#shining nikki estelle

[stellacaerulea]

The first Kindred - Estelle

I read a few bits of her lore in the game and here is what I got:

Estelle was a light elf commoner who was involved in an accident at the church and was "protected" by a being with six wings - which the priest saw as the Glory (the light elves' god) blessing her

She began working as a missionary and healer for said church using the powers she was given - which came with immense pain

Eventually her self-restraint failed and she began sucking the blood of the man she was supposed to be healing and then went on a killing spree that destroyed the church

Estelle tried to come back and warn the people (who was scared into joining the church) that the Glory they worshipped was the one that turned her into a vampire only for her to be literally stoned away from there

She was taken by Elias - the first man she "healed" - to a group of people who accepted their fates as kindreds, only to realise they were all the people she healed in the church since her "blessing"

[myshunko]

shop this look #4

inspired by gothic lolita.

models: estelle rosetta (left), labelle burton (middle), kane del rosario (right)

look #1: black viola (estelle)

san333 - face bow

nyxzouyou - synn: early autumn fog rain hair

charonlee - shushu tong platform loafers

simsonico - star fairytale socks

usamarusims - shining nikki : night of falling roses umbrella

san333 - alice hair accessories

sadlydulcet (deactivated) - set #24 dress

look #1: red ribbon (labelle)

LAMZ - elizabeth hair

nyxzouyou - rose rule dress

nyxzouyou - rozen maiden reiner rubin hat

148DAZED - fishnet bow tights

kikiw - broken heart boots

look #3: violet coffin (kane)

cazhan - dolly dress

loreleisims - mall goth mania tights

kaguya - seira

zouyou - octavia hair

kikiw - punk round toe platform shoes: devil trap

smsims - boots and warmers

maya - kiyo hat

[newyorktheater]

Michael Urie, Nikki M. James, Michael Esper

Tony Kushner has taken the first play he wrote, which traced the rise of Nazism in Germany as a cri de coeur and a call to arms against what was happening to America during the Reagan era, and reworked it 34 years later for the Trump era – or, anyway, in the Trump era.

“A Bright Room Called Day” never really worked – as the playwright now acknowledges in the play itself. He has turned himself into a character. That meta-theatrical addition is one of the significant changes in a starry production at the Public Theater of this passionate and provocative play, but it in no way feels fixed. It is sprawling, awkwardly talky, and obvious — and now, also self-indulgent.

It might have been a mistake for Public Theater artistic director Oskar Eustis, who directed the play 32 years ago, to take the helm again; it might have benefited from a director with less emotional investment in the script.

Still, “A Bright Room Called Day” also offers a glimpse into Kushner’s high-wire act of intellectual theatricality that makes his later plays so thrilling. There are some intriguing characters and some fascinating facts in the historical timeline. Besides, who else is so loudly sounding the alarm?

“Do you feel… safe”? Baz (Michael Urie) asks Agnes (Nikki M. James) in the first scene of the play.

“We live in Berlin. It’s 1932. I feel relatively safe,” Agnes, an actress, replies. It is New Year’s Day 1932, as we’re told in the first of three hours worth of slide projections that announce the date, the news, the political situation before each scene, as we follow Agnes and her artistic and political friends over the next two years. We witness the characters’ attitudes towards, reactions to, and effects from, Hitler’s rise to power, as (according to one of the last slides) “The Transition to Fascism Gathers Incredible Speed.”

Baz, a witty “Sunday anarchist” and homosexual who is on the staff of the Institute of Human Sexuality, early on rejects his leftist friends’ faith in the German proletariat: “The fascists don’t try to make sense…Hitler simply offers a lot of very confused and terrified and constipated people precisely what they want, an exhalation, a purgation, catharsis….They’re in love with the shine on his boots.”

Michael Esper portays Agnes’ lover Husz, who is a Hungarian-born filmmaker and former Trotskyite; he lost an eye fighting for the revolution, and has now turned cynical. “A whole generation of washouts,” he says. “History says stand up, and we totter and collapse, weeping, moved, but not sufficient.”

Linda Emond is Annabella Gotchling, a committed leftist who has contempt for her friends’ “elegant despair. You pretend to be progressive but actually progress distresses you. It’s untidy, upsetting.”

Grace Gummer plays Paulinka, one of the few friends of Agnes who doesn’t speak in pronouncements. She is a vain actress who smokes opium and goes to a Jewish psychoanalyst, and, we sense from the start, will go where the wind blows.

