#xavier post archives

[lisharchivez]

Xavier PartnerGoGo event moment post after chapter 2: ALL possible outcomes

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Requirement

finish chapter 2 of Xavier's partner episode in Partner Go Go event to unlock the post

He posts this

Jeremiah doesn’t interact with this post :(

Here are your comment options

here are the outcomes

what option did you choose??? If you haven't what option will you choose now??

Check out after chapter 2 post's outcome of Rafayel & Zayne

Curious about other posts and chats outcomes? Checks more here. Like & follow for more

The End ;)

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[tartarduck]

😔✊ started playing lnds a while ago so I'll be updating my doodles here

[destinationtoast]

Have you ever done an analysis of which fandoms are most dominated by a single ship?

I hadn't done so before. I just took a quick pass at doing so, but only among the biggest fandoms on AO3 as of Jan 2024 (ones with over 10K public works at that time). I sorted them by the size of their biggest ship relative to the size of the fandom. This gives us a bunch of very big fandoms with a high % of works tagged with a particular ship:

The raw data used to make this graph, including the corresponding biggest ships, is available in a spreadsheet here, or at the end of this post.

A few notes:

This is based on January 2024 data. Some things may have changed!

Not all these works are necessarily about these ships. Especially in the cases where the ships are canon, they may often be tagged as background ships.

There are undoubtedly many smaller AO3 fandoms that have higher percentages devoted to the top ship.

I removed some highly overlapping fandoms (e.g., Good Omens book fandom).

This is AO3 data only, and (as always!) AO3 does not represent fandom overall. In particular, ship popularity tends to vary A LOT by archive/platform. See some past cross-platform shipping comparisons from 2019 (comparing het vs. slash vs. gen on Wattpad/FFN/AO3), and 2014 (comparing popular ships from HP, SPN, and Sherlock on AO3/FFN). One highlight:

Raw data:

Fandom | Top relationship | % tagged with most common ship

Shameless (US) | Ian Gallagher/Mickey Milkovich | 92.5%

Phandom/The Fantastic Foursome (YouTube RPF) | Dan Howell/Phil Lester | 92.1%

Good Omens (TV) | Aziraphale/Crowley (Good Omens) | 83.8%

9-1-1 (TV) | Evan "Buck" Buckley/Eddie Diaz (9-1-1 TV) | 79.2%

Hannibal (TV) | Will Graham/Hannibal Lecter | 75.6%

Shadowhunters (TV) | Magnus Bane/Alec Lightwood | 75.1%

All For The Game - Nora Sakavic | Neil Josten/Andrew Minyard | 75.0%

Inception (2010) | Arthur/Eames (Inception) | 74.0%

The Old Guard (Movie 2020) | Joe | Yusuf Al-Kaysani/Nicky | Nicolò di Genova | 72.2%

Hawaii Five-0 (2010) | Steve McGarrett/Danny "Danno" Williams | 71.9%

The Mortal Instruments Series - Cassandra Clare | Magnus Bane/Alec Lightwood | 71.2%

IT (Movies - Muschietti) | Eddie Kaspbrak/Richie Tozier | 71.1%

陈情令 | The Untamed (TV) RPF | Wang Yi Bo/Xiao Zhan | Sean | 70.9%

X-Men (Alternate Timeline Movies) | Erik Lehnsherr/Charles Xavier | 69.6%

Yuri!!! on Ice (Anime) | Katsuki Yuuri/Victor Nikiforov | 66.3%

Supernatural (TV 2005) RPF | Jensen Ackles/Jared Padalecki | 66.0%

She-Ra and the Princesses of Power (2018) | Adora/Catra (She-Ra) | 63.9%

Deadpool - All Media Types | Peter Parker/Wade Wilson | 63.6%

The Witcher (TV) | Geralt z Rivii | Geralt of Rivia/Jaskier | Dandelion | 63.1%

Our Flag Means Death (TV) | Blackbeard | Edward Teach/Stede Bonnet | 63.0%

[muzzledjaw]

I have a lot of headcanons I've posted to @coffee4harper Discord server in the past couple hours and I was holdnto post them here so :]

💥TORCHWOOD💥

**Ianto James Bond Headcanons**

- Ianto has *atleast* five copies of his favourite James bond movies.

- Lisa started the "Jones. Ianto, Jones." Joke.

- After the events of the season 1 finale, ianto had been referred to as 007 multiple times.

- After Ianto's death, Jack went to every opening night showing of a James bond film, then went to Ianto's grave to tell him about it.

- Ianto use to have a framed picture of every James bond actor in his childhood room.

//

**Torchwood Social Medias**

During slow days at work, the team goes on:

*Owen* - Reddit. He absolutely loves Reddit and frequents many subreddits

*Tosh* - YouTube. She probably watches in depth YouTube tutorials on both things she's interested in so she can learn, and things she already knows to silently judge

*Ianto* - Tumblr. He's not very active, but he does some scrolling during slow days in the tourist office.

*Gwen* - Instagram. She comments on every one of Rhys' posts and watches instagram reels.

