#venetian theatre

[jeffcbliss]

Steve Lukather of Toto, playing with Ringo Starr’s All-Starr Band - The Venetian Theatre; Las Vegas, CA (6-1-24). @SteveLukather4 @toto99com @ringostarrmusic

Photo: Jeff Bliss

[illustratus]

Desdémone by Alexandre Cabanel

[vintage-russia]

Participants of the play "The Venetian Madmen",Moscow (1910s)

[bottomoftheriverbed]

The thing with modules next year is one option is really starting to specialize. As in not doing any modern history or literature options. And I feel like I should do some idk.

[addictedbespoken]

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[ajearthlinggg]

exposing you based on your fav will wood/wwatt song (my longest post)

A lot of these have nothing to do with the song. They're basically headcannons lmao. My Blake Jennings is showing

No instrumental chnt except Rhumba sorry

i started this in June enjoy

EIAL

6up 5oh copout: its low hanging fruit to say you hate cops, and I'm taking it. You hate cops.

Skeleton Appreciation whatever the fuck: Covid RUINED you

Front Street: you like Heathers

Aikido!: how's that obsessiveness and inability to let go going?

White Knuckle Jerk: you also like nu metal for the same reason. (Its incredibly horny)

Cover This Song: same as Aikido but only with your exes omg do not text them they are assholes

Thermodynamic Lawyer: PLEASE take time to calm down when you get overstimulated I promise if you don't do anything abt it you will have such a terrible mental breakdown

Red Moon: YOU LISTEN TO MALE MANIPULATOR MUSIC STOP TRYING TO HIDE IT YOU CANT BE IN THE RADIOHEAD CLOSET FOREVER

Lysergide daydream: I honestly do not like this song at all so you get a pass (don't kill me)

The First Step: you're usually quiet but you know how to SCREAM.

Jimmy Mushroom: you're usually quiet but- I'm just kidding. You're always quiet

Chemical Overreaction: you're usually quiet but if- I'm just kidding. You are never quiet

Everything is a lot/dte: insomnia. I dont know why,but insomnia

Self-ish

self/ish: closet theatre kid

2012: fast talker to a not comprehendible level

Cotard Solution: turn off the v-sauce it is 2 am

Mr. Capgras: turn off the 🌽 it is 2 am

The Song With Five Names: you have incredible taste. You can't describe that taste, but hey, its incredible

Hand me my shovel: you were the only talented kid in your elementary music class

Dr. Sunshine is Dead: you love the smell of cigarettes

TNA

Suburbia overture: BPD BPD BPD BPD BPD BPD BPD BPD BPD BPD

222: your English teacher loves you (you're so goddamn gay)

Laplace's Angel: your English teacher hates you. How do I know? Because you can't pronounce anything (its la-plass-es not la-place-is)

i/me/myself: you have to beat off the fake fan allegations with a stick everyday

Wbtta: hey queen. How are those hyperfixations going

Outliars and hyppocrates: you spell the title wrong every. damn. time.

bbw: same as 2012 but holy shit triple it.

Marsha, thankk you: dyslexia and ADHD

Love, me normally: I get it. I'm not even gonna expose you. You already have it bad enough

Momento Mori: you are just SO quirky! (knives whisper things to you when you hold them)

Icimi

Tomcat Disposables: you'd shove photos of your pets in your friends faces even if they were dangling off a bridge

Becoming the last names: you either have wonderful parents in a happy relationship or your parents have been divorced for years and you will never relate to this song

Cicada Days: stop using self deprecating humor around the wrong people PLEASE

Euthanasia: this song is a masterpiece I have nothing to say about you.

Falling Up: WONDERFUL TASTE. AMAZING CHOICE. NO RECOLLECTION OF YOUR CHILDHOOD.

That's enough: you love Alex g you just don't know it yet

Um its kind of a lot: you either already love Scott pilgrim or it will happen. Its a canon event

Half decade hangover: omg twinn!! I have an addictive personality, too!

(I feel like this is a good time to say don't take these too seriously)

You liked this: ...what?

The main character: you can't relate to the song, you hate yourself

Sdrr: IF I SEE ONE MORE PERSON TAKING THIS SONG SUPER SERIOUSLY IM GONNA LOSE MY SHIT YDHZJABXV

Bfb: ur just a silly lil guy

Willard!: you're a therian. There is no human explanation to this.

white noise: you love pink floyd you just don't know it yet

Atkf: HOW TF DID I FORGET THIS ONE anyways you get bad habits (nail biting, staying up too late. Etc)

CHNT

Yes to err: you are still waiting for chnt season 2 BC you want to see what happens with Adam

Your body, my temple: I have a strong feeling you have a tummy ache right now

Venetian Blind Man: you love nobody sexually you just don't know it yet (this is a very ace choice idk why)

Rhumba of Death: you LOVE Halloween

When Somebody Needs You: Tyler the Creator is probably your favorite rapper

Live

Trww

Self/ish: You can't sleep if your room has the SLIGHTEST amount of light in it

10-4 6-up: unlike the original, you don't just hate cops, you hate anybody who can tell you what to do (your teachers are probably just trying to do their job. please)

Cotards Solution: you can't sleep without background noise

Dr Sunshine Lives!: You never get sick physically (mentally on the other hand...)