There are others: Malek and Traum are a pair of argumentative Communist Party functionaries who seem to exist in the play for two reasons – to provide something close to comic relief, and to illustrate how the ridiculous rigidity of CP ideology prevented their forming a ruling coalition in Parliament with the Socialists, thus paving the way for Hitler’s climb.

If “A Bright Room Called Day” contained only these scenes, theatergoers might compare it to Arthur Miller’s “The Crucible” or any number of plays by Brecht (who is a clear influence.) But there are four other characters. Estelle Parsons portrays somebody named Die Alte, who is evidently a ghost haunting Agnes’ apartment and is always hungry: A victim of the post World War I hardship, or an early victim of Nazism? Unclear. Mark Margolis portrays the Devil – the less said about this nod to Faust, the better.

These were both in the original script, as was a character named Zillah, who was initially a Jew from Great Neck living in 1985 (portrayed by the comic actress Reno), the device by which the playwright established parallels between Hitler’s Germany and Reagan’s America. Now the black actress Crystal Lucas-Perry portrays Zillah, and she spends much of her time arguing with a new character named Xillah, portrayed by Jonathan Hadary, an unmistakable stand-in for Kushner himself. Xillah’s bouts and self-doubt and political rants are delivered in deadly high doses — Xillah might remind you of the character Louis Ironson from “Angels in America” but without the charm. But some of the interaction between Zillan and Xillah are inventive and amusing.

“It’s his first play, this play. It’s never worked,” Zillah tells us.

“Some of it worked,” says Xillah, defensively. But yes, he tells us, no professional theaters had any interest in reviving it, until “BAM” the 2016 election: “Things are so bad people want to do this play!”

A

Estelle Parsons

Grace Gummer

A Bright Room Called Day Written by Tony Kushner Directed by Oskar Eustis scenic design by David Rockwell; co-costume design by Susan Hilferty and Sarita Fellows; lighting design by John Torres; sound design by Bray Poor; projection design by Lucy Mackinnon; hair, wig, and makeup design by Tom Watson; and fight direction by Thomas Schall. Cast: Linda Emond (Annabella Gotchling), Michael Esper (Vealtninc Husz), Grace Gummer (Paulinka Erdnuss), Jonathan Hadary (Xillah), Nikki M. James (Agnes Eggling), Crystal Lucas-Perry (Zillah), Nadine Malouf (Rosa Malek), Mark Margolis (Gottfried Swetts), Estelle Parsons (Die Älte), Michael Urie (Gregor Bazwald), and Max Woertendyke (Emil Traum). Running time: Three hours including one intermission Tickets: $50 to $150 A Bright Room Called Day is on stage through December 15, 2019

A Bright Room Called Day Review: Tony Kushner on Nazism, Reagan and Trump Tony Kushner has taken the first play he wrote, which traced the rise of Nazism in Germany as a cri de coeur and a call to arms against what was happening to America during the Reagan era, and reworked it 34 years later for the Trump era – or, anyway, …

[showmemoremusic]

The first playlist

Prompting song:

“Where Is The Love?” by The Black Eyed Peas, from “Elephunk” (2003)

My playlist:

1. “Family Business” by Kanye West, from “The College Dropout” (2004)

2. “American Boy” by Estelle, from “Shine” (2008)

3. “Find A New Way” by tUnE-yArDs, from “Nikki Nack” (2014)

4. “The World Is Yours” by Nas, from “Illmatic” (1994)

5. “Because I’m Me” by The Avalanches, from “Wildflower” (2016)

[stellacaerulea]

Estelle explains why Hestia was hated

So since the game began if you whaled enough to get to VIP17 early on we know Hestia was hated by the light elves for her heterochromia, which they consider a bad omen

Now yes, it sounded like a ridiculous reason (and it still is), but this new event gave us a closer look on that: Estelle herself

Originally she was a common light elf and no one thought anything of her mismatched eyes; in fact she was cherished by people even more after she was "graced" with "healing powers" by the Glory itself during a storm where a lightning strike hit a tower and toppled it on her head only for her to came out untouched - until she was forced out of the vampiric closet, bit someone's ass and became the Pigeonian version of Bloody Mary after singlehandedly murdering and destroying an entire church

Cut to a few centuries later: at this point the Glory was already a well-established cult to the point of being the state religion, and so was the belief that the Kindred were evil - it stands to reason that legends would be told of a woman with mismatched eyes who was cursed during a thunderstorm and turned against their beloved god

Then one night, during a thunderstorm, lightning hits a tower and this girl is born:

You can guess what they thought