn’t for the protagonists of the other three stories.

Besides that, the other characters also play a role in how DPS feels separate from the other three. All four dark academia stories are about rich kids at their core, but DPS is the only one that doesn’t feel like it’s about rich kids. Why is that? I think it’s because of how they chose to present the characters. In TSH, the whole main cast, essentially, sucks - Henry is full of it, Bunny has all sorts of problems, Charles is an abusive drunkard, not to mention his incestuous relationship with Camilla, and Francis knows about this relationship and is fine with it, even being fine to casually fuck Charles on top of it (and he’s classist as fuck, but that’s a discussion for a later date). You might think, “oh, but Richard isn’t too bad” - yeah, but he did let them all get away with not one but two murders and was only worried about Charles abusing and fucking Camilla because he felt attraction to Camilla himself, so. Anyway, my point is that everyone in the Greek class is either a rich asshole or wants to be like the rich assholes, so that’s not good. There’s a similar thing in Kill Your Darlings where they’re all addicts and alcoholics and people who generally don’t give a fuck about how other people react to their drama and fun times, and you can see how Lu even uses David and later Allen and then throws them both away casually. Yeah, they have a cool vision of revolutionising poetry, but they’re not really characters that one can necessarily relate to, because they’re all just too caught up in themselves. IWWV, too - you don’t see this as much, but it comes out a bit when Oliver hides in shame the fact that he has to work to pay for school. While IWWV has a cast of characters that I can relate to and like the most out of the three I’ve talked about so far, there’s still a little bit of disconnect, an unattainability about them, and it’s clear that they’re all deeply fucked: Richard, before he died, was an abusive asshole, James killed Richard and then not only started mirroring him a bit when he hurt Oliver but then let Oliver while away ten years of his life in prison for Richard’s death (and either killed himself or faked his death), Alexander got even worse into drugs and then presumably got clean but man did he have PTSD from that school year, Meredith is surrounded by men lusting after her and feels lonely, Wren also has PTSD from that school year, and Filippa . . . got into a relationship with her teacher and we don’t talk about this? So while they’re three-dimensional, engaging, and entertaining, they’re all still just plain messed up. However, the Dead Poets aren’t like this. Obviously, there’s Neil’s suicide, but that’s different - it’s not messed up because he was already messed up, it’s messed up because the authority figures in his life (excluding Keating) messed him up themselves, breaking his spirit with the pressure they put on him and with the criticism of his passion. But to the point, in the sense of the characterisation of the main cast, DPS feels different from the other three because the Dead Poets are three-dimensional, engaging, entertaining, and even likeable in a way that the characters from the other three are not. And they’re all rich enough to attend a very well-to-do private boarding school, but they’re not stuck-up and classist, in fact hardly ever bringing up matters of money and even making fun of the Danburrys a bit. They feel more accessible than any other group does, which is what I respect about them.