Where do you get off: omg the horniest of the horny. Gerard Way on stage levels of horny. Nine Inch Nails levels of horny. (Or you really like Umbrella Academy idk why)

Aikido: you can't relate to it. You hate everybody

Take a break grab some water this is getting long

Thermodynamic Lawyer: you have gotten kicked out of restaurants because of how loud you are

Front Street: WE GET IT. IT'S BETTER THAN THE ORIGINAL.

Wasting away again: I am so sorry holy shit

Hand me my (x), I'm (y): you suck at algebra

The First Step: you wish you could do the AUGHHHHHHHH

2012: severe social anxiety

Mr capgras: literally the opposite of 2012 (live)

Chemical Overreaction: you know so many random fun facts

Fibrodysplasia: I'm not even gonna talk about your mental issues because I will be banned from this app (which is pretty much impossible)

Icid

Cicada Days: you also get a pass fuck I'm so sorry

The main character okay you ACTUALLY can relate to it

Icimi: OMG I LOVE YOU

atkf: you cry every day even if you aren't sad

Becoming the last names: please don't become a Disney adult

Vampire ref: LISTEN TO MY CHEMICAL ROMANCE I KNOW YOU'VE BEEN PUTTING IT OFF AND IK YOU LOVE HOT VAMPIRE MUSIC

Half decade hangover: oh my god talk to somebody it'll be okay I'm so sorry

Tsw5n: you love the way he says "what the fuck"

Euthanasia: once again, ANOTHER PASS. IM SO SORRY I HOPE YOU'RE OKAY

Jimmy Mushrooms: You. Me. Marriage. Now.

Laplaces Angel: you listen to LitWTC

i/me/myself: you were trying to separate yourself from the normal i/me/myself fans

The first step: idk why but you REALLY like lemonade

skeleton appreciation day: you can NOT play any instrument

tomcat disposables: you love concept albums

White noise: unlike cotards, you need to sleep in SILENCE

Love me normally: arctic monkeys. that's all I have to say. idk what about them but, yeah

misanthrapologist: GAY QUEER LGBT HOMOSEXUAL FRUITY ZESTY ROMANTICALLY ATTRACTED TO PEOPLE OF THE SAME GENDER

Falling up: wonderful taste once again please don't become a Disney adult

thats enough let's get you home: you say "YIPPIE!!" a lot

And if I did: god made you shy because he knew if you weren't you would be unstoppable

[italian-lit-tournament]

Italian literature tournament - First round.

Propaganda in support of the authors is accepted, you can write it both in the tag if reblog the poll (explaining maybe that is propaganda and you want to see posted) or in the comments. Every few days it will be recollected and posted here under the cut.

The propaganda here are in order from left to right, first Carlo Gozzi and then Guid Cavalcanti

Carlo Gozzi propaganda by @girlboccaccio

Do you like theatre? Do you like opera? Are you interested in commedia dell'arte? Do you like fables with dubious morales, fairy tales with dark hidden meanings, plays inspired by 16th morally ambiguous short tales and The thousand and one nights? If yes you should take two second and vote for Carlo Gozzi (yeah the funky guy in b/w on the left). Without him we couldn't have masterpieces like Puccini's Turandot and The Love for Three Oranges by Sergei Prokofiev. He was a great admirer of spanish literature and theatre. He defended commedia dell'arte and funky plays when this manners of making theatre were dying. Immaculate yeah? He wrote an autobiography named Useless Memories, truly cunty, right? He was a rate A+ hater when he decided to start shitting against the king of the new modern way of writing theatre, Carlo Goldoni. He died in a Country that stopped existing in the last decade of his life (The Not So Serene Republic Of Venice) and lost all his friends in exile. He was the bitch of the venetian intellectual life. He was the bitch of the coolest italian actresses of the time. He was friend with Francesco Algarotti, the loveboy of Frederich the Great.

Fella, if you love the 18th century, you have only one choice in you hand: vote Carlo Gozzi.