*Jack* - do you really think this man knows how to use social media? Owen probably made him download snapchat and got him hooked on the fitters like every grandparent

Owen's reddit account was also linked to his torchwood email

//

The team once came into the hub really late to find Jack sleeping on the couch under the "TORCHWOOD" sign hugging ten's hand jar

//

One of the last things the face of bo sees is a suited figure crouching down infront of him and just holding him. He can't remember the figure's face, or who it is, but the face of bo feels safe to die, knowing he's in this unknown figure's arms

//

Jack reaches out to ianto's sister after the days of miracle day and offers finance support to her until the day she dies, saying ianto would've wanted his family to be safe. This continues for generations, until eventually the children are stopped being told of their late relative Ianto and the odd man who gives them so much money in his name

//

Owen fucking loves Melanie Martinez - specifically Cry Baby

//

Sometime in season 2, Jack once again started feeling guilty about suddenly leaving Torchwood for the Doctor for like a year, so he surprised Ianto with a spontaneous road trip. They drove across Wales for a week and it was one of the last peaceful moments the two ever had

//

**Post Death**

Owen's spirit haunted Dash-Con

After the events of House If The Dead, Ianto's spirit ended up at Canary Warf. Tourists and people who work in the area often talk about the suited Welshman who sits at the fountain all day, everyday, waiting for a woman to arrive

Tosh's spirit, somehow, ended up in Glasgow. She haunts Torchwood 2 and helps old Archie with tech. Archie doesn't realise she's a spirit. He's just happy to have company and someone to help him with all the email stuff

//

Mitski became popular and Jack locked himself in his office for a week straight and sobbed to her songs, thinking about ianto and all he lost in the past few years. He made sure to keep her music safe until his face of bo era. He never played miski for the guests of his events. She was just for him and his cat maid

//

The doctor's hand was destroyed in the torchwood bomb, and after learning about it, Jack just sobbed. He's lost tosh, Owen, and ianto. And now, he can't even keep track of the doctor. He's lost in his eternal life with nothing. This later leads to his decision to leave earth

//

Jack absolutely loved the x-men comics when they were first released, and when X-Men First Class was released he'd watch it on repeat imagining him and his team in place of the characters. The roles would shift around sometimes, but Jack always sees himself as Charles Xavier

//

Jack had a fling with Wilfred Owen during WW1. He keeps original copies of the man's work close to him. After Ianto's death, he donated what he could scavenge of the papers to the London Archives, not wanting anymore reminders of the men he loved that died too young

//

After CoE, and realising she never actually knew Ianto, Gwen sat Jack down with a cup of tea and asked him to tell her everything he could about the real Ianto before his funeral. Jack just.. sighed.. and said to gwen, "he was many things" and never explained further

//

Before the coffin was closed, Jack started a stopwatch and placed it in Ianto's hand. Like the ring that John threw in with Jack when he was forced to bury Jack alive, the stopwatch was a tracker with a special battery to allow it to run for centuries. When he felt lonely, Jack would check on the tracker, just to know that ianto was still there and the stopwatch was still ticking away, timing their time apart. He was not ready for the day he checked on the tracker and the screen was blank

//

(Based off that one scene in greys anatomy) after the service, Jack and gwen found a quiet spot to sit, and Jack just burst into laughter. And because Jack was laughing, Gwen was laughing. And they laughed together until it morphed into a comfortable silence between them as they held eachother

//

Ianto was buried with a sobriety coin in his pocket. Only Jack knows about this.

[mooniel]

for anyone interested, i posted a silly little cherik fanfic

Charles Xavier didn’t know why he felt so instigated to start fights with Erik Lehnsherr. He couldn’t feel more mortified when he finally has the answer.

or

Where Charles thinks Erik looks hot when angry, he just doesn’t know that yet.

[shatcey]

START PAGE

I've written about myself here (in case you wanna know).

The meaning of the link colors is here.

I'm not a native speaker of either English or Japanese. I don't know Japanese at all, but I have my own ideas about how this language works, because I started learning Korean, and these languages have some similarities. Based on that, there may most likely be errors in my translations/posts. I use autotranslation and rewrite the text to a readable state. Some phrases are not clear to begin with, and I use my gut feeling and some experience of reading such poorly translated texts that have taught me to see meaning in them. My summaries are always full of my comments and jokes. If you prefer a clean translation, then you definitely won't like it.

So… you have every right not to trust my translations. I do them so that others can familiarize themselves with the events and main routes. Not in detail, but in general. I don't have enough knowledge for more.

There are several people who do full translations, and I am very grateful to them for what they do. This is an incredibly difficult job that requires a lot of time and concentration.

@/judesmoonbeauty @/kurishiri @/archiveikemen @/dear-mrs-otome @/dark-frosted-heart @/aishangotome @/otomehoneyybearr @/caffedrine @/aquagirl1978

Most likely, there are even more of them, I just haven't found them yet.

Currently reading (update 16/09/24):

IkePri (En): Lion seq ; IkePri (JP): Keith (on skip) IkeVil (En): Harrison ; IkeVil (JP): Ellis IkeSen (En): Kennyo IkeGen (JP): Yoshitsune

Ikemen Prince

Ikemen Villains (EN)

Ikemen Villains (JP)

Ikemen Sengoku

Ikemen Genjiden JP

Ikemen Vampire

