#s: gravitas

[tsunagite]

A slight throwback

Note: Flash and Strozi (and sorta Areo?) doesn’t belong to me

[arolesbianism]

So I’m definitely not the first person to have realized this, but while I was looking through some assets I stumbled across the tomb stone sprite sheet and realized the text was in a funky script, and realized it’s the same script that’s used on a handful of duplicant made buildings such as the super computer, and hastily scribbled down the cipher to the best of my abilities since I couldn’t find an actual font or sprite sheet for it in game

I probably got some things a bit wrong since the text is so small, but I thought I’d share in case anyone else found this interesting 👍

[winksasleeplesseye]

I may or may not have looked at more re4r scenes that are spoilerish and this actually makes me more excited, of course for my peeps not trying to get spoiled I’ll keep it lowkey

[magicalgirlmindcrank]

I suppose I need to decide how long I wanna be cutting willows for on stream before hitting the max.

[horrorpatch]

Official Trailer For Horror Thriller SPRING LAKES!

Gravitas Ventures will release its newest horror thriller, SPRING LAKES! The film will be available on VOD platforms beginning on January 16th. Directed by Ranjeet S. Marwa, the film stars James Bryhan, Rosalind Stockwell, Samantha Loxley. You can watch the trailer below. From The Press Release SPRING LAKES COMING TO VOD ON JANUARY 16TH  Starring: James Bryhan, Rosalind Stockwell, Samantha…

[novaursa]

Web of Gold (honeymoon)

- Summary: Alicent could only watch as you handle her son like a lioness who plays with her food.

- Paring: lannister!reader/Aegon II Targaryen

- Rating: Mature 16+

- Previous part: royal wedding

- Next part: addendum

- Tag(s): @sachaa-ff @alyssa-dayne @oxymakestheworldgoround @purple-1995 @thisbiann @whiteoakoak

The tour of the realm—the grand honeymoon Aegon had so eagerly promised—was supposed to be a diplomatic gesture, a way for you and your new husband to visit various lords and strengthen alliances. In reality, however, it was quickly becoming one of the most entertaining—and slightly absurd—experiences you had ever endured.

From the moment you and Aegon set out from King’s Landing, it was clear that Aegon had no intention of treating this tour with the gravitas expected of a king and queen. He was far more interested in the celebration aspect of things. Every castle you visited, every hall you entered, Aegon treated as if it were a grand feast thrown in his honor, no matter what the occasion.

It started in the Reach, where you were welcomed with open arms at Highgarden by Lord Tyrell, who was clearly under the impression that this would be a formal visit of state. But Aegon, with a goblet of wine already in hand before your first meeting even began, made it quite clear that he had different priorities.

“My lord,” Aegon said with a broad grin, clapping the startled Tyrell lord on the back, “I’ve heard your harvests are the finest in the realm, and your wines even finer. Let’s see if your reputation lives up to the tales!”

You had to stifle a laugh as the poor lord blinked, clearly taken aback, but before he could respond, Aegon had already started ordering another round of drinks for the both of you, as if this were a tavern and not the stately halls of Highgarden. Needless to say, the formal diplomacy soon devolved into an impromptu drinking competition between Aegon and Lord Tyrell, which ended, unsurprisingly, with Aegon declaring himself the victor—though the Tyrell lord was too tipsy to argue by the time it was over.

You leaned over to Aegon at one point, watching him slosh another goblet of wine in his hand as he grinned widely. “Aegon, darling,” you said with mock seriousness, “I do believe we were supposed to discuss matters of state, not… sample the entire vintage of the Reach.”

Aegon chuckled, leaning in to press a sloppy kiss to your cheek. “Oh, Y/N, don’t be so serious. I’m the king; I can do both.” He winked at you, though his aim was slightly off, thanks to the wine. “Besides, isn’t this more fun?”

It was hard to argue with him when you were laughing as much as he was. And while you certainly hadn’t expected the tour to take this direction, you had to admit—it was far more entertaining than sitting through endless, dull meetings.

After Highgarden, you traveled to the Riverlands, where Lord Tully welcomed you with a lavish banquet. It was supposed to be a more subdued affair, given the Riverlands' recent struggles with uprisings, but Aegon once again found a way to turn the evening into something far less formal. By the time the main course had been served, Aegon had somehow convinced the entire Tully family to join him in an impromptu archery competition in the courtyard, all of them still in their fine dinner attire.

“Come now, Y/N,” Aegon called to you from across the courtyard, bow in hand. “Join me! Let’s show them how it’s done.”

You raised an eyebrow, standing at the edge of the gathering with a goblet of wine in hand. “Are you suggesting I try to shoot a bow in this gown?” you asked, glancing down at the intricate layers of silk and embroidery. “I’m sure the Tullys would love that.”

Aegon grinned, his eyes gleaming with mischief. “If anyone can pull it off, it’s you.”

Rolling your eyes but unable to resist, you made your way over to him, accepting the bow he handed you with a flourish. The lords and ladies gathered around watched with varying degrees of amusement, clearly not expecting much from the queen. But with a wink at Aegon, you drew the bowstring and released the arrow, which sailed through the air and landed with a satisfying thunk—right in the center of the target.

The crowd erupted into applause, and Aegon let out a loud cheer, clearly more impressed than anyone else. “That’s my queen!” he declared, throwing an arm around you and pulling you close, much to the delight of the watching lords and ladies.

By the time you reached the Stormlands, word had spread about the rather unconventional nature of your tour, and Lord Baratheon greeted you both with a knowing smirk. “I hear you’ve been making quite the impression across the realm,” he said, his voice dripping with amusement.