Propaganda in favor of Guido Cavalcanti by @eresia-catara

May I add further propaganda for Guido: He's a noble, he disdains aristocrats, he was Florence's number one Server of Cunt, he was the city's faggot, he was heretical, he went on a random pilgrimage but interrupted it and managed to be buried in a church anyway, he had an archenemy who sent some men to murder him on said pilgrimage, he came back and tried to murder him back in plain daylight, he gave zero fucks about politics, he got exiled because he was considered a menace for the city. He SAW DANTE's poetical talent, encouraged it, shaped it, and through him the whole of italian literature. Think about it. Also they became besties until they evolved to a tormented psychosexual haunting dynamic (see break-up poem) where Dante himself actually exiled him. In the 13th century his poetry anticipates so many of the literary themes of the XXth century, going from fragmentation of the self (his is basically vivisection and dispersion of his parts), to dissociation from one's own mind and body, lack of identity, irony, desecration, his poetry is full of schizophrenic-like hallucinations, reading them is truly a trip, and yet his language is profoundly meoldic and sweet. And there's also gender-fuckery. and theater, of course, because his poems develop like a scene from a theater (adding layers to the dissociation). So really he has it all guys.

Guido Cavalcanti propaganda by @girldante

GUIDO CAVALCANTI PROPAGANDA ABBIAMO:

LA DISSOCIAZIONE SCHIZOFRENICA:

IL COMICO, IL SIMPATICO BURLONE, IL MEMATORE ANTE LITTERAM:

IL MACABRO, IL GORE, I SINTOMI™

IL BREAKUP TOSSICO PASSIVO AGGRESSIVO CON DANTE

in conclusione

[theoutcastrogue]

Venice in the art of Alexandra Exter (1882-1949)

Carnival in Venice (oil on canvas) 1930s

Carnival Procession (oil on canvas)

Masked Figures by the Banks of a Venetian Canal (oil on canvas)

Venetian Masks (oil on panel)

Pulcinella (gouache on paper) late 1920s-30s

Venice (oil and sand on canvas) 1925

Venice, 1915

"Aleksandra Aleksandrovna Ekster, also known as Alexandra Exter, was a Russian and French painter and designer. As a young woman, her studio in Kiev attracted all the city's creative luminaries, and she became a figure of the Paris salons, mixing with Picasso, Braque and others. She is identified with the Russian/Ukrainian avant-garde, as a Cubo-futurist, Constructivist, and influencer of the Art Deco movement. She was the teacher of several School of Paris artists such as Abraham Mintchine, Isaac Frenkel Frenel and the film directors Grigori Kozintsev, Sergei Yutkevich among others." [x]

"Exter painted views of Florence, Genoa and Rome, but ‘most insistent and frequent were images of Venice. The city emerged in various forms: via the outlines of its buildings, in the ‘witchcraft of water’. In glimmering echoes of Renaissance painting, in costumes and masks and its carnivals’.

"Exter’s characteristic use of the bridge as a stage platform, seen most clearly in Carnival in Venice, is a legacy of her time as Tairov’s chief designer [Alexander Tairrov, director of Moscow's Kamerny Theatre]; the director believed in breaking up the flatness of the stage floor which the artist achieved for him by introducing arches, steps and mirrors. Even in her easel work, the emphasis is at all times on theatricality. Bridges are used as proscenium arches, the architecture creates a stage-like space in which to arrange her cast."

"For all her modernity, references to Venetian art of the past abound in these paintings. The masked figures are influenced by the Venetian artist Pietro Longhi, to whom Exter dedicated a series of works around this time. The incredible blues used in both Carnival Procession and Masked Figures by the Banks of a Venetian Canal are a direct reference to Titian, who was famed for his use of ultramarine, the pigment most associated with Venice’s history as the principal trading port with the East." [x]

"Exter had long since abandoned the Cubist syntax by 1925 but her sense of colour remained together with a strong conviction, shared with Léger, that a work of art should elicit a feeling of mathematical order. In its graceful interaction of fragmented planes and oscillation between emerging and receding elements, Venice (1925) echoes the more precise qualities that also appear in Léger's work at this time, both artists occupied with the continuous modulation of surfaces and the 'melody of construction' that Le Corbusier was still advocating in the 1930s. But while Exter subscribed to Léger's theory that 'a painting in its beauty must be equal to a beautiful industrial production', she never fully embraced the aesthetics of the machine and rejecting the common opposition between ancient and modern, her work often retains a classical edge - for example in these trefoil windows, arches and vaults. Human figures, which had been nearly absent from her Cubo-futurist paintings, also return in other works from this period."

"She was undoubtedly aware of the concept of 'defamiliarisation', a term first coined by the influential literary critic Viktor Shklovsky in 1917:

'The purpose of art is to impart the sensation of things as they are perceived and not as they are known. The technique of art is to make objects 'unfamiliar,' to make forms difficult to increase the difficulty and length of perception because the process of perception is an aesthetic end in itself and must be prolonged.'

An instance of this device is discernable in the present tight formation of the oars, seen from above. Like Braque and Picasso, Exter incorporates sand into certain areas of pigment to enhance the differentiation of surfaces, a technique also used to 'increase the length of perception'. The occasional lack of overlap between the boundaries of the textured surfaces and colour planes strengthens the paradoxical combination of tangible presence and elusive abstraction that makes Venice such a powerful work."

