#the death of grigori rasputin

[whencyclopedia]

The Murder of the Romanov Family

The brutal murder of the entire Romanov family was the culmination of deep discontent across the Russian Empire with the persistently autocratic rule of Tsar Nicholas II (reign 1894-1917). Following the disaster of the First World War (1914-18) and the tsar's abdication in 1917, Bolshevik revolutionaries took power. The new Soviet Russia was immediately split by a raging civil war, and as royalist sympathisers neared Ekaterinaburg (Yekaterinburg), where the Tsar, his wife, and their five children were being held, the Bolshevik leader Vladimir Lenin (1870-1924) ordered their execution. On 17 July 1918, all seven royals were shot and their bodies were then secretly buried. DNA testing has confirmed the remains of all seven members of the Imperial family.

An Unpopular Tsar

Tsar Nicholas II had reigned as the absolute ruler of the Russian Empire since 1894. Economic problems, societal changes, and a significant growth in the population, which resulted in land shortages, all combined to inspire certain groups to demand reforms. The tsar barely escaped being toppled by the Russian Revolution of 1905. The massacre of unarmed protestors, known as Bloody Sunday in 1905, kicked off a series of state-wide strikes and protests that year, which were supported by all classes of Russian society. The tsar's half-hearted attempts at political reforms with a new representative parliament, his choice of reactionary ministers, and the lack of significant success concerning the Stolypin Reforms, that is social, economic, and land reforms instituted by the prime minister Pyotr Stolypin (1862-1911), meant that revolutionary sentiments continued to bubble under the surface of Russia's autocratic rule. Assassinations, including that of Stolypin in 1911, and activism by Communist groups like the Mensheviks and Bolsheviks, kept the idea of change at the forefront of Russian politics. Another source of criticism towards Nicholas II was the mysterious role of the self-proclaimed holy man Grigori Rasputin (1869-1916) and the question of just how much influence this Siberian peasant had on the royal family.

Although the Russian peasantry still widely respected the sanctity of the tsar's role, Russia's entry into the First World War (1914-18) was disastrous for Nicholas II and proved to be the last straw for the revolutionaries. Once again, as had been the case following the humiliating defeat in the Russo-Japanese War (1904-5), Nicholas was exposed as an incompetent war leader, even if he himself had been reluctant to enter this particular conflict. Nicholas' decision to take over as commander-in-chief of the armed forces in September 1915 meant that he became closely associated with Russia's military failures. These failures included calamitous defeats on the battlefield, disastrous logistical incompetence, and the deaths of over 2 million Russian soldiers. WWI also caused further woes for the Russian agricultural sector and economy in general.

The ultimate result of all of this strife was the Russian Revolution of 1917 (actually two revolutions), which began with bread riots in Petrograd (Saint Petersburg) in March 1917 and which quickly escalated when troops of the Petrograd garrison joined the rioters. The revolution and the lack of support for the tsar amongst the political elite forced Nicholas to abdicate on 2 March; he also abdicated in the name of his son and heir, Alexei. Still not quite grasping that the Romanovs were about to disappear from history, Nicholas chose his brother to succeed him, Grand Duke Michael Alexandrovich (1878-1918), who reigned for just one day as Tsar Michael II, although he was never officially confirmed as such. The Bolsheviks ensured that the Russian monarchy was effectively abolished.

Nicholas was advised to flee the country for his own safety, but he refused, stating, "I'd never leave Russia. I love her too much" (Montefiore, 629). Nicholas entertained the idea, rather naively, of living a quiet life of retirement in Crimea (where his mother was) or Kostroma, which had historical ties with the Romanovs.

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⇒ The Murder of the Romanov Family

[foreverinthepagesofhistoryy]

Three photos of The Romanov Family with Grigory Rasputin

Photo 1: Top Row: Olga, Middle Row: Anastasia, Alexei, Rasputin, Alexandra Feodorovna, Bottom Row: Maria, Tatiana, Maria Vishnyakova, 1909

Photo 2: Tatiana (obscured), Maria, Anastasia, Rasputin, Alexandra Feodorovna, Olga, 1907

Photo 3: Unkown Woman (if anyone knows who she is please tell me!), Maria Vishnyakova, Alexei, Rasputin, Maria (on the floor), Anastasia, Tatiana (above Anastasia), 1910

The Romanov family’s relationship with Rasputin is unlike the stereotypical “seducing madman” version that you might first hear. Alexei, the only son and heir to the Russian throne, was a hemophiliac (a disease where the blood cannot clot resulting in any minor bump or bruise could lead to severe hemorrhaging and even death) and had many accidents resulting in major pain for not just him, but for his entire family, especially his mother, Empress Alexandra Feodorovna. The Tsar and Tsarina (Nicky and Alix) were desperate to relieve their son’s pain and heard about Rasputin, a renound mystic healer, from some distant relatives and invited him to court to try to relieve Alexei’s pain. He came to court in 1906 and immediately calmed the boy who prior to this point would not stop crying, and managed to soothe both him and his worried family. Eventually the hemorrhaging stopped Alexei eventually made a full recovery. This “miracle” made Rasputin an immediate source of comfort for the family and became a new important friend. He visited the family often and Alexei and his sisters always looked forward to his visits, even Anastasia who was as young as 7 years old was writing to her mother saying:

��Mama darling! I really want to see Him. I wish him and his children all the best, and send Him my best regards, and all his family. I saw him last night, and I was very happy, tell] him please, my dear Mama…To my Mama from Anastasia”

“Thank you, Mama darling. Tell Anya that I send him my regards. Mama, what is his name? I don't Know My Friend's name is, and I love him so much more than can tell you. Anastasia”

Their relationship with Rasputin remained close throughout his life, various visits and letters, Alexei getting hurt and Rasputin writing or saying calming words and sharing aspects of religion. He remained very close to the family until his death, committed by Romanov hands, and they always remembered him as a close friend and confidant.

There was no love or romance between Rasputin and the “Russian Queen” as the tales tell. He was a friend and a tool to help soothe Alexei, her youngest child. A theory historians have, one that I agree with, is that Rasputin didn’t miraculously heal Alexei, his presence deeply calmed and set Alexandra at peace and because of that, Alexei got calmer because seeing a parental figure stressed while you are in pain doesn’t help you get better does it?

[thehollywoodnecromancer]

Hello all!