Aegon grinned, clearly proud of himself. “Ah, well, I find it’s better to… engage with the people, you know? Keep things lively.”

You smiled sweetly at Lord Baratheon, though you could see the glint of amusement in his eyes as well. “It’s true,” you added. “Aegon certainly knows how to keep things interesting.”

And so it went. Every castle, every lord, every gathering became less about politics and more about the sheer fun of it all. Aegon, for all his recklessness, had a way of turning every situation into a celebration, and while it certainly wasn’t what you had anticipated for your honeymoon, you couldn’t help but enjoy it.

As you sat beside Aegon one evening, the two of you watching the sunset over the Stormlands after yet another lively feast, he leaned over, resting his head on your shoulder with a contented sigh.

“Well,” he said, his voice softer now, the effects of the wine finally wearing off, “I hope this has been everything you wanted, Y/N.”

You chuckled, wrapping an arm around him and resting your head against his. “It’s been more than I expected, that’s for sure,” you replied with a grin. “But I can’t say I’m disappointed.”

Aegon lifted his head, gazing at you with that familiar mischievous glint in his eyes. “Good. Because the fun’s not over yet.” He winked, leaning in to kiss you. “We still have the Westerlands to visit, and I have a feeling your Lannisters kin will be just as easy to outdrink as the Reach.”

You laughed, shaking your head. “We’ll see about that, Aegon. We’ll see.”

Back at the Red Keep, while you and Aegon were off turning the realm into your personal festival circuit, Dowager Queen Alicent paced the halls with mounting frustration. The soft clack of her shoes against the stone floors echoed through the corridors as she moved from one chamber to another, her face set in a deep scowl.

Every day seemed to bring a new report of Aegon’s increasingly ridiculous antics on this “honeymoon tour.” The letters from various lords were enough to make her blood boil—lavish parties, archery contests in formal wear, impromptu wine tastings. This was how her son was representing the crown? By gallivanting around Westeros like a drunken fool with you at his side, fanning the flames of his excess?

Alicent couldn’t help but bristle at the thought of you—you with your golden hair and saccharine smile, always indulging Aegon’s whims, always filling his goblet and laughing at his every joke. And now you were doing it across the entire realm, parading around like the perfect, doting queen. It was infuriating.

Sitting in her solar, Alicent could feel her hands clenching around the arms of her chair. "Aegon needs to act like a king," she muttered under her breath. "Not… not like some… minstrel.”

Across the room, Otto Hightower, her father and Hand of the King, sat at the table, perusing a stack of letters. His face, however, did not mirror Alicent’s irritation. Instead, Otto looked entirely satisfied, his lips curved into a subtle, knowing smile as he read through the reports.

“This alliance with the Lannisters,” he said, his tone calm, “is proving to be a stronger one than we could have hoped for. The lords of the realm are very pleased with the union. Aegon and Y/N have created quite the spectacle, and while I’m sure some of it is less… traditional than we might have expected, the results speak for themselves.”

Alicent shot him a sharp look, her eyes narrowing. “You mean to tell me you approve of Aegon turning the tour into a debauchery?”

Otto didn’t look up from the letters, but his smirk widened slightly. “What I approve of, my dear daughter, is that the Lannisters are firmly in our grasp. Jason and Tyland are content with the match, and the realm views Aegon’s marriage as a symbol of unity. The bannermen may raise an eyebrow at Aegon’s behavior, but they cannot argue with the strength of this alliance.”

Alicent huffed, clearly unsatisfied with that reasoning. “And what happens when Aegon’s behavior becomes… more than a mild embarrassment? What then?”

Otto finally looked up, his gaze cool and calculating. “Aegon may be reckless, but he’s still king. And Y/N, for all her indulgence, has proven to be a stabilizing force. She understands what needs to be done, and if she can keep Aegon’s temper in check, then this marriage will be more beneficial than any of us anticipated.”

Alicent pursed her lips, her fingers drumming lightly on the armrest. She hated to admit it, but Otto had a point. You did seem to have a way with Aegon—keeping him entertained, keeping him happy. Still, it grated on her that her son was more easily controlled by you than by her. After everything she had done for him, after all the sacrifices she had made, it was you he turned to now.

But while Otto’s satisfaction was clear, there was another member of the family whose mood seemed far more difficult to decipher. Aemond, who usually maintained his composure with cold, unshakable resolve, had been unusually brooding since your departure with Aegon. He spent hours in the training yard, his sword slashing through the air with a fierceness that bordered on frustration, but he rarely spoke of what was bothering him.

Alicent watched him from her place by the window, her brow furrowing. Aemond had never been particularly fond of Aegon’s antics, but this was different. There was a weight to his silence, a tension in the way he moved. She had tried to ask him about it before, but Aemond had simply brushed her off with his usual vague remarks about duty and honor.

Now, as she watched him pace the yard below, his expression dark and unreadable, Alicent felt her frustration grow. She had come to rely on Aemond’s steadiness, his ability to maintain order where Aegon could not, but something had shifted. He was distracted, preoccupied with something she couldn’t quite place.

When she finally approached him later that day, Aemond was standing by the fire in his chambers, his arms crossed over his chest, staring into the flames as though they held the answers to some unspoken question.

“Aemond,” Alicent said softly, stepping into the room. “You’ve been… distant, lately.”

He didn’t turn to face her, but his voice was low and controlled. “I have my reasons, Mother.”

Alicent crossed the room, her brow furrowed. “Is it Aegon’s marriage?” she asked, though the question felt incomplete even as she said it. “Do you… disapprove of Y/N?”