And last but not least, the message. As far as the moods/tones and themes of the Big Four go, DPS is the only one with any sort of hope at the ending, and the only one with a “true” aesthetic for the characters to chase. The three of the dark academia Big Four all focus on taking something too far and it going horribly wrong - the Greek class gets so into studying the Classics that they have a bacchanal and kill a man and then kill a man to prevent him from telling someone that they killed a man, which leads to yet another man dead and the rest of them unhappy; the Dellecher fourth-years get so into Shakespeare and the roles they play/their typecasts that Richard ends up dead, Oliver ends up in prison, James ends up either dead or faking his death, and everyone else suffers like I mentioned earlier; and in Kill Your Darlings, David ends up dead, Lu ends up in prison, and Allen ends up expelled. TSH has a very bleak epilogue - Richard is confused and yearning, Charles is still drunk and who-knows-where cut off from the rest of them, Camilla has her dying grandmother to worry about, Henry and Bunny are dead, and Francis is forcing himself to marry a woman he doesn’t even like as a person, let alone not being physically attracted to her whole-ass gender, because he would rather make himself miserable than be cut off from the financial support of his family. Donna Tartt leaves us with a depressing, unsatisfying ending - which is all part of the theme, but I’ll get to its relation to DPS later. All in all, TSH’s tone is a very dark one, and its message to not let yourself get so caught up in the aesthetic that you let yourself fall/sacrifice your morals (and also not to idolise rich assholes because they can and will use you and ruin your life), while relevant and important, is far from inspiring or uplifting. Similarly, they go too far in IWWV, pursuing Shakespeare until it fucks them all up, and it has a similar theme to TSH. Its ending, while I like it better than TSH’s, is still quite pessimistic; there’s a little glimmer of possibility there, but not really all that much, and you get the sense that things are never going to fix themselves. In Kill Your Darlings, too, Lu and Allen get so caught up in the New Vision that they let the rest of their lives fall apart around them, and the ending is a bit confused and “meh.” DPS, however, has a lot of hope in its ending. Yes, Neil’s death was sad, and so was Keating taking the fall for it, but despite that, Keating is able to walk out of that classroom with a smile on his face; the ending isn’t entirely sad, it’s bittersweet. DPS’s message is all about carpe diem, seize the day, make your lives extraordinary, and they all presumably go on to do that (except Neil, who died because he was unable to do that). While the aesthetic the characters chase in TSH sort of hinges on their rich assholery, the aesthetic the characters chase in IWWV more or less depends on their isolation and general fucked-up-ness, and the aesthetic the characters chase in Kill Your Darlings is pretty much based on substance abuse and not giving a fuck, all of which lead to their lives being ruined on varying levels, the aesthetic the characters chase in DPS not only doesn’t really ruin their lives and also seems to be much more attainable in a tangible way. While Keating loses his job, he’s able to walk out of the classroom with a smile on his face because he knows that he did what he came there to do - he inspired his students to live life to the fullest and think for/be true to themselves, which is actually a quite healthy aesthetic to strive for, especially compared to the other ones I’ve talked about. The ending of DPS isn’t entirely happy, but there’s so much hope in it, something which the other three lack, and because of that, it feels separate from them.

Anyway yeah. I’m not going to write a big ol’ conclusion because I’ve already taken up so much space, but yeah. Thanks for coming to my TEDTalk lol.

[anwiel13]

Brussels 2023

My video 😊

[tiredfinch]

he's so hot and we don't talk about it enough.... I need him IN MY BED!!!! or . a time machine and then him in my bed...

[the-black-mask]

Biker Couple © Dennis Hopper Trust; courtesy of Fahey/Klein Gallery, Los Angeles, 1961 💿 The Smiths: The Best Of (L.P)

Andy Warhol's FLESH. Joe Dallesandro (L) Louis Walden (R), 1968 💿 The Smiths: The Smiths (L.P)

In The Year Of The Pig, directed by Emile de Antonio. Marine Cpl. Michael Wynn in Da Nang, South Vietnam, September 1967

Michael Wynn speaks

💿 The Smiths: Meat Is Murder (L.P)

Alain Delon in "L'Insoumis" 1964 💿 The Smiths: The Queen Is Dead (L.P)

Rock n Roll Times/Rockers by Juergen Vollmer, Hamburg, Germany 1961

💿 The Smiths: The World Won't Listen (Double L.P)

Birds of Britain John d' Green 'Alexandra Bastedo' (actress, writer) 1967 💿 The Smiths: Rank (live L.P)

Orphée by Jean Cocteau. Jean Marais, 1950

💿 The Smiths: This Charming Man (single)

East Of Eden by Elia Kazan James Dean, Richard Davalos, 1955 💿 The Smiths: Strangeways, Here We Come (L.P)

George O'Mara (Adonis), photographed by Jim French (Colt Studios), from Margaret Walters’ book The Nude Male: A New Perspective, 1978 💿 The Smiths: Hand In Glove (single)

Women In Revolt, by Andy Warhol. Directed by Paul Morrissey. Candy Darling, 1971 💿 The Smiths: Sheila Take A Bow (single)

T H E S M I T H S

album cover stars

[oscarwildin]

what’s a girl gotta do for a morbid longing for the picturesque

[flowersforfrancis]

Looking for volunteers to come meet in the woods and have a bacchanal with me. And afterwards we might kill a couple people- It’ll be utmost enjoyable and very much aesthetic. Anyone interested?

[metropoliswhite]

"Darling, darling boy. My darling boy. Help me move him. We need to go get him inside. Get him warm. I just need to get him warmed up. Felix, darling, where's your jumper?"

@island-in-the-shadows

[robertxdarling]

Candy Darling by Richard Avedon (1969)