"Venetian subjects occur in Exter's work as early as 1915. A gigantic panneau of the city was one of the final works she produced in the Soviet Union and exhibited in the 1924 Venice Biennale." [x]

"The specific theme of the Commedia dell’Arte first appeared in Exter’s work in 1926 when the Danish film director Urban Gad approached her to design the sets and marionettes for a film which was to tell the story of Pulcinella and Colombina, transposing them from the Venice of Carlo Goldoni to contemporary New York. Pulcinella most likely relates to the artist’s subsequent experimentations on the theme of the Commedia dell’Arte. Pulcinella, who came to be known as Punch in England, is one of the classical characters of the Neapolitan puppetry. Typically depicted wearing a pointed hat and a mask, Pulcinella is an opportunist who always sides with the winner in any situation and fears no consequences." [x]

[iamthedevilsminion]

You mentioned you had thoughts on art in iwtv? Something about Louis and photography?

yes, i did! in this post, i had a brief aside about louis and photography in comparison to daniel. a quick warning, i'm pretty black and white about good and bad art in this, that's not something that works in life about art. for the sake of this though, bear with me.

art and vampires is a really interesting topic; almost all the main cast has some point of connection to the arts. marius and painting, lestat with acting and music, louis with photography, armand with directing the theatre. claudia and journalling. i'm going to count daniel's journalism here too, i'll come back to that a little later.

specifically, these are all ways to connect to the world around them, and almost all of them fail spectacularly. marius' works haven't really survived him, he is an unknown name among his venetian contemporaries. lestat is not perceived as being "a real vampire", instead someone running off the clout of daniel's book. louis is desperately trying to connect to the world, but the only "good" work of his portfolio is someone else's.

and a very specific aspect of their artworks are an attempt to mimic, capture, and connect to life and living. and even more specifically, they're all failing.

marius as a painter, had to stage his references. each painting is a facsimile of a staged moment. it's noted that his works are often references to other, more esteemed painters. he has the skill, but is missing the eye required. marius is only ever creating imitations. there is no connection there, no understanding. his work is beautiful, certainly, he loved his aesthetics and maintained them through painting, but it is, at the end of it, a failed connection. he isn't actually interacting with the world, with life and humanity, he's still locked away in his tower crafting an idea of life that he thinks looks beautiful to the eye.

lestat, as an actor, is always performing; all the world's a stage. there is a struggle for genuine connections because he cannot move beyond the role he's assigned himself. his interactions with humans is coloured by the the person he is attempting to be within those interactions, and it leaves him unable to be genuine. we get little flashes of him being honest, such as the conversation with louis' family in early s1, with big emotions, but there is always an element of public performance. when he becomes a rock star, his attempts at honesty are twisted on him because of the book. it's not the vampire lestat, it's lestat the vampire from the book interview with the vampire. it's twisted into another role to play. a chance at connection lost.

armand is interesting, as he's been the subject of paintings, never true manifestations of himself, but as a role, an aesthetic. then, of course, he also directs -- and sometimes performs -- at the théâtre des vampires. he structures the performance in the same way that he leads conversations. there is an ideal outcome, a way that allows the audience the best experience, that portrays the right themes. his interactions with everyone are played like this. he pulls the strings; once more with feeling. there is no connection there, he sees players, not people. even the way he hunts has a script; gentleman death. armand also seeks this in other people. i've spoken about it a lot here, how he tries to live vicariously through other people, and i think this is only exemplified by his attitudes as a director.

louis' photography is the most literal translation to completely missing the point of his form. photography is meant to capture moments; there is something about photography as a medium that works so well in a connecting with humanity and life. to take a photo, and make the moment live forever. however for louis, it isn't. the best shot he captures in the show is a moment of vulnerability from armand, a spur of the moment shot that does successfully capture him. but he captured an immortal, his subject is going to live forever. and he walks each night looking for photographs to take. his camera is up at all times, he is not living in the moment, not living life. he's put a literal barrier between him and the world at large.

another little aside, but there's also something to be said about the way louis views art, as a dealer. he isn't viewing artwork for arts sake, he is looking at it for profit, and i think this is also a big tell about how he views the world.

daniel is an interesting aspect of this. he has spent his life succeeding at connecting with life. looking for stories about people who have slipped through the cracks. he knows people, how they live, how they love. he's seen the worst and best of humanity, and how complicated people are, and i think that while he has a distance between him and his subjects, there is a connection there that the others cannot make. this makes his transition into vampirism really interesting; will he maintain this level of connection? will he keep living? can he?

[jeffcbliss]

Colin Hay of Men At Work, playing with Ringo Starr's All-Starr Band - The Venetian Theatre; Las Vegas, NV (6-1-24). @ColinHay @ringostarrmusic

Photo: Jeff Bliss

[illustratus]

Desdémone by Alexandre Cabanel

[manynarrators]

So I'm reading Queen of the Damned for the first time, and the following bit stood out to be. Excerpt (pg. 139-141) under the cut because it's a bit long, but I want to talk about it!