Aemond’s jaw clenched, and for a moment, the silence in the room was thick enough to cut. Finally, he spoke, his voice cold but with an edge that Alicent hadn’t expected. “Y/N is more than capable of handling Aegon. She does what is necessary to keep him in line.”

The words were calm, but there was something beneath them—something Alicent couldn’t quite decipher. She narrowed her eyes, trying to understand. “Then why are you—”

“It’s nothing,” Aemond cut her off sharply, his gaze still fixed on the fire. “Aegon’s behavior will catch up to him eventually. Until then, there is nothing to be done.”

But Alicent wasn’t convinced. She had seen the way Aemond’s eye lingered on you at the wedding feast, the tension in his shoulders whenever your name was mentioned. There was more to this than he was willing to admit.

She stepped closer, her voice softening. “Aemond, if there is something troubling you, you must tell me.”

For the briefest moment, Aemond’s expression faltered, his eye flicking toward her before he looked away again. His voice, when he spoke, was quieter this time, though the edge was still there. “It’s nothing you can fix, Mother.”

And with that, he turned, leaving Alicent standing in the room alone, more confused than ever.

[consoledacup]

In order to fully understand Colin's reaction to the Lady Whistledown reveal and how he processes everything moving forward, you have to think about the entire season, the entire series really, through his point of view. I have no problems with the part 1/2 split. It made the anticipation that much more intense, and it worked out perfectly with their love story. But you can't separate one part from the other when you're thinking about his character.

In Colin's mind, the end of episode 4 is his happily ever after. That's it. He did it. He took action. He was the Cupid to her Psyche and played god and rescued her from a loveless match. He made shit happen and told her how he felt and they shared that moment in the carriage, and he gleefully proposed. He saved the girl and got the girl, and what a remarkable, enchanting, beautiful girl she is.

And aside from Eloise and Cressida, everyone's obsessed with their relationship. They're the true love match with a great story, and how lucky he is to fall in love with his best friend. And she's showing hints of unease, but maybe that's just wedding jitters. Or maybe she's mourning her relationship with Eloise which is why he keeps trying to get them to make up. Or maybe she doesn't feel as secure with him as she would've with Debling, even though she'd never tell him that. He is the third son after all. And he still has no idea how in love with him she is.

So when she tells him how she's always loved him, he's warmed but also wracked with guilt. Because if he had only taken his stupid head out of his ass, he would've figured out why her letters meant so much to him or why he was eager to participate in an investment with her family or why her lack of response the past summer devastated him. He thought he was the instigator of their love. He's the one who laid himself bare and was like, is it possible you feel a fraction of what I feel for you? And to find out that she did always love him made him feel so undeserving. Because why would this exquisite siren still want anything to do with him after all that he put her through?

There is an incredible scene that I think deserves a lot more gravitas. The minute Penelope mourns Lady Whistledown and burns her issues, it cuts to Colin getting over his writer's block as he writes with great enthusiasm. It's like, he's unknowingly siphoning her power. He is Cupid and a writer and her protector and her provider and so madly in love. And he will finish his manuscript, and he will make things right with Penelope and Eloise. And he and Penelope will have the perfect life together.

And then everything he thought he knew about Penelope, about friendship, about love, is completely shattered. She rips his power from him, and he is absolutely gutted. She has been the mastermind this entire time, and he was none the wiser. And what part of their love story was even real? At which point was he manipulated into doing what she wanted him to do? And while he was helping her with her confidence, and telling her how changed of an individual he was, she not only saw through him but broadcasted his insecurities to the entire ton?

He's still so desperately in love that he remains steadfast in marrying her. But he cannot get over his fury and hurt and betrayal at that point. Which makes so much sense. It's painful to see him lash out and withdraw from her, but he's absolutely reeling.

And on top of all that, he is humiliated. He thinks about everything she said about his own writing. She told him how he made it seem effortless, which is such a great compliment. And he's like, I don't want you to edit my manuscript because I want to prove to you that I'm worthy of you. And he might be thinking, I can even give her some pointers for her own writing! What fun we'll have with more lessons. To find out that she's the talented, sharpest, most prolific writer in the ton fully emasculates him. He feels like she was patronizing him all along.

He brings that part up, and she's like, no, I meant everything I said about your writing. But he doesn't believe her and immediately switches the conversation to her dangerous predicament, so he can at least, at the very least, offer himself up as her protector. It worked before when he danced with Penelope after Cressida ruined her dress, when he rescued Marina from Rutledge, when he helped save Daphne's reputation, when he saved Penelope's family from Cousin Jack, when he helped save Will's business, when he kissed Penelope, when he saved her from the balloon, when he defended her to her mother... If he can't be the provider, he can be the protector. And she doesn't even want that from him. She's the knight in shining armor. She's Don Quixote. Not him. Never him.

So he is grappling with his role in their union. He figures it out, but it takes him a little bit to get there. And in the process, he not only remains in love with Penelope the entire time, but he also falls head over heels for Lady Whistledown.

[midnight-bay-if]

What would the RO's last words be if they were dying in MC's arms?

(Oh, dear... I have a feeling this will be a tough one. It would be easier if I meme'd this, lol. But I will do my best to find the gravitas required for these last words.)

S: "I'm sorry I've let you down."

Rain: "Smile for me, MC. Let me see it one last time."

Taj: "No need to cry, Koel. I finally get to rest."

N: "Try not to fret, my dear... but do remember me, won't you?"

Umbra: "It's time to forget now."