I’ve been here for a while and have not yet done an intro post, so while it makes my heart heavy to unpin this post, I felt like I should

I mostly just scream into the void here, and occasionally the void screams back and talks to me about Yellowjackets so that’s pretty neat

I use he/him, I’m Australian (AEST), and I don’t use tags because I can’t even organise myself to stand up half the time

I’ll occasionally post fanart but mostly it’ll just be reblogging/rambling to myself lol

I’m very nostalgic, it makes up a good 80% of my personality

I love flowers, filmmaking, art rock, vampires, poetry, absurdism & psychedelia

Fandoms/interests under the cut! 🩷

I listen to a LOT of music but my favourites are:

David Bowie

Florence + the Machine

Anaïs Mitchell

Hozier

Picture Parlour

The Last Dinner Party

The Beatles

Nick Cave & the Bad Seeds

The Doors

The Cranberries

Oh Pep!

Siouxsie & the Banshees

Chappell Roan

The Cure

PJ Harvey

The Crane Wives

Stevie Nicks

Kate Bush

Gracie Abrams

Jefferson Airplane

Sleep Token

Ethel Cain

Jeff Buckley

They Might Be Giants

The Smiths

Will Wood (& the Tapeworms)

Telenova

Hooverphonic

Movies:

Edward Scissorhands

Dead Poets Society

The Breakfast Club

The Truman Show

Love & Mercy

Labyrinth

Beetlejuice

The Fabelmans

Lisa Frankenstein

Television:

Buffy the Vampire Slayer

Yellowjackets

Interview With the Vampire

Derry Girls

Blackadder

The Good Place

Deadloch

Daisy Jones & the Six

How I Met Your Mother

A Series of Unfortunate Events

Severance

Books:

The Liar’s Dictionary

The Strange Case of Dr Jekyll & Mr Hyde

Alice’s Adventures in Wonderland

Anne of Green Gables

Ella Minnow Pea

The Picture of Dorian Gray

The Metamorphosis

The Handmaid’s Tale

The Third Policeman

Theatre, musical and otherwise:

Hadestown (but I prefer the concept album by a huge margin)

Sweeney Todd: The Demon Barber of Fleet Street

Les Misérables

Jekyll & Hyde

The Producers

Jesus Christ Superstar

Cabaret

The Rocky Horror (Picture) Show

Accidental Death of an Anarchist

Otherwise… I love 60s fashion, I wear a lot of long coats, and I could rant about Grigori Rasputin for hours at a time. T.S Eliot and Gwen Harwood are my favourite poets, Alphonse Mucha is my favourite visual artist and I have a soft spot for purple carnations

That’s pretty much all!

[elminx]

The Great Aquarius Spell of 2024

Are you the kind of person who wants to make a real change in the world? Are you the kind of person who thinks BIG? Who is disappointed in the status quo? Do you want to see a better world for all people?

Then this is the spell for you.

And no, this isn't exactly a spell tutorial. Let's call it a spell invitation. A cosmic chance to supercharge your magic.

Why now?

This month (January 2024) has two days that strongly highlight Aquarius and Uranus energy. For those in the know, the sign of Aquarius and Uranus, its planetary ruler, are the rebels, the rulebreakers, the big thinkers, and the revolutionists of the astrological zodiac.

I want to list for you a couple of famous Aquariuses throughout history for a moment so might get an idea of what I mean here: Abraham Lincoln, Thomas Edison, Ferdinand Magellan, Fredrick Douglas, Charles Darwin, Galileo Galilei, Yoko One, Charles Lindbergh, Aaron Burr, Bob Marley, Kim Jong-Il, Rosa Parks, and Grigori Rasputin.

One thing that can be said for the Aquarius spirit is that it rarely leads to a milk toast personality. From great revolutionaries to despots to peace activists, Aquarius is THE sign of political change, the kind of change that ripples through history.

Circle these two days on your calendar:

On Saturday, 1/20, the Sun and Pluto meet up in conjunction and move in lockstep with one another into the sign of Aquarius.

One week later, on 1/27, Uranus stations direct.

These are the kind of days when change happens. But we witches don't just let change happen, we MAKE change happen. This is the best aligned chance to enact real and lasting change - the kind of change that the above listed Aquariuses made - for quite some time.

We just need to use it.

As stated above, I am not going to outline an exact ritual or spell for you here because this spell needs to come from you. It should, in some way, reflect the change that YOU want to see in the world.

But I will give you some places to start.

A General Spell Framework

There are three major players in these powerhouse days. 1/20 involves the Sun, Uranus, and Pluto and 1/27 involves Uranus. As outer planets, Uranus and Pluto are considered beyond human influence and most astrologers believe that they cannot be petitioned in the same way that the seven planetary powers can. The Sun, on the other hand, can be. Create an altar to the Sun. Moreover, create an altar to the Sun in the sign of Aquarius. Aquarius is our fixed air sign so elements of air can be added to your altar. Additionally, you could include photos of famous Aquarius changemakers that you particularly admire or even non-Aquarius changemakers who worked with the particular cause you are championing. The Sun supports life itself, Uranus and Pluto are our planets of change, and Aquarius supports community of all kinds. Intentions around the world as one community will be highly effective during this time. If you are struggling for an intention, something like "Everybody deserves more love, not less" is a reasonable place to start.

Think big. The sky is the limit here. This isn't a day for magic to fix your own life - this is a day for magic to fix the world. Do you want to stop climate instability? End homelessness? Redress great injustices?

The symbols for the Sun, Uranus, Pluto, and Aquarius may prove useful in your spellwork. You can carve them onto candles or onto petition papers.

If you work with tarot in your spellwork, there are a few cards that can be worked with to enact great changes. The one that comes to mind immediately is the Death Card because what greater change exists than to exit this life for the next? The death cards can be directed to remove anything from a situation through a metaphorical "killing" of it. And then, of course, we have the Tower - the OG card connected to the energy of Uranus. The Tower is associated with dramatic and unthinkable change (as the card depicts) but it has a deeper esoteric association with the changing of belief systems, like the sign of Aquarius! And then we have Judgment which can serve the purpose of bringing about consequences to those that need to face their actions.

Alternatively, if you work with runes, both the Dagaz and the Tiwaz runes can be used to enact change (Dagaz, as a brand new day and a brand new chance) and Tiwaz (to enact divine justice). The rune Halagaz can also be used similarly to the Tower card to bring down systems and enact the change of inevitability. Though I find the energy of Hagalaz to be similar to that of the Tower, I favor the rune in this case as it implies the inevitable rebirth at the end of the change: when the ice melts, new things will grow again.

That said, as always, your magic needs to work for you.

Do you like my work? You can support me by tipping me on Kofi or becoming a monthly supporter.

[technicolorfamiliar]

Can I offer you a nice egg in this trying time?