This comes from the chapter about the Talamasca, and this particular passage is David Talbot (head of the organization) trying to prove to Jesse that vampires are real.

Imagine, there is so much of you on file as to be the example that vampires exist. You have been recreated in unsettling detail and kept in the archives. You and the painting both survive, but you are not the you in the painting.

Nor are you the most important part of this, you are a link to a story that isn't even yours. Your theatre isn't yours because the deed is in the name of Lestat de Lioncourt. There's a journal article with you smiling. You only maybe know about all of this.

Five-hundred years and you are a pretty thing on a shelf, still. That is what you will always be to them.

All of which is to say, that the show having just folders upon subfolders on Armand is both somehow more devastating reading the book, and also an accuracy! I want to read the files, what does the Talamasca know? How do they talk about Armand? How many people have seen this painting? Does Armand know about the extent of the archive, if so, how does he feel about that???

I'll take questions that will never be answered but that I desperately want to be for $500.

She saw an enormous painting against the far wall. She placed it at once as Renaissance, and probably Venetian. It was done in egg tempera on wood. And it had the marvelous sheen of such paintings, a gloss that no synthetic material can create. She read the Latin title along with the name of the artist, in small Roman-style letters painted in the lower right corner.

"The Temptation of Amadeo" by Marius

She stood back to study it.

A splendid choir of black-winged angels hovered around a single kneeling figure, that of a young auburn-haired boy. The cobalt sky behind them, seen through a series of arches, was splendidly done with masses of gilded clouds. And the marble floor before the figures had a photographic perfection to it. One could feel its coldness, see the veins in the stone.

But the figures were the true glory of the picture. The faces of the angels were exquisitely modeled, their pastel robes and black feathered wings extravagantly detailed. And the boy, the boy was very simply alive! His dark brown eyes veritably glistened as he stared forward out of the painting. His skin appeared moist. He was about to move or speak.

In fact, it was all too realistic to be Renaissance. The figures were particular rather than ideal. The angels wore expressions of faint amusement, almost bitterness. And the fabric of the boy's tunic and leggings, it was too exactly rendered. She could even see the mends in it, a tiny tear, the dust on his sleeve. There were other such details-- dried leaves here and there on the floor, and two paintbrushes lying to one side for no apparent reason.

"Who is this Marius?" she whispered. The name meant nothing. And never had she seen an Italian painting with so many disturbing elements. Black-winged angels…

David didn't answer. He pointed to the boy. "It's the boy I want you to observe," he said. "He's not the real subject of your investigation, merely a very important link."

Subject? Link... She was too engrossed in the picture. "And look, bones in the corner, human bones covered with dust, as if someone had merely swept them out of the way. But what on earth does it all mean?"

"Yes," David murmured. "When you see the word 'temptation,' usually there are devils surrounding a saint."

"Exactly," she answered. "And the craft is exceptional." The more she stared at the picture, the more disturbed she became. "Where did you get this?"

"The order acquired it centuries ago," David answered. "Our emissary in Venice retrieved it from a burnt-out villa on the Grand Canal. These vampires are endlessly associated with fires, by the way. It is the one weapon they can use effectively against one another. There are always fires. In Interview with the Vampire, there were several fires, if you recall. Louis set fire to a town house in New Orleans when he was trying to destroy his maker and mentor, Lestat. And later, Louis burned the Theater of the Vampires in Paris after Claudia's death." Claudia's death. It sent a shiver through Jesse, startling her slightly.

"But look at this boy carefully," David said. "It's the boy we're discussing now."

Amadeo. It meant "one who loves God." He was a handsome creature, all right. Sixteen, maybe seventeen, with a square, strongly proportioned face and a curiously imploring expression.

David had put something in her hand. Reluctantly she took her eyes off the painting. She found herself staring at a tintype, a late-nineteenth-century photograph. After a moment, she whispered: "This is the same boy!"

"Yes. And something of an experiment," David said. "It I was most likely taken just after sunset in impossible lighting conditions which might not have worked with another subject. Notice not much is really visible but his face." True, yet she could see the style of the hair was of the period. I "You might look at this as well," David said. And this time he gave her an old magazine, a nineteenth-century journal, the I kind with narrow columns of tiny print and ink illustrations. There was the same boy again alighting from a barouche-- a hasty sketch, though the boy was smiling.

"The article's about him, and about his Theater of the Vampires. Here's an English journal from 1789. That's a full eighty years earlier, I believe. But you will find another very thorough description of the establishment and the same young man."

"The Theater of the Vampires…" She stared up at the auburn-haired boy kneeling in the painting. "Why, this is Armand, the character in the novel!"

"Precisely. He seems to like that name. It may have been Amadeo when he was in Italy, but it became Armand by the eighteenth century and he's used Armand ever since."

"Slow down, please," Jesse said. "You're telling me that the Theater of the Vampires has been documented? By our people?"