(Ouch. I'm not going to lie; a couple of these hit me probably harder than they will hit the reader for the time being, haha.)

[blue-and-gilt]

17th Century Shell Guard Broadsword

There's something unique about holding a piece of history that dates back four hundred years. They have a presence, a gravitas that, more recent swords lack.

So, what is this sword? The Royal Armouries simply describes the examples in their collection as an early 17th-century broadsword with shell guard (Object IX.172). While Ewart Oakeshott in his book "European Weapons and Armour - From the Renaissance to the Industrial Revolution" describes two types of swords with related characteristics: the German sabre, circa 1540s, with forward and rear quillons, a knuckle bow, and a distinctive shell guard covering the outside of the hand. Plus, the second type of Sinclair hilt, with its one-piece S-shaped crossguard forming the rear quillon and knuckle guard.

At the same time, the Dutch sword historian J.P. Puype describes these as a Solingen horseman's sword of the classical type: "The problem with this type of sword is that so far there has never been written a proper monography on them and that opinions on them are practically always unsubstantiated by evidence. The other problem is that they are often seen as naval but there is more evidence to tell us that they were army swords.

I think that I may be the first arms historian who identified these swords as cavalry swords, but I have to admit that in publications prior to 1998 I (too) identified them exclusively as shipboard cutlasses.

In the 1990s I became increasingly involved in writing publications and doing museum exhibitions on Prince Maurice and the new Dutch so-called  States Army of the 1590s. In the course of this involvement I analysed the pictures by Jacob de Gheyn made during the 1590s of the infantry drill and cavalry drills. These infantry pictures were published in a book in 1607, although we know that its manuscript was already in existence c. 1595-c.1597, but was withheld by Prince Maurice for reasons of security.

Simultaneously, a book on the cavalry exercise was conceived, but its publication was permanently withheld by Maurice, partly for security reasons, partly also because Prince Maurice in 1597 or 1598 abolished the lancers.

Among the cavalry prints the heavy cavalry has as its chief weapon the lance (it was abolished in 1597 or 1598 in favor of the wheel-lock pistol, and the lancers became 'pistoliers'). However, the light cavalry is armed with swords with shell-guard hilts.

So we can only prove that the seashell-hilted sword apparently originated in the cavalry. The earliest proof that I have of its maritime use is after 1700. I do not know how to explain the picture of the French privateer Lolonois of 1684 (the year of appearance of the original Dutch edition) who is armed with a seashell-hilted cutlass with a curved blade with clipped point.

One other of the very few other 17th C pictures I know in which appear  what seem to be shell-hilted cutlasses is on the title-page of a book published in 1673 (see the attachment). There is a heap of apparently seashell-hilted cutlasses in the foreground but it is clear that the hilts are rendered in a wrong version. The blades, however, are curved and with clipped point.

In or before 1978 the wreck of a flatboat was found in the lake what once was the Zuyderzee. This boat was full of arms and military equipment, destined for what were army outposts on islands against a possible French invasion in 1672. Among the cargo were four swords with seashell guards and straight blades. In the attachment are two archaeological drawings.

All this does not bring us definitive answers to the problem when we view the portrait of the French privateer l'Olonnais (spelled as Lolonois) in which he is holding a seashell-hilted cutlass with curved blade with clipped point. I do not know of the actual existence of such a sword - nowhere in the world. I dare not go so far as to suggest that swords of this type may be artists' impressions only but somehow it does feel that way!"

Jan Piet Puype.

In short, these are another variation of military broadsword that would have been common amongst the military armies of the first half of the 17th-century. While it is appealing to look at the portrait of the French privateer Lolonois as evidence that these swords have a naval connection, the unfortunate reality is that the artist likely never met his subject. Furthermore, he made a notable error in the sword's detailing; with the quillon and knucklebow reversed, the sword becomes impractical to wield. In conclusion, we see an artist's impression, not a historical representation.

In German and Dutch references, these swords are called houdegen or houwdegen, which translates to 'hewing sword'. Although short, their weight and broad, double-edged lenticular blades give these swords a no-nonsense functionality. A single fuller runs for the first 20% starting at the guard. The ricasso is a square block with two smaller side fullers running along its length. On both sides of the ricasso is a maker mark of a crown above an O and T. According to the Royal Armouries, this is the mark of a Spanish smith. However, I have seen one text attribute this to a Solingen swordsmith. Given that the blade has ME FECIT and SOLINGEN (Solingen Made Me) stamped into the fuller, it seems more likely that the stamp is either a copy of the Spanish maker mark or one unique to a Solingen blade maker.

The grip retains its' original wire and Turks head knots at each end. It has a pear-shaped pommel with a tang button on the top for the peen. Although I can't be sure, I expect the pommel is hollow, like we see on the Amsterdam Walloon swords.

The S-shaped crossguard and shell guard are two separate pieces that appear to have been forge-welded together. While the hilt and pommel on my sword are solid, the guard is loose. There probably used to be a fabric or leather washer between the blade shoulder and guard to hold them tight. On the inside of the guard, it continues to cover the thumb, curling around on itself to form a thumb ring. This combination of knuckle bow and shell guard offers the wielder a lot of hand protection.

Stats: Overall Length - 870 mm Blade Length - 725 mm Point of Balance - 90 mm Grip Length - 140 mm Inside Grip Length - 80 mm Weight - 900 grams

[lineffability]

The Serpent Files 🐍

chapters: 5/5 rating: M/E wordcount: 13.9k au: human, the magnus archives

summary: Aziraphale works as the head archivist at Eden Institute. Crowley has been supplying them with potentially cursed artifacts over the years -- until he himself gets entangled in a case that turns him from associate to client...