Two "fabergé" eggs for The Death of Rasputin -- they put out a call for fan-made egg offerings, "painted, sculpted, adorned, or cursed", so you know I was going to be all over that.

Black Egg: "Grigori Rasputin" Maybe more pysanky than Fabergé. The eye is from the portrait of Rasputin DOR uses in their poster, and is meant to be kind of a call back to historic lover's eye jewelry. This felt related somehow to the Slavic folklore inspired "Hell Hounds" illustration I did a few years ago. Location spoiler below! Acrylic paint and marker, pencil, ballpoint and gel pen, rhinestones, glitter

---

White Egg: "Truth lives in desire"

Inspired by the dynamic between the Romanovs, especially Alexandra (or "Mama"), and Rasputin. While making this I learned that black glitter apparently loses all its shine when mixed with glue. The cut out window is a little jagged because the plastic was thicker than my x-actos really could handle. But that kind of makes it look like a wound, so let's say it was intentional.

Sculpey, acrylic paint and marker, gel pen, rhinestones, glitter

---

Black Egg location spoiler: I dropped these off before the show on June 12, and I was completely surprised to see it already in the space the next night! I entered the show with the group that gets met by Lohktina, and as she prepares a ritual before Rasputin enters, she opens a cabinet in the corner of the room -- my egg is in that cabinet. And I happened to be sitting right where I would notice it, if I had been elsewhere in the room I probably wouldn't have seen it at all. The side with the eye is facing out into the room, which feels appropriate. I don't know, this is dumb but it felt like a magical moment just for me. I'm supremely honored it made its way into the performance space at all, let alone that it's in a secret, sacred place and is a little part of Lohktina's show-opening ritual.

I'm curious about what's going to happen with all these eggs once the show closes. There are so many, made by so many crafty and creative fans. I have a fantasy vision of a virtual gallery of each egg with notes from the artists. If DOR packs up and moves to a new location eventually, will they bring the eggs with them? Only time will tell.

(My own Easter Egg in this post is, naturally, Conrad Veidt in the background, who of course was another exceptional Rasputin in an otherwise pretty boring film from 1932.)

[steddiebbang]

I’ll die, i’ll cross over, and you’ll be sorry i did  |  Mature |  15k

Author: ItsAllShitTed | ao3

Artist: @xandriumart

Beta Reader: blipblot | ao3

[Link to fic]  |  [Link to art]

Pairings: Steve Harrington/Eddie Munson

Characters: Steve Harrington, Eddie Munson, Wayne Munson, Alexei (Stranger Things), Grigori Yefimovich Rasputin, Jason Carver

Tags: I’ll update characters as they becomd relevant, and tags too, i’m just a little guy in a big world that’s not finished and doesn’t know all the tags to put, first chapter is world war ii, alternate universe - hellboy fusion, eddie munson is hellboy, adoptive dad wayne munson, the violence isn’t ridiculously graphic but it’s definitely violent, eddie loves chocolate

Trigger Warnings: Graphic Depictions of Violence, Major Character Death

↳ Keep reading below for a summary!

It was a classified mission off the coast of Scotland. It had been 60 years, but Wayne Munson still remembered it like it was yesterday. How could he not? It was the day he unexpectedly became a father, or a guardian of sorts at least. The day he met Eddie - or as the boys had fondly named him at the time, “Hellboy”.

[sewersewersewercouch]

things from the psychonauts art book that I found interesting

putting this under a cut so people who are getting it but don't have it yet don't get spoiled! also some of these might have been said outside of the art book and I just forgot

Tim wanted to go inside Lili's head but they decided not to for time

There was a concept involving rescuing a dying brain

One of the unused concepts was aura reading, where "Truman's" aura would be around his suitcase rather than his body, and Milla's would change when she was around Sasha...hm

There were also plans for Claymation style animations

Gristol was, ironically, based on Grigori Rasputin

Maligula wasn't always going to be Raz's "grandma"

The Psychic 7 were originally going to be all from different time periods

An early concept of Compton was blind

Nikki Rapp drew from her own experiences of losing her dad when voicing Lili

Adam almost had facial hair, but it made him look too much older than the other interns

Character artist Zahra Amirabadi, who's from Iran, came up with Gisu's name and the cultural aspects her design

This isn't a fact really, but it's important to me that Dona is described as "a loving mother and talented performer" and "deeply attuned to her family's feelings" thanks for that Ashley Esqueda

Quote from Tim: "Dion and Mirtala might still be hiding something" hello???

Frazie originally had a bigger role and I know they had to cut it for time but I'm still sad!!!

Tim won't confirm or deny whether Queepie is psychic

Unused enemy concepts include "death wish" "root of the problem" "high horse" and "defensive turtle"

The restaurant is called the Noodle Bowl because noodle is slang for "brain" which...I honestly did not realize until now and I've been into psychonauts for about 2 years, oops

A concept for Millas room had candles everywhere, which, uh, I can see why that one didn't make the cut

Coach originally had his own garage where he made his mech

The through line they had for Hollis' brain was being a woman in a male dominated profession

The initial concept of Compton's mind was a trivia battle between the Booles and the Aquatos where we'd learn more about their families--man I'd kill for that!

They originally took Raz's powers away in Ford's mind, but decided that made for boring gameplay

There were plans for an abandoned summer camp in the Old Colony

Part of the reason you're locked in the Old Colony after Tomb of the Sharkophagus is because if there was an option to talk to the Aquatos then Raz would have to lie to his family's faces about Lucy and that just seemed too cruel

Cassie's mind was modeled off of 1920s Shanghai

They recorded voice lines for the moth dragging Bob into the sea during the Truheltia Memonstria battle, and Amber Hood cried while recording them, which, fair honestly

[mikamikapodcast]

The Hlysts 

The Hlysts (Russian: хлысты, hlysty, ‘whippers, floggers’) were a Siberian religious sect that existed in Russia from the 17th century to the early 20th century. This mystic and fervent movement originated in Kostroma but spread widely across Russia. The Hlysts were particularly known for their unique religious practices and radical spiritual beliefs, which sharply contrasted with the official doctrines of the Orthodox Church. Their teachings were often enigmatic and exotic, characterized by a deep belief in the direct influence of Christ and the Holy Spirit in earthly life.

The Hlyst movement was influenced by several sources and was one of many Russian religious currents that sought direct communion with God. In Finland, the Hlystian religious traditions influenced movements like the Jumpers and the landowner movement, which also dealt with unusual spiritual phenomena and rituals deviating from conventional religious practices. According to Edward Radzinsky, the religious views of Grigori Rasputin were closely connected to Hlystianism, and Rasputin himself had contact with many Hlystians.