"Thoroughly. The file's enormous. Countless memoirs describe the theater. We have the deeds to the property as well. And here we come to another link with our files and this little novel, Interview with the Vampire. The name of the owner of the theater was Lestat de Lioncourt, who purchased it in 1789. And the property in modern Paris is in the hands of a man by the same name even now."

"This is verified?" Jesse said.

"It's all in the file," David said, "photostats of the old records and the recent ones. You can study the signature of Lestat if you like. Lestat does everything in a big way, covers half the page with his magnificent lettering. We have photostats of several examples. We want you to take those photostats to New Orleans with you. There's a newspaper account of the fire which destroyed the theater exactly as Louis described it. The date is consistent with the facts of the story. You must go over everything, of course. And the novel, do read it again carefully."

[blacklegsanjiii]

i think truly the most absurd parenting scenario we could put sanji in is with Real Pirate King Buggy 🦅🦅🦅🦅

Sanji would really suit that like. commedia dell’arte venetian theatre. Sanji would make a fine Arlecchino or Tartaglia (both lover roles, but Arlecchino or ‘the Harlequin’ is often a trickster character too)

Buggy would unironically be an incredible father tho. like. i am fully confident that there is nothing Buggy doesn’t excell in despite his pathetic soppy wet cat existence. He’s a COMPETENT soppy wet cat.

Sanji growing up as an acrobat in Buggy’s circus and getting doted on by all the crew oh ya know he’d love the dramatic flamboyance of it all.

Listen.

Listen, you're cooking. And it smells GREAT! But I think we need to adjust the seasoning a bit. Buggy managed to successfully hide in the East Blue and be forgotten from Roger's crew and all his adversaries. Like Buggy has to be running a network of some sort. He probably has informants in the New World ya know? For sure in the Grand Line.

I don't really fuck with Shuggy ATM(crossguild brain rot) but like also Buggy probably knows about Usopp and Luffy and that's part of why he signed the(forged) adoption papers. Sanji is also probably skilled with all sorts of weapons? His kitchen knives are not weapons but like he has a set of knives that are always hidden on him. He probably shows Usopp a bunch of spices and stuff that are good for bombs and Nami and Robin are confused about exactly how much in universe Shakespeare, albeit Robin is impressed. Luffy just knows but imagine Zoro finds out when the cook, who doesn't fight with his hands just swallows a Marines sword to distract them right before Luffy Gum Gum Pistols them.

Rayleigh talks more about Shanks and Sanji is just looking at his nails and briefly brings up Buggy. And Sanji can't help himself when he says "at least he's not a dead beat, he didn't abandon me" which makes Robin laugh and Luffy and Usopp ask what means and Sanji is like "you both haven't seen the Redhair crew since you were in the single digits, Buggy saw me at Baratie three weeks before you lot wrecked it and he would stop by every couple of weeks normally" And the crew is shook.

Like then Sanji just proudly showing everyone his photo of the Buggy Pirates, him, and Buggy in the adoption office and then again with just Buggy and Sanji and the paper and the jolly Roger. Rayleigh is having heart palpitations as Nami, Luffy, and Zoro scream at how lame his dad is and Sanji is like "oh you guys are the reason he's in Impel Down this makes sense" and Rayleigh is losing it. Shakky is laughing so hard. Rayleigh asks if anyone is planning to get Buggy out of prison and Sanji shrugs and says the lion is in charge now.

And then after the time skip to the forming of the crossguild everyone keeps shitting on. Like imagine Mihawk and Croc walking into Buggy's tent and seeing Black Leg Sanji as a child in full clown get up sitting on his own head in a photo and next to it is the adoption photo. When they ask Buggy about it hes just like "oh yeah, I adopted him at ten. Saw him all the time after he started at Baratie. Unfortunate he's not out of his civilian phase yet." And Croc and Mihawk are reeling. "Then again I think having to relive his trauma in Germa and with Big Mom probably didn't help, oh well. I'll talk to him about it when I see him."

When they see each other is some meeting between the Hats, the Guild and Redhair Pirates Luffy and Usopp are really happy to see their dad's. Sanji is probably being passed around by Buggy's crew and petting Richie who has him pinned to the ground and Crocodile is groaning that the clown's kid did the whole Mr. Prince thing and Shanks is confused because "you didn't tell me you had a brat?"

"well I legally adopted him eleven years ago and when Garp found out he said I was a better dad than you and Roger and Rayleigh so."

[avelera]

What religion do we think IWTV show Armand is, at this point?

Because with almost any other character, especially a centuries old vampire, I would add "if any", but that really really doesn't apply to Armand. Religion is absolutely core to his character throughout the books in ways that it is for very few characters even within the Vampire Chronicles.

Below the cut is a rundown of Armand's faith in the books, questions that arose as a result of him pretending to be Rashid in the show, and my fundamental question which is: where does that leave us with regards to Armand's faith as it stands today?