[ art credit and support credit and 1000 hugs to: @chernozemm my beloved ]

start reading:

“Ouroboros. Yes. The introductory statement is meant to be concise, though, akin to a title. You can describe the necklace in detail in your statement, Crowley. Also, I need you to state your name. It occurs to me I don't actually know it. I mean. I'm not saying I want to know your full name, or anything. Just, all these years– erm. You'd have to state it anyway. For formality's sake. We have a system.”

“Sure. So. Name's Crowley.”

“I… know that part. [sighs] Full names, please, throughout.”

“Ah. Anthony J Crowley.”

“I said full names, please. What's the J stand for?”

“Erm. Uh. Just a J, really. Thought it added a certain gravitas, y’know, flair. Je ne sais quoi. Makes people treat you serious, a J like that.”

“Uh. Alright. Well. Anthony J. Crowley, then. I suppose. Seriously? [clears throat] So. Please start from the beginning.”

“Mmmmhhhh wellll. I’ve been coming to Eden for, what, now, six years maybe?”

“I believe so. Yes.”

“Anyway, not like I go here often. We’ve met a handful of times, you and me, maybe nine, ten? I mean, it was ten times. I know. Uh. Not like I counted or anything. Just, coming here, it stays with you a bit, doesn’t it? All that occult shit. Which is why I come here, of course. I’m – what should I call it? A… supplier. Of sorts. I work with – this is confidential, right?”

“Yes. Internal use only. We don’t give out those files. Your words are safe with me. Erm. Us.”

“Good. Right. I work with the Doomsday Group. Can’t really talk about it much, but you’ve heard of them. Shady stuff, crime, theft, trade, religious artifacts, apocalyptic jazz, all that. Supernatural stuff, too, sometimes. Or claimed supernatural. You know I don’t believe in all that. Well. Didn’t. I didn’t believe in it. Now… uh, anyway. Sometimes we get those weird artifacts, right, apparently cursed, so I bring them to you, to, to check, or verify, or call bullshit. Or to lock them away, or whatever you do with them when you buy them off our lot. That’s how we met. Best part of this shit job, really, if I’m being honest. I didn’t ask to be– hm. Wish I could just– ngh. Confidential, right? Wish I could just be done with them. Run off. Can’t, though. But erm. Forget I said that, alright? Please.”

[pause] “You're rambling a bit, de- Crowley. Or should I, should I call you Anthony now?”

“Hell no. I mean – Crowley's fine. You've called me Crowley for years, haven't you? What, now you don't like it?”

“No, no, I do in fact quite – well, for propriety’s sake, the official documentation, I thought – nevermind. So, Crowley, while the background information on your…job is reasonable, might I politely remind you why you’re here? Please talk less about our personal relationship, or at least only insofar as it pertains to the case, and more about what happened to you since… since you put on that necklace.”

“Right. Righty-oh. S’ just, never been in this room before. The tape recorder, all that. I’ve only ever been here as a sort of… co-worker? Nah. You’re not my co-worker, you’re better than that. As a tradesman. So to be here as a client , it feels… surreal.”

“That is understandable. I trust you will muddle through, though.”

“Hey – remember the first thing I said when I came here? Today, I mean.”

[continue reading]

[sgiandubh]

Omg!!! Such great news!

Dear @herethereeverywhere22,

I saw her post almost as soon as she published it. Well, then: karma is a bitch, isn't she? Who would have thought, just six months ago, that such a thing was ever possible?

First and foremost thought: she is apparently not useful, anymore. Too loud. Too proud. And yes, ten years at the epicenter of the Narrative must take a heavy toll on your credibility. Especially since that Remarkable Week-end, and especially since everything you say from that particular moment in time is, IMHO, not even planted, but totally freelanced.

Second thought: it's not too early, it's even late. She's been here since Day One, the ever available Useful (but also Fearless) Idiot TPTB could count on to spread the Anti gospel. She was the main reason many people left this fandom in tears and dismay and frustration. She was the Ur-Troll, the Uber Bully and I find some poetic justice in the fact that the alleged health problem is about her eyes.

Third thought: she did nothing good for S. She durably dented his professional profile and credit, describing him as a piece of meat, a thirst trap and, ultimately, a bore. The amount of childish and parochial bullshit this woman has fed her gullible audience is industrial. It is also very easy to debunk - the Hotel Costes fanfic comes immediately to mind - and I tried my best, something that earned me a 'worst of the worst' mention, if I remember well. For ten long years, she drooled an ocean over his biceps, his Golden Dirk, his supposed sexual prowess. This had to end somehow, someday. Has it?

Fourth thought: with a cool head, I wouldn't be so sure. She is a narcissist and a narcissist always needs a scene, a spotlight and an enraptured crowd. Maybe she found another victim/fandom. Maybe she is just strategically lurking in the shadows, waiting for the right moment to jump back in. Only time will tell. For the moment, her OL reign didn't end in a blaze of glory, but with a fizzle. And make no mistake: the real winner is Marple.

FWIW, I am leaving here two links for two posts about *urv @tpquill wrote quite a while ago. She knows *urv (or Margot, or Elaine Cha Ching or whoever the fuck else she was impersonating on Pufflander's Just Make It A Double) since her Twilight fandom days. Irrespective of anything else, this gives her opinion the required gravitas:

and

And *urv: yours is the second Tumblr blog I found after BIF and the contrast between sterile and filthy was brutal. Good riddance?

[nalyra-dreaming]

Hello nalyra, how are you?