The founder of the Hlyst movement is considered to be Daniil Filippovich, who lived in the late 17th century in Kostroma. He declared himself to be the Lord Sebaoth, the leader of God’s heavenly army. According to his teachings, he had descended from heaven in a fiery chariot and had come to fulfill a new divine purpose on earth. According to legend, Daniil met martyrdom when he was taken to Moscow by the Cossacks and crucified at the Spasskaya Gate. However, in the Hlysts' own religious narrative, Daniil did not die but rose from the dead and ascended to heaven, leaving behind the possibility for the emergence of new “Christs” and “Mother of Gods” through the Holy Spirit. After this mystical event, Daniil’s grave was opened in 1783, and his remains were burned during a period of persecution.

The spiritual goal of the Hlysts was the rebirth of Christ, but not in a conventional sense. The aim was the death of the old sinful self and the birth of a new, holy self, when the Holy Spirit would take residence in the body. This process was supported by intense, ecstatic rituals, which were considered central to the awakening of the spirit. One of the most famous Hlystian rituals was the radenije, an ecstatic dance and prayer ceremony where participants danced wildly in circles, singing while flogging themselves and seeking God. During this dance, the prayer leader, or "prophet," would whip the participants on both shoulders. The ritual climaxed in an ecstatic state, in which many participants would experience a sense of the divine and then engage in sexual intercourse. This sexual activity was believed to purify the soul and eliminate sin.

Hlystian beliefs and practices were in stark contrast to the teachings of the Orthodox Church, leading the movement to be practiced in secrecy. Their small, isolated congregations were referred to as "ships" and lived in isolation from the rest of society. The Hlysts were primarily a peasant movement, with members living in rural areas.

From the 18th century onward, the Hlysts influenced many other Russian sects. For example, the castrated Skoptsy sect, which also practiced ecstatic rituals and lived an intensely religious life, was originally derived from Hlystianism. There were also many similarities between Hlystianism and other Russian sects that shared the desire for direct communion with God and the pursuit of spiritual freedom.

Although Hlystianism was just one of many diverse religious movements in Russia, its significance and influence were profound, sparking both admiration and fear. The movement was not only a religious direction but also a cultural phenomenon that engaged the people of its time with deep questions about spirituality, sin, and purification.

Hlystit (ven. хлысты, hlysty, ’ruoskijat, piiskaajat’) olivat Venäjällä 1600-luvulta 1900-luvun alkuun vaikuttanut siperialainen uskonlahko, joka sai alkunsa Kostromassa, mutta levisi laajasti ympäri Venäjää. Tämä mystinen ja hurmoksellinen liike oli erityisesti tunnettu sen omalaatuisista uskonnollisista käytännöistään ja radikaaleista hengellisistä käsityksistään, jotka erosivat jyrkästi ortodoksisen kirkon virallisista opeista. Hlystien opetukset olivat usein arvoituksellisia ja eksoottisia, ja niitä leimasi syvä usko Kristuksen ja Pyhän Hengen suoraan vaikutukseen maallisessa elämässä.

Hlystien liike sai vaikutteita useista eri lähteistä, ja se oli yksi monista venäläisistä hengellisistä suuntauksista, jotka pyrkivät suoraan yhteyteen Jumalan kanssa. Suomessa hlystien uskonperinteet heijastuivat osittain esimerkiksi hyppääjien liikkeeseen ja kartanolaisuuteen, jotka myös käsittelivät erikoisia hengellisiä ilmiöitä ja tavanomaisista uskonnoista poikkeavia rituaaleja. Erityisesti Edvard Radzinskin mukaan Grigori Rasputinin uskonnolliset näkemykset olivat läheisessä yhteydessä hlystiläiseen uskoon, ja Rasputin itse tunsi monia hlystien jäseniä.

Hlystien perustajana pidetään Kostromasta 1600-luvun loppupuolella lähtenyttä Daniil Filippovitšia, joka julisti itsensä Herra Sebaotiksi, Jumalan armeijan päälliköksi. Hänen mukaansa hän oli laskeutunut taivaasta tulisissa vaunuissa ja oli tullut täyttämään uuden jumalallisen tehtävänsä maan päällä. Legenda kertoo, että Daniil koki marttyyrikuoleman, kun hänet veivät pajarit Moskovaan ja ristiinnaulitsivat Spasskajan portissa. Kuitenkin, hlystien omassa uskonnollisessa narratiivissa Daniil ei kuollut vaan nousi kuolleista ja nousi taivaaseen, jättäen jälkeensä mahdollisuuden uusien "Kristusten" ja "Jumalansynnyttäjien" ilmestymiselle Pyhän Hengen kautta. Tämän mystisen tapahtuman jälkeen Daniilin hauta avattiin vuonna 1783, ja hänen jäännöksensä poltettiin vainoissa.

Hlystien hengellisenä päämääränä oli Kristuksen uudelleensyntyminen, mutta ei tavallisessa muodossa. Tavoitteena oli vanhan, syntisen minän kuolettaminen ja uuden, pyhän minän syntyminen, kun Pyhä Henki asettui ruumiiseen. Tätä prosessia tuettiin intensiivisillä, ekstaattisilla rituaaleilla, joita pidettiin keskeisinä henkisen heräämisen välineinä. Yksi hlystien tunnetuimmista rituaaleista oli niin sanottu radenije, hurmoksellinen tanssi- ja rukousseremonia, jossa osallistujat tanssivat villisti ympyrässä ja lauloivat itseään ruoskien ja Jumalaa etsien. Tämän tanssin aikana rukouksenpitäjä, "profeetta", ruoski osallistujia molemmille olkapäille. Rituaali huipentui ekstaattiseen tilaan, jossa monet osanottajat kokivat pyhän tilan ja sen jälkeen saatettiin harrastaa sukupuolista kanssakäymistä. Tämä seksuaalinen toiminta oli osa uskomusta, että se poisti synnin ja puhdisti sielun.

Hlystien uskomukset ja käytännöt olivat jyrkästi vastoin ortodoksisen kirkon oppia, ja tämä johti siihen, että liikkeelle oli ominaista salassa oleminen. Heidän pienet, suljetut seurakuntansa kutsuttiin "laivoiksi", ja ne elivät eristyksissä muusta yhteiskunnasta. Hlystit keskittyivät yksilön henkiseen vapauteen ja olivat pääasiassa talonpoikaisliike, jonka jäsenet elivät maaseudulla.