Book Background:

For those not familiar, Armand's religion in the books is, presumably, Russian Orthodox when he was a child or its equivalent in Kievan Rus in the 1400s and he was quite devout.

Presumably, when he was sold as a slave to the Venetians and became immersed in the Venetian art scene as part being an artist in Marius's studio (forgive my somewhat patchy memory of TVA, this is based more on TVL which I'm currently re-reading) he would have been surrounded by and partaken in Roman Catholicism.

When he is kidnapped and indoctrinated by the Children of Darkness, a Satanic cult that believes vampires are a punishment sent by God (in a Roman Catholic tradition) and eventually becomes the leader of the Paris Coven, Armand is still heavily steeped in a Catholic, arguably almost Catholic monastic existence.

Even when the Paris Coven transitions into the Theatre des Vampires, Armand maintains a great many of the rules from the Children of Darkness and the Theatre is very much a spiritual successor, reinvented specifically for the Age of Reason because they were hemorrhaging followers and believers in the 1700s.

(Because the Children of Darkness was a fundamentally Medieval cult, founded in response to the Black Death, and the ways of thinking were changing to make that level and flavor of religious devotion old fashioned and no longer as compelling to modern people of the time, but I digress.)

For all that Armand no longer presents as particularly religious by the time of the Devil's Minion, and even to have left that part of his life behind, the events of Memnoch the Devil show that Armand's religious faith was merely dormant, and when given a sliver of proof that God and the Devil, Heaven and Hell exist, his faith returns in a fiery (heh) explosion. Specifically, his reaction is to evidence of the historicity of Jesus Christ via being confronted with the Veil of Veronica. It's a heavily Christian moment, though one that would be meaningful to Catholic and Orthodox believers.

Ok, so there's the book background. So what about the show?

When Armand was presented as Rashid in Season 1, I was quite willing and indeed excited at the notion of Armand reinvented as a member of the Islamic faith.

While it would require some alteration from the book canon as described above, it wouldn't necessarily be all that different than updating Louis from an 1800s plantation owner to a 1900s brothel owner and business man. Basically, I had faith the writers could pull it off and indeed make it beautiful.

Based on the S1 finale, I had assumed that Rashid was a character created wholly by Armand and, in the manner of all masks, therefore included a piece of his true self including his Muslim faith when he prayed.

But now in S2 we have Real Rashid. And we have Armand's theatrical background to show he's familiar with acting and putting on a character, in this case, the character of a real person he knows. So I'm beginning to think, much like Daniel when he shot those questions about Islam at Armand, that Armand was only praying in order to better 'inhabit' the character of Rashid, based on Real Rashid, who presumably is a Muslim.

That leaves us with a question: was Armand praying out of personal faith, or to better perform as "Rashid"?

Then there's the fact that in this season, we learn what alterations have been made to Armand's background. He is no longer Andrei of Kievan Rus, he is Arun of Delhi.

Thing is, Muslims make up a little over 10% of the population of Delhi today (according to a cursory Google search) so it's still entirely feasible that Armand was born into a Muslim household, rather than say a Hindu one, and practiced that faith as devoutly as Andrei practiced Russian Orthodoxy.

But then we get into the thornier issue, because Andrei/Amadeo/Armand going from Orthodox to Catholic is still a conversion, it's perhaps a less fundamental one. Especially since as a peasant in the 1400s, the differences in dogma between Catholics and Orthodox beliefs would be less relevant to Andrei than they would be to, say, a priest. (Not to say these differences aren't important. Just saying that many laymen at least in the Catholic faith at this time only had a fuzzy idea of what the dogma even was.)

But making Arun, who might have been Muslim, convert to a faith that believes in Jesus Christ as the Messiah rather than Muhammad as the Prophet is a much bigger, more fundamental betrayal and a potentially forceful conversion. Do you see what I mean?

So basically, I'm wondering where we're at in terms of potential later story beats that revolve around Armand's faith being specifically some flavor of Christianity (ex. in Memnoch) and potential prologue story beats of his time as a painter in Venice with Marius which would likewise have been fairly steeped in the Christian faith which this version of Armand was almost certainly not born into (at least, it would be very unlikely, Christians making up less than 1% of Delhi today, I confess I don't know the historical percentages).

So, where do we stand on Armand's faith by the present day? Did he convert wholeheartedly (or perhaps reluctantly, or perhaps neither since he didn't remember his childhood he simply adopted the faith of those around him, who knows?) to Christianity under Marius and the Children of Darkness and therefore consider those faiths as fundamental to him as his book counterpart, since they'd represent 99% of his life, or was his Muslim prayer as Rashid in any way a homage to his childhood faith, if he even recalls it?

[gemsofgreece]

Help me choose: Meteora/Metsovo/Ioannina or Mycenae/Nafplio/Epidavros? Thank you!