I wanted to ask your opinion on something.

So insofar in iwtv s01 and s02 we have had the portrayal of lestat as the villain let's say that was meant to be shown as incorrect by the episode 8 reveal.

However let's say that the "clues" that we got such as the letter still hold a sinister undertone. Many said that they saw the letter as romantic but it also could sound as a threat. Louis in season 1 ep 6 is seen to be tense verging on scared post drop when lestat yells whereas in ep 2 the jonah incident he yelled back furthering this view.

From the way I think of it, season 3 lestat cannot explain all these events from his pov making himself look misunderstood bc then inadvertently it makes the trial (lynching) version of him and the things he said there be justified and that is too much of an ask from the audience after what ep 7 put louis and claudia through.

On the other hand if he straight up says these things are not true that's not what happened then that would negate most of two seasons and I don't think rolin wants that.

At this point I'm not sure how this would work out without making lestat seem like the repentant abuser and louis the victim of both lestat and armand.

And that sort of sucks cause I'm a huge lestat fan!!

Hey, I'm good, thank you!

Nonny... you have been fed a tale for an effect. An edited (by Armand, who has his own history with Lestat) tale.

Not everything of that tale was false, and Lestat won't go and contradict it, that is not what happens in TVL. Also, the trial was a "show trial", literally. Almost everything they said on that stage there to accuse was BS. When Louis tenses in episode 6 (I assume you mean after the chess game??) it is because he cannot with the aggression, yes, but he also turns the radio louder, because he does not want to hear Lestat's words. Because Lestat knows what they're doing wrong, and Louis does not want to hear it.

Lestat was "presented as a monster" (JACOB's words!!), in order to make the murder of him seem inevitable.

The letter was romantic, Sam has said in an interview that Lestat wrote it as a bit of a contingency plan.

Season 3 will provide context. And Louis will understand after.

That won't resolve everything. But It will clear things up.

Nonny, I know the season 2 reveal was a bit... let's say rushed. It flew over a lot of people's heads, unfortunately.

But the latter half of the season, and especially 2x08 was supposed to make it clear, that

The tale has been edited with - by Armand

Not all of what Louis remembers can be the truth because of it

Louis misremembers, for example Claudia not dreaming, which was 2x01

Louis feels guilty, and his own inner thoughts make it clear he finds Lestat needing to be killed "debatable" by now, wants Lestat back, hallucinates him regularly, and Lestat is still the only on he trusts(!)

Louis wants to go home (to Lestat) in 2x01

Louis has been kept like a proverbial Stepford Wife for decades - by Armand. Mind controlled, mind-edited, words and phrases put into his head, for decades. Because Armand only sees Louis as something that can be used, a vessel.

Unfortunately the long hiatus, certain statements by podcast guests, and the show using DV to add more gravitas led to a certain unwillingness by the (show only) fandom to follow that reveal (is my impression at least). Or at least some are unwilling to follow the narrative.

This is no accusation. The show is very high level and a lot may fly over people's head.

The "audience" will (have to) follow the narrative with what season 3 will show, as the official release statement said, here by The Wrap:

The renewal announcement promised a “sexy pilgrimage across space, time and trauma,” now told from Lestat’s perspective. “In season three,” the synopsis reads, “resentful of the perfunctory portrayal in the trashy bestseller ‘Interview With The Vampire,’ the Vampire Lestat sets his story straight in a way only the Vampire Lestat can—by starting a band and going on tour.”

And that will be what happens.

Some will not like that, since they like to see Lestat as the uber villain. It's easy and practiced by now, I guess. And going to get very stale, very soon.

Because we have not seen Lestat yet, that has been also said again and again.

We have seen an edited tale, a tale edited on purpose.

I can only recommend to keep that in mind.

[sirdeln]

I was lucky enough to be able to attend the Lord of the Rings musical in Chicago earlier this week and was SO DELIGHTED. I can't stop thinking about it and talking my friends' ears off and wanted to write down all of my thoughts!  Here's my review under the cut :)

A brief background on the musical for those unfamiliar: In the 2000s LOTR excitement was high! This musical originally premiered in 2006 in Toronto and moved to the West End in London the next year. It was extremely expensive to produce and included a massive cast, full orchestral pit, and large, complicated sets. It consequently lost a lot of money. Bummer!!! I did not see this production as I was 8 and living in Oregon at the time. 

Last year (2023) the musical was reworked into a new production for the Watermill Theatre with a smaller cast, more intimate feel, and notably, all the musician/actors on stage. It received generally positive reviews and presumably was commercially successful, because Chicago Shakespeare Theater announced it would be hosting the same production with a new cast this year. Of course I rushed to buy tickets, because I never thought I'd get to see any version of the LOTR musical (and also I lived in Chicago for a short time and love it there 😊 ).  

Of course, there are some necessary plot changes and abbreviations to fit the story of the whole trilogy into a 2 hour and 45 minute musical. Most notably Rohan is entirely absent. No Eowyn :,(, no Eomer, and no Helm's Deep. Theoden and Denethor are combined into one character, "The Steward," which I think works fairly well. There's one large battle between the armies of men and the forces of Sauron, and there's an inserted argument between Frodo and Sam, similar to the movies.  

Unlike the movies, the scouring of the Shire does occur, although we don't actually see Saruman at the end of the show. I think that to someone unfamiliar with the story, it would be a little confusing, especially because it's full of unexplained names, other references to Middle Earth, and singing in elvish, but ultimately I think it's pretty impressive that they've created a mostly coherent plot that's the length of a normal show! 