Erityisesti 1700-luvulta eteenpäin hlystien vaikutus ulottui moniin muihin venäläisiin lahkoihin. Esimerkiksi kastroitujen skoptsi-lahko, joka myös harjoitti ekstaattisia rituaaleja ja kiihkeää uskonnollista elämää, sai vaikutteita hlystiläisyydestä. Hlystien ajattelussa näkyi myös monia yhtäläisyyksiä muiden venäläisten lahkojen kanssa, jotka kaikki jakoivat halun päästä suoraan yhteyteen Jumalan kanssa ja elää hengellisessä vapaudessa.

Vaikka hlystiläisyys oli vain yksi monista Venäjän monimuotoisista uskonnollisista liikkeistä, sen merkitys ja vaikutus olivat syvällisiä, ja se herätti sekä ihailua että kauhua. Liike ei ollut vain uskonnollinen suuntaus, vaan myös kulttuurinen ilmiö, joka puhutteli aikakautensa ihmisiä hengellisyyden, synnin ja puhdistuksen syvillä kysymyksillä.

[thefinalbracket]

ROUND ONE

Ugh, I have SUCH a headache... Wait, what?

WE'RE LIVE!

THAT'S RIGHT, WE'RE NOW IN THE MAIN STAGE OF THE FINAL BRACKET! For those of you who haven't been keeping up, THIS IS A DEATH MATCH where the CRAZIEST and WILDEST FIGHTERS from AROUND THE GLOBE gather to KILL EACH OTHER!

IT'S TOTALLY FAIR AND BALANCED AND WITH NO RIGGING WHATSOEVER!

Tonight, we'll see our FIRST SIXTEEN FIGHTERS go HEAD-TO-HEAD! What are the matches? CHECK BELOW!

For those who remember LAST SEASON, you might remember this setup! FOR NEWCOMERS, LISTEN UP! Every eight matches has been GROUPED TOGETHER, in NUMERICAL ORDER! THESE GROUPS WILL RUN ONE AT A TIME, UNTIL WE GET TWO FIGHTERS STANDING!

THIS WILL ABSOLUTELY NOT BE DRAWN OUT! SO LET'S SEE THE MATCHES!

MIKU HATSUNE vs BARBIE

UNCLE FESTER ADDAMS vs CORY BAXTER

FLUTTERSHY vs GRIGORI RASPUTIN

POPUKO vs ELMO

MARIO MARIO vs LEON S. KENNEDY

CROCUTA CROCUTA vs MACKLEMORE

BELLA GOTH vs SPINEL

SAYAKA KANAMORI vs HELLO KITTY

What are you WAITING FOR?! GO VOTE! NOW!!!

[duchesssoflennox]

"if I'm murdered by nobles and your relatives and if they shed my blood, none of your family, that is to say, none of your children or relations will remain alive for more than two years"

Rasputin to Alexandra Feodorovna

After the murder of Grigori Rasputin in 1916, the most influential priest of the Russian court, by Tsar Nicholas II's relatives,A letter from him to the Russian Empress Alexandra Feodorovna, discovered That was Rasputin's last letter to the Empress, in which he made shocking predictions about his own death and the future of Russia which made him one of the most mysterious people in history:

"I write and leave behind me this letter at St. Petersburg. I feel that I will leave life before January 1st.If I am killed by common assassins, and especially by my brothers the Russian peasants, you, Tsar of Russia, have nothing to fear, remain on your throne and govern, and you, Russian Tsar, will have nothing to fear for your children But *if I am murdered by nobles and your relatives and if they shed my blood, none of your family, that is to say, none of your children or relations will remain alive for more than two years, They will be killed by the Russian people and for twenty-five years there will be no nobles in the country..."

What you read is only a part of the letter and all the things mentioned come true in the coming years...

In 1917, the Bolsheviks came to power and the Romanovs were exiled to Siberia after 300 years of rule. The revolution that began with the massacre of Bloody Sunday by Tsar Nicholas II on January 22, 1905, ended in 1917 when the Bolsheviks came to power! and tsar Nicholas with his family and 4 of his crew were shot in July 17, 1918!💔 But after a century, Rasputin's prophecies still continue...💀

[idontliketomatoesleavemealone]

How does the Rasputin family breakdown? Like ages, deaths, stuff like that

Also any other hcs you wanna share!

this hopefully will not get too long.

So, first of all, we obviously have Grigory Rasputin himself & his wife, Praskovya Rasputin, who had three children;

Mikhail Rasputin, called Mischa, born before the isle was created, but taken there once it was when he was four years old. Mischa is dead, but his cause of death is unknown, as is the time. Fact is that he probably passed early because the only memories his next-oldest sibling had of him were very blurry. He would be around twenty-five now, but likely didn’t live past six.

Dmitry Rasputin, called Mitya, was just like his brother born before the isle was created and taken there when he was two years old. Mitya died of a particularly cruel beating by his father when he was nine years old and would be twenty-three now if he had lived. He was a very caring and protective older brother to his siblings, specifically Marya and Varya.

Anna Rasputina, called Anya, was born a few months after her father and brothers were sent away, always stayed sickly, and ended up passing away when she was only a few weeks old. She is not on any death records of the isle because they simply don’t know that she existed. Anya would be around 21 now if she had lived.

(Side note: I know it’s confusing that these two are called Dmitry and Anya because we already have Dimitri and Anya (Anastasia) in their story, but I am basing them off of real-life Rasputin children. For it to be clearer, the heroes are Dima (a different short form for Dimitri) and Anastasia or Nastya.)

After those three, we have four Rasputin kids that do not have a notable parent other than him:

Maria Rasputin, called Marya by most but usually Mascha by her father, the girl who lived! She was born around the same time as her half-sister Anya, but is probably a little bit younger. She’s also currently 21, but is mentally (due to being isolated for most of her life and having 3+ different neurodivergencies etc.) closer to around 6. she is not stupid, she just doesn’t have the life experience that you would expect her to have. Marya is part of Harriet Hook‘s pirate crew as the medic.

Varvara Rasputina, called Varya, is a year younger than Marya, would-be 20 years old but died of untreated pneumonia at age 12. she is kind of the baby of the longer-living Rasputin kids. Varya was blind on one eye due to head trauma and generally more careful and anxious than her siblings. After her death, she was dropped off on the side of a road by her father, later found by members of Harriet‘s pirate crew, and buried in the dragon hall cemetery.

Gregoriy Rasputin, called Schora, is three years younger than Varya, and much less well known. He died about a year after his birth, and would be 17 right now. It’s unsure what actually happened to him, but there’s a good chance his father was involved. Marya doesn’t like to talk about him, suggesting that it was not a peaceful end.