Those are seriously good options! I believe you would love either destination, so I will just give you what each place is ideal for.

Meteora - Metsovo - Ioannina

This is an itinerary that is ideal for nature lovers and people who love urban and provincial areas with strong traditional character in gorgeous natural settings.

Pros:

Meteora is hands down the best natural wonder of Greece.

It is also one of the two most important destinations for Christian Orthodox and post-Byzantine heritage monuments.

Metsovo is a town built in a high altitude, surrounded by beautiful mountains.

It has a strong traditional mountain Vlach Greek character and great cuisine.

Ioannina is the 6th largest city in Greece. It is vibrant, it is a university city, however it retains its own traditional character.

Ioannina is a lake city (which also features a must-visit inhabited lake island) built close to a lot of natural beauty and is the starting point for a lot of nature-oriented destinations, including two national woodland parks.

Ioannina is very significant for Ottoman Greek and Modern Greek history and has a lot of museums and cultural places to visit. Metsovo does too.

Ideal for a lush green spring or a cool summer.

Cons:

No access to the sea.

Farther from Athens than the other itinerary plan.

Probability of adverse weather if visited in cold months.

Tip: For Ancient Greek culture buffs, the archaeological site of Dodona is about 22km from Ioannina.

Mycenae - Nafplio - Epidaurus

This itinerary is ideal for history buffs of all kinds.

Pros:

Mycenae is the best destination for the Mycenaean civilization.

Epidaurus has the best preserved ancient Greek theatre in Modern Greek territory and is in general one of the best destinations regarding Classical Greece. The theatre is functioning. (If you go at the right time during summer, you can watch a theatrical play there as well.)

Nafplio is the first capital of the Modern Greek state, it is coastal and has many points of interest regarding Modern Greek history.

Nafplio is also a good place to explore Venetian / Latin presence in Greece in the late Byzantine and post-Byzantine era.

Nafplio is much smaller than Ioannina but it is one of the prettiest cities in Greece. Both these cities are beautiful though.

Driving distances here are smaller as all destinations are in the same one administrative region (Argolis) and they are closer to Athens.

It might not have the wow factor of the other itinerary nature-wise, but that doesn't mean it does not have beautiful natural surroundings, and coastal ones too.

Ideal for early spring and a mild winter.

Cons:

If history and museum visiting get old for you after a point, the other itinerary might be better.

Pretty hot in summer months.

Touristy.

[chic-a-gigot]

L'Art et la mode, no. 44, vol. 15, 3 novembre 1894, Paris. Toilettes de saison. Dessin de C. Billié. Bibliothèque nationale de France

Toilette en velours noir, garnie de bandes d’hermine. Corsage formant blouse, empiècement de guipure. Jupe à godets, très ample, garnie d’hermine. Chapeau Louis XVI garni de plumes noires.

Black velvet ensemble, trimmed with ermine strips. Blouse-shaped bodice, guipure yoke. Very loose, godet skirt, trimmed with ermine. Louis XVI hat trimmed with black feathers.

—

Camail en drap cuir mastic, garni de velours mordoré et de lisérés de velours. Robe en drap brodé genre plumetis. Enorme manchon de zibeline. Capeline 1830, en velours, garnie de plumes.

Camail in mastic leather cloth, trimmed with golden velvet and velvet edging. Dress in embroidered plumetis-style cloth. Huge sable muff. 1830 capeline, in velvet, trimmed with feathers.

—

Toilette de bal pour jeune fille, en mousseline de soie plissée, garnie de satin feuille de rose; le corsage formant blouse est serré à la taille par deux choux. Manches ballons, jupe ronde toute plissée.

Ball gown for a young girl, in pleated silk muslin, trimmed with rose leaf satin; the blouse-like bodice is tightened at the waist by two puffs. Balloon sleeves, round, fully pleated skirt.

—

Collet de théâtre en soie aurore, garni de guipure de Venise, de velours et de plumes noires. Col en plumes. Volants de mousseline de soie plissée. Chapeau “bergère" en feutre glacé, garni de chrysanthèmes et de plumes.

Theatre cape in aurore silk, trimmed with Venetian guipure, velvet and black feathers. Feather collar. Pleated silk muslin flounces. “Shepherdess” hat in glazed felt, trimmed with chrysanthemums and feathers.

—

Toilette de courses, en drap gros bleu, garnie de zibeline rehaussée de guipure. Blouse en zibeline garnie de guipure. Manches de velours, très larges, col velours avec choux. Jupe en drap, garnie d’une large bande de zibeline et de petites têtes naturalisées. Chapeau Directoire, garni de violettes de Parme et de plumes.

Racetrack dress, in coarse blue cloth, trimmed with sable enhanced with guipure. Sable blouse trimmed with guipure. Velvet sleeves, very wide, velvet collar with choux. Cloth skirt, trimmed with a wide sable band and small naturalized heads. Directoire hat, trimmed with Parma violets and feathers.