I'll caveat that I went into this already an opera/musical theater appreciator (although I've only ever been involved in productions playing in the pit, I am certainly no actor). I was really hoping to be pleased based on everything I had heard about last year's UK show and my positive opinion of the old cast recording.  

On to specifics about the Chicago show!  

The cast is extremely impressive. Basically everyone on stage is a quadruple threat; acting, singing, dancing, AND playing instruments. The casting call posted earlier this year made me so curious because it seemed so specific (here it is for those who are curious: https://www.theatreinchicago.com/auditions/industrydetail.php?AuditionID=10319), but they really managed to find Suzanne Hannau, who sings, dances, and acts as Rosie Cotton all while playing piccolo, flute, and recorder (and possibly tin whistle? Tin whistle heads out there, let me know).  

Standout members of the cast are Alina Jenine Taber as Arwen, who gave my favorite vocal performance of the show. She is a perfect Arwen and blends easily with Will James Jr.'s Aragorn in their second act duet. Also she learned harp for the role! Will James Jr. as Aragorn is excellent casting as well. He totally pulls of the humble gravitas of Aragorn and I actually prefer his voice to the Aragorn in the 2008 cast recording.  

More flowers go to Rick Hall, who made a perfect, lovely Bilbo (and is double cast as the Steward), and Spencer Davis Milford as Frodo. His acting chops are WILD! Special mention goes to Ben Mathew as Pippin. He is a truly wonderful cellist and gives a noticeably excellent musical performance while acting and dancing! With a cello strapped to his front! Crazy good!! Generally though the whole cast is excellent. 

Here are my small gripes. These are less flaws, and more things that I would have done differently were I for some reason in charge. Lauren Zakrin plays Galadriel and is an extremely talented singer, but IMO her vocal style is much too "Broadway show tune" for Galadriel. "Lothlorien" is one of my favorite tracks in the show, and while she totally rocks it, I prefer a more ethereal sound for this role.  

Tony Bozzuto brings an incredibly impressive physicality to Gollum (climbing down ropes into the audience, swinging fully around ladders 20 feet up in the air type of stuff) but I think using an Andy Serkis Gollum voice and movie Gollum look is a directorial mistake. Bozzuto does a great job with what he's given, but the Serkis Gollum voice made the audience (at least the night I went) react to Gollum as if he was a comedic character rather than a tragic one. It also slightly cheapens the emotional impact of “Now and For Always,” which is hugely unfortunate. He would say incredibly sad things but the goofy voice made people laugh. 

UK correspondent and subject expert @lotrmusical tells me this wasn’t an issue at the Watermill. The voice wasn’t as much a Serkis-specific voice and worked more with pathos. I also think using the movie Gollum look is a missed opportunity to do something really cool and unique with the character – imagine if they'd gone with a cartoon froggy type Gollum or come up with their own original look! 

My final qualm is a musical qualm. The new orchestration is extremely impressive in that it creates a very similar sound to a full orchestral pit (I've read it was 60 musicians?) with a MUCH smaller group and mostly sounds very very good. Having the actors as the instrumentalists on stage works really well in creating the folk story vibe, and fits with the framing device of this show; it's hobbits telling you their version of this story.  

But a couple of moments are weird. Harmonica during an Aragorn/Arwen love scene is a wack choice, and same for accordion representing wizard magic. There are a few issues with intonation, balance (sorry brass players), and ensemble. I think this is inevitable when your instrumentalists are playing simultaneously to acting, moving across the stage, and performing choreography. To be clear, in no way is this the fault of the musicians themselves, but it's a pretty unavoidable side effect of this staging: you just aren't going to play perfectly together if you're standing 40 feet away from each other and your instruments are individually mic'd. 

@lotrmusical tells me this also wasn’t a problem for the Watermill, maybe because it’s a much smaller venue than Chicago; very possibly these small problems arise from a combination of the Yard at Chicago Shakespeare Theater being a larger/more difficult space and from my seeing the show in its first week. It may resolve itself as it progresses! Personally I think the staging is worth these minor issues because the folk atmosphere works so well with the story, but it's worth pointing out.  

Okay, time for all the stuff I loved!  

I mentioned the folk element of this staging briefly and this angle works really well for LOTR. There's a framing device of hobbits telling this tale to you with ensemble cast members at times narrating, and I think it's a great fit for the story. It creates a feeling of intimacy that I really loved, and that feeling is enhanced by some interactive moments with the audience.  

When I entered the theater, the stage is set for Bilbo's birthday party. There's a beautiful party tree revealed by the backdrop, a large banner proclaims the occasion, and bunting is flying out above the audience. Hobbit actors came out into the audience and interacted with us, playing games and chatting, while Bilbo made the rounds on each level to greet his "party guests". It really effectively transitions the audience into the world of middle earth, and I'll admit to tearing up when everyone sang happy birthday to Bilbo.  

(screenshot from official trailer)

The stagecraft maintains the immersion throughout the show. The lighting design incorporates lights flashing straight out at the audience for a few dramatic moments (there are epilepsy warnings on the website and program for a good reason) and characters move swiftly up and down the aisles throughout the show. Gollum climbs down a rope from the gallery at the beginning of the second act, and the Nazgul snap and prowl around the audience.  