Praskovya Rasputina, called Pascha, n o t Rasputin‘s wife, but a youngest child named after her, two years younger than Schora, so she would have been around 15 now. She was something of a favorite of her father, often affectionately called Paschenka, and being generally better taken care of than any other child. It can be assumed that Rasputin didn’t have anything to do with her death, which happened when she was still an infant.

I technically have a lot of random headcanons about them but I don’t think I can actually put them into words very well so here, have a short summary of all my Rasputin kids, I might add on later if I think of anything else

[otmaaromanovas]

"He said that I could rule like Tsarinas did in the past." - Olga Nikolaevna

"..Everyone was sitting together with Grigory Yefimovich. Papa was also there of course . He  kept patting Alexis on the head and said I could rule like tsarinas did in the past..."

Whilst Olga's diary isn't clear on whether 'he' refers to her father or Rasputin, both have significant implications.

SOURCE: Reagan Baker, The Diary of Grand Duchess Olga Nikolaevna, 1913, page 20. Olga was officially named regent in 1912 in the event of the death of her brother and father.

PHOTO: Maria Nikolaevna's 1913-1914 album, hand coloured

[docgold13]

Profiles in Villainy

Rasputin

The mad monk and malevolent mystic known as Grigori Rasputin had previously been a spiritual advisor to the royal Russian family. Cunning an ambitious, Rasputin’s ambitions to destroy the Russian monarchy was found out and the monk was banished by Tzar Nicholas Romanov II.  

Using his knowledge of the black magical arts, Rasputin sold his soul to a demon in exchange for the supernatural abilities needed to gain deadly revenge on Tzar Nicholas and his family.  Now a lich (a type of undead ghoul possessing magical powers), he enacted the ‘Romanov Curse,’ resulting in the deaths of nearly all of the Romanov family; save for the youngest daughter, Anastasia, who managed to escape.  

Rasputin’s familiar, the bat named Bartok discovered that young Anastasia was still alive and reported back to his master.  Upon learning of Anastasia’s survival, Rasputin endeavored on a diabolical scheme to do in the last surviving Romanov.  

Now a teenager and unaware of her true origins, Anastasia managed to evade Rasputin’s deadly efforts.  She discovers the truth about herself and was finally able to defeat Rasputin.  With the aide of Bartok, Anastasia was able to destroy the villain’s reliquary.  This acted to release the demons who originally imbued the monk with his powers.  Angered over Rasputin’s failure, the demons collected his soul and dragged the villain into hell.  

Although Anastasia was able to survive and went on to live a full life of her own, Rasputin’s actions ultimately resulted in the fall of the Russian monarchy and the rise of the Soviet Union.  

Actor Christopher Lloyd provided the voice for the mad monk (with Jim Cummings in the singing sections).  This iteration of Rasputin first appeared in the 1997 animated feature, Anastasia.  

[technicolorfamiliar]

THE DEATH OF RASPUTIN PART I: General Impressions, Design, and Concept

Note: This write up has spoilers on top of spoilers with a side of spoilers. But I wanted to share all this because the social media posts from attendees have been pretty generic and not really doing much to hype the show beyond "everyone wears black and we ride the ferry!"

The short, totally spoiler-free version is this -- I have not seen any kind of immersive theater this well-crafted, this unique, this clever in many, many years. From the direction to the performances to the design to the marketing to the location, it's all working. Why? Because it's fun. Believe it.

For a long time I've been feeling pretty bummed out by immersive theater in general and completely uninspired to make any kind of "serious" art myself. Historically, immersive theater was THE thing that gave me direction and focus in my personal artwork, ask just about anyone who knows me. But I left The Death of Rasputin vibrating with the residual energy of the show. I haven't been this excited by a new piece of art in a long time. That's entirely thanks to the incredible team who conceived, built, perform, and run this show. If you are in or anywhere near New York City this month, get tickets to this thing immediately.

Read on for a totally spoilery account of my time in the Winter Palace, but don't say I didn't warn you.

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General Impressions:

The Death of Rasputin is everything immersive theater should be. It's surprisingly funny, at times downright ridiculous. It's also deeply tragic, the specter of the Great War and the subjugation of the working class by the Russian elites are ever present. It's intense; you may be invited to conspire with the leaders of the revolution, or surrender to ecstatic shared rituals led by Grigori Rasputin himself.

There is an urgency and a fervor to The Death of Rasputin. It felt at times like being in caught up in a great storm, tossed around between scenes of debauchery and wild celebration in the face of impending destruction. Sometimes I felt like I was in the eye of that storm, where quiet insight began to put things in perspective.

It is, as I said above, exceedingly well-crafted.

First of all, regardless of whether Governors Island was their first pick of venue, it's kind of a genius move having the show out there. There's something really special about having to cross a body of water, having to go on a collective journey, to get to the show. The ferry is like a liminal space all its own -- to be among a small army of people all dressed in black on a boat crossing a river, travelling literally from the real world to the world of the show, it's brilliant. Practical and necessary, yes. But also something completely unique to DoR and adds to the whole experience.

I was curious how they would differentiate between the audience and performers. But I thought DoR's all-black dress code was an easy way to separate the guests from the characters, and it invites a sense of participation before you even set foot on Governor's Island. (I had a really cool outfit, at least I thought so, and not a single photo to prove it.) I also think removing the sense of anonymity that a masked show can give encourages better audience behavior, more politeness, even though it means everyone can see everyone else's various face journeys the whole time.

In the weeks leading up to my trip up to New York, it was important to me to avoid spoilers for the show itself. So there was some mild concern in the back of my mind when I heard from multiple sources that DoR features a lot of interactivity. I was worried they were going to make me solve puzzles; I'd been to a couple smaller interactive-y immersive shows where the whole point was solving riddles and code cracking. Maybe that's fine for some people but it is decidedly not my thing. My brain shuts down when I'm put on the spot like that and I end up having a terrible time. But I can now report with full confidence that no one in DoR made me solve a single puzzle, and honestly thank god. However, I will say that I had an incredibly awkward moment when one of the performers asked me to waltz with her. My heart said yes, but my body said fuuuck no. She was very nice to me though, so I felt like I had to. And because of a sense of goofiness threaded throughout the show, feeling like a huge dork was fine because there were other people being just as dorky just across the room.

A big bonus for me was the 90 minute run time. Apparently other people aren’t as into this as I am. One of the creatives told me after the show and that people have been telling them that the show should be three hours long and have three hour-long loops like Punchdrunk's work does. I guess because that's what most immersive fans are used to. But I say no thank you to that, I am in my late 30s and being on my feet running around and standing for three hours is something my body no longer easily recovers from. And because of the pacing and high energy of DoR pretty much from top of show, I can’t imagine the performers would want to be going at that speed for three hours, repeating the same level of intensity over and over in one night.

A very minor issue I had as someone who isn't super tall was getting stuck behind people. It was usually easy enough to creep along the edges of the room to find a break in the crowd, but sometimes I found myself wishing there were levels, like maybe some low platforms to help out people stuck in the back. But the rooms in the performance space generally aren't large enough to accommodate this, so it's not a huge deal breaker.

Going in, I had the impression for some reason, not sure why, that there weren't any 1:1s. Apparently there are a few, or so I hear, but they're not the point of the show the way they became for Sleep No More, etc. The weekend crowd I saw the show with was generally pretty chill and seemed to be a mix of people who were super into it and knew the ropes and people who looked like this might have been their first immersive show ever. Creating different kinds of opportunities and ways for audiences to enjoy this show, either as an active participant (to an extent) or purely as an observer, or somewhere in between, was really smart on the creators' part. It lowers the stakes for the audience, there's less fear of missing out, and so people can chill out, be present, and just enjoy the show and the company of their fellow audience members for a change.

Speaking of being present, I realized later that for once I didn't spend the whole time thinking about the mechanics of the show. I wasn't anxious about being in the way, I wasn't worried about being in the right place at the right time, I didn't have to plan ahead in order to maximize my experience. At Punchdrunk shows, I was always thinking two or three steps ahead to be close to the right exit or in the best spot to get the best view of a specific scene. At Life and Trust, which I only saw once, I was too aware of the structure and cues built into the sound and lighting design. But at The Death of Rasputin, something or maybe a combination of things happened early on to get me out of my head that allowed me to relax and trust the show and trust my intuition in an unfamiliar space.

Oh, and there's merch! From totes and posters to custom jewelry and character inspired fragrances, they're adding new stuff all the time. I grabbed a sticker pack but have yet to stick them anywhere -- my inner 90s kid covets stickers and must find the absolute most perfect place for them before I remove them from their sheets can you tell this is why I am the way I am??

---

The Design:

The set design is, in my opinion, just enough. It serves the story without distracting from it. The magical touches don't take away any focus from the narrative but rather enhance it. During an impassioned sermon and group breathing exercise in Rasputin's Siberian cottage, at one point he looked up, so I looked up too, and the ceiling was covered in dangling crystals, hanging just over our heads like melting snow or stars. The bar is dressed in well-worn textiles and propaganda of the revolution, and is bathed in a wash of red from the hanging paper lanterns. There is a military outpost, a chapel, palace rooms, and a grand ballroom. Apparently there is a secret passage way somewhere. Here and there I noticed a few subtle room scents, another nice detail and perhaps familiar to SNM fans. Maybe they don't have the biggest budget in the world, but they're really doing a lot with the small space they have.

Immediately upon entering the show, you can hear multiple scenes happening simultaneously. Even in the bar when the first crowd enters the show, you can hear their footsteps overhead which was a cool moment, everyone left in the bar in a lingering dead silence and just the sound of creaking floorboards over a low drone. But upstairs the walls aren't always flush to the ceiling and the people of Petrograd have a lot of problems and a lot of feelings, so there's quite a lot of sound bleed. At first, I was concerned this would be majorly distracting but after a while I grew used to it. I also can’t say enough good things about the sound design itself; like the set design it's not obtrusive, it's there to enhance the story and the overall vibes. Because the sound was designed by the GOAT Stephen Dobbie, it's got all the things I love: drones, period and culturally appropriate music, ticking clocks, heartbeats, and naturally the occasional electronic club track. And after the finale, everyone walks back down to the bar to, what else, "Rasputin" by Boney M.

Similarly, the costume design is a combination of pieces suggestive of the various Russian social classes in the early 20th century and things that are more modern and intended to evoke certain moods or personality traits rather than aim for total historical accuracy. And this is maybe the only immersive show these days where that works. The production isn't taking itself too seriously so the designers are given room to have fun and take some much appreciated creative liberties.

---

The Story/Concept/Writing:

The Death of Rasputin is a satire, possibly it could even be called a dark comedy. It's smart without being pretentious, and relevant without being too obvious. The humor in the show ranges from subtle to outrageous and back again. There are also moments that are staggeringly heartbreaking. And regarding the story itself, I imagine if someone walked into this show with zero prior knowledge about this corner of history they would probably be able to piece it together. I'd just finished Unobscured's fourth season, which is ten episodes specifically about Rasputin, the Romanovs, Russia's part in WWI, and a little about the early days of the Russian Revolution, so I felt pretty prepared. I definitely recommend it to anyone like me, i.e. anyone who actually enjoys doing a little homework before going to an immersive show.

That said: DO NOT expect this show to be a history lesson. I just came across a random blog review where the author's main take away was that they didn't learn anything. Who goes to immersive theater to learn things?? It baffles the mind.

I'd be curious to know how much of the dialogue in DoR is scripted. There are some wonderful monologues that must be, but there's so much room for improv because of the high level of interaction between the performers and the audience. The characters constantly break the fourth wall to the point I don't even think there is one to begin with. The audience is very much there, we are present at these events and with these characters. They see us just as much as we see them. I wasn't sure I'd like this much interactivity, but it's just the right amount. You might be asked to carry or hold or wear something, read aloud something written, hide (prop) explosives, or any number of similarly easy tasks.

The mix of historical figures and constructed characters is interesting. Most of the characters were real people. But then there are the three characters who represent the working class. These characters had to have been almost entirely created from scratch, and what a fun and fascinating exercise that must have been. I would love to know how much of Katya, Fyodor, and Petra were already on the page and how much was from what the actors brought to the table. But tbh that's probably true across the board because even the historic characters are clearly not intended to be 100% true to life for the sake of the story the creators are trying to tell, and I mean that in the best way possible.

Oh, uhh, the show is, like, way hornier than I was expecting. I mean, yeah, typically there's some sexy stuff in this style of immersive show, and in this case… it's about Rasputin, historically a very horny man. I made the mistake of sitting right next to the chair where Lohktina puts Rasputin during her ritual in the cottage. O___O Maybe it feels like A Lot because it's a dialogue heavy show so everyone (especially Rasputin, jesus christ) is more vocal. Like… a lot. I've never been borderline uncomfortable in an immersive show because of any kind of sexuality or nudity or whatever, but this came close to making me feel like I should not be there, like this thing happening in front of me should be private?? There was nothing super explicit that I saw, but maybe it's just the vocal nature of the show that makes it feel more… just more lol.

---

I just want to wrap up this first DoR post by saying it was so nice to walk out of an immersive show and feel genuinely surprised and light in a way I haven't in ages. Pretty much every immersive show I've seen has left me feeling devastated or, at least recently, frustrated. Life and Trust left me wanting something else, my last Sleep No More show felt like going to a wake, The Burnt City was hardcore depressing as hell, even Then She Fell wrecked me emotionally. But walking out of the finale of DoR, I felt buoyant for a change, even though the show ends in death and destruction. I think part of it maybe is that the cast is having fun? And that sense of fun is contagious? Maybe I'm speaking out of turn, I didn't speak to many cast members after the show, but it certainly seems that way.

[russicnroses]

A revised version of Diva turning Grigori Rasputin from Blood+ Russian Rose Vol 2:

Grigori felt the warmth of her blood surging through him, igniting a fire deep within. Suddenly, his body convulsed violently, a wave of pain crashing over him before everything faded to black.

When he regained consciousness, he was struck by the miraculous absence of wounds and ailments, as if the agony he had endured had been wiped away. The first light of dawn filtered into the dim church, casting a soft glow over the stone walls. Disoriented, he blinked, and his gaze fell upon her.

She stood before him, radiant and ethereal, her presence eclipsing everything he had ever known.

He squinted against the warm glow of the rising sun that framed her silhouette like a divine halo. The golden rays illuminated her otherworldly form, making her seem less human and more like a goddess. In that moment, the revered black-robed statue of Mother Mary faded from his mind, leaving only her luminous figure.

“Who are you?” he whispered, his voice a raspy murmur barely escaping his cracked lips. He blinked in disbelief, touching his unblemished face and body, trying to confirm this miraculous transformation. “What miracle is this?”

Desperation surged within him, and he struggled to his knees, the cold stone biting into his skin. He reached out, clinging to the hem of her dress, tears of immense joy streaming down his face. “In your presence, I feel reborn. You’ve pulled me back from the brink of death. What have you done to me?”

She stood silently, gazing down at him, her expression inscrutable. The weight of her gaze felt both comforting and unsettling, deepening his sense of awe.

“Divine Lady,” he continued, his voice trembling with emotion. “Let my pain be a testament to you. I am but a vessel for your will, surrendering myself completely. Your beauty eclipses everything I once revered. No earthly figure can compare to the divinity you embody.”

His breath quickened, a tumult of awe and fear coursing through him. “I renounce my past, my former allegiances. I am yours alone, ready to follow your bidding without question. Your enemies will become mine; your glory shall be my purpose.”

Grigori paused, his heart racing as he clung tighter to her dress, feeling the connection between them deepen—a bond forged in blood and sacrifice. “With every heartbeat, I vow to honor you. I will spread your influence. In this life and beyond, I am yours, bound by the blood you’ve shared.”

He raised his eyes, searching for a glimmer of understanding in her steady gaze. “Guide me, my goddess, whoever you may be. I will follow your path, for you are the light that has drawn me from the abyss. I will serve you until my last breath.”

In that sacred moment, with dawn breaking around them, Grigori felt reborn. His spirit ignited by an unwavering loyalty to this enigmatic figure, he remained clinging to her hem, tears of joy in his eyes. He had found his true purpose: a faithful servant in a world illuminated by her divine grace, ready to embrace whatever lay ahead.

[ao3feed-anastasia]

The Legend of Anastasia

read it on AO3 at https://ift.tt/1btsVYO by CozyFanastasia Perhaps the myth of a surviving Nikolaevna is a lie we tell ourselves because it’s easier than accepting the slaughter of their innocent children for the sins of the parents. The hope that a 17-year-old girl gets the chance to grow old and have a happy ending… A rewrite of the Anastasia musical for a movie adaptation. I feel like this story could work very well on film. I was inspired by different aspects of the Anastasia plays, films, ballets, the operetta, and stage musicals. This is an adaption of the Hartford production with parts from the Broadway show and tours in it. This version leans more into historical fiction. I know normal movie scripts don’t have this much description, this is just have I’m visualizing it. I hope that you enjoy it. TRIGGER WARNINGS: MURDER OF THE ROYAL FAMILY, THEIR SERVANTS, AND DOGS, GRAPHIC VIOLENCE, GORE, VIOLENT PROTESTS, GUN VIOLENCE, WAR, REVOLUTIONS. Words: 11600, Chapters: 3/25, Language: English Fandoms: Anastasia - Flaherty/Ahrens/McNally, Anastasia (1997), Anastasia (1956), Anastasia - Maurette Rating: Teen And Up Audiences Warnings: Graphic Depictions Of Violence, Major Character Death Categories: F/M Characters: Anya | Anastasia Romanov (Anastasia 1997 & Broadway), Dimitri | Dmitry (Anastasia 1997 & Broadway), Gleb Vaganov, Vlad Popov, Dowager Empress (Anastasia 1997 & Broadway), Nikolay Alexandrovich Romanov | Nicholas II of Russia, Grigori Rasputin, Rasputin (Anastasia 1997), Olga Alexandrovna Romanova, OTMA, Tatiana Nikolaevna Romanova (1897-1918), Ortipo | Tatiana Nikolaevna Romanova (1897-1918)'s Dog, Olga Nikolaevna Romanova (1895-1918), Maria Nikolaevna Romanova (1899-1918), Anastasia Nikolaevna Romanova (1901-1918), Alexei Nikolaevich Romanov (1904-1918), Alexei Romanov (Anastasia 1997 & Broadway), Alix of Hesse | Alexandra Feodorovna, Xenia Alexandrovna Romanova, Anna Anderson | Anastasia Nikolaevna Romanova Relationships: Dimitri | Dmitry/Anya | Anastasia Romanov (Anastasia 1997 & Broadway), Anya | Anastasia Romanov/Gleb Vaganov Additional Tags: Musical, Inspired by Anastasia (1997 & Broadway), Inspired by Real Events, Inspired by Art, historical fiction - Freeform, Alternate Universe - Anastasia (1997 & Broadway) Fusion, Gleb Vaganov - Freeform, dimitri - Freeform, Anya - Freeform, vlad popov - Freeform, Glenya, dimya, Song: Once Upon a December (Anastasia 1997 & Broadway), Journey To The Past, musical rrewrite, musical adaptation, Musical References, Cannon Divergence, Russian History, References to Anastasia (1997 & Broadway), Song: In a Crowd Of Thousands (Anastasia Broadway), Song: Still/The Neva Flows (Anastasia Broadway), Song: Quartet at the Ballet (Anastasia 1997 & Broadway), Melodrama, anastasia 1956, anastasia ballet, Ballet, Swan Lake - Freeform read it on AO3 at https://ift.tt/1btsVYO