Speaking of the Nazgul, the PUPPETS in this show are totally stunning. Shelob is an absolutely massive puppet that emerges from the back of the stage and moves extremely realistically, and the ringwraiths are glowing, articulated skeletal horse heads, each moving with a dark cloaked puppeteer. The Nazgul are absolute showstoppers; it's impossible to convey the way they move and look under the stage lights, but it was totally enthralling. I could watch just them for ages. The puppet designer is Charlie Tymms, website here if you're curious: https://www.charlietymms.co.uk/ 

(screenshots from official trailer)

The lighting, choreography, and sound design are all fantastic and combine to create a really magical feeling. The best way to get a feel for this is in the short trailer released by Chicago Shakespeare Theater, but even that doesn't really convey how cool it was in person. The fight and dance choreography is super impressive as well. I'm a big believer in the importance of lighting design for live theater, and this production is maybe the best I've seen. Some favorite moments are Galadriel and Lothlorien's swirling, twinkling gold effect, the spotlight and freeze when Frodo puts on the ring, and the projection onto vertical cloth streamers for the Bruinen water horses.  

(Liz Lauren via playbill)

Overall, I loved my experience and if I lived locally, I would go see it a second time. If all goes well and they tour this production, I will absolutely be there if it comes closer to me. This show is clearly made by people who love the Lord of the Rings, and that love absolutely shines through.  

I think you will enjoy this production if you love the atmosphere of the Lord of the Rings and you like the music in the show. You'll enjoy this if you love theater and stagecraft, or don't know much about the Lord of the Rings but are ok with being a little confused/ready to be along for the ride. I think a person who is primarily a film fan and loves the epic battles of LOTR would perhaps not have a great time, and a person who knows that they don't enjoy or aren't immersed by theater would also not have a good time.  

If you're thinking of attending, you should check out the trailer from Chicago Shakespeare Theater:

the cast recording from the west end 2008:

and Mickey Jo Theatre's review of the Watermill production:

Most of what Mickey Jo Theatre says about the Watermill show is applicable to the Chicago production. The trailer and cast recording will give you a sense of the show as a whole (although of course the orchestration is significantly changed), but the overall sound is much the same. 

I'm certainly not an expert, but feel free to reach out if you are thinking of attending or have any questions! I'd also love to hear from/compare notes with anyone who saw the Watermill production from last year 😊 

A huge thank you to @lotrmusical for checking my facts and telling me about their experience with the Watermill show!!! you rock!

[thysanniia]

Inane question time!

What is your favourite non-traditional 'door'?

We're talking anything that isn't standard vertical rectangle on a hinge. So trapdoors, hanging beads, sliding glass, saloon doors, gates (of any/all varieties), revolving, automatic sliding door, submarine hatch, mechanical iris doors or any others!

I'm sure this is a question you get all the time, but I look forward to your answer anyway :3

holy fuck i love this question

ok but like vault doors??? hello?? big spinny door handle... cool circle shape... thick as fuck... opens with such gravitas and impact... s so c,,oolll.... ..

also big metal doors that slowly raise up accompanied by a warning siren to unleash horrors beyond them... mmm..... ... cinematic as fuck...

[geraldofallon]

Fashions of the Neath, taken from 1890’s fashion plates.

A sombre aura of gravitas hangs around this garment like a cloud of courteous but severe bats.

[scienceoftheidiot]

do you have any royai fic recs?

Ah Nonny, I have been wanting to make a royai reclist for ages, because some of my faves never make it on the ones I see ! So thank you so much for this !

Let's talk about the good stuff.

There's some I haven't re-read in ages, so if I don't say much about them it doesn't mean they're not good, just that I need to read them again 😜 also beware, I like Royai FOR THE ANGST so there'll be plenty of it there. I've decided to share fics that aren't smut (doesn't mean some of them can't be explicit but the smut isn't the only thing in them). I might make a smut rec list one day, we'll see.

(PS if I don't tag authors who are on Tumblr feel free to manifest yourselves so I can tag you !)

First and foremost, here's my fave fic ever in this fandom, one of the first I have read and still so good for me, Your Warmth Against My Scars by @lassusog characterization is on point, and it never fails to make me feel so much when I read it.

and when you can't rise (I'll crawl with you on my hands and knees) by starsinherblood. A great story, with tension and action on point, and perfect angst 👌🏻👌🏻👌🏻

The Last Train Home by @rizaposting who has awesome 03!Royai fics, and this one makes me all warm and fuzzy inside 🥺

Under a Blood Red Sky by @liber-what-ia Ishval angst, great characterization and I was so happy to see Charlie ! It's not complete but I just love it anyway, especially the way the prose flows, it'w just beautiful (no pressure, friend! I just don't want to stop myself at only complete works!)

you can only touch him when he's dying, by lilantis. I love to see the story progress. So angsty and bittersweet, aaahhh ❤️

Like you do by wordslinger. This is a very intriguing story both in subject and the way it's written. Also I bawled my eyes out. Haha.

The meaning in each keystrokes by WorryinglyInnocent. Riza centric Violet Evergarden AU, knowing that : I don't know anything about Violet Evergarden AT ALL, never heard about it before, and I tend to avoid AUs most of the time for reasons, and yet I found this one randomly and it caught me. I really like the premises, and the fact that Maes and Gracia especially play such a big part. It was a very refreshing read.

Couldn't finish without The King's Counsellor by @qs63, since she's my partner in crime in writing royai, and while we share the exact same brainrot, which is already a perfect reason to share her fic(s) there, I love how much more gravitas she manages to give to Royai than I do.

Finally allow me some shameless self advertising, because I myself am a royai fic writer, so linking you my masterlist 😅

This is by no means a complete list ! I will probably come back and reblog with more if I think about others or find new ones ! I just wanted to reply quickly, because I have been trying to make such a list and always let it drag because I felt I was missing some good ones. I still know I am missing them. I'll just add them later 🥰 thank you again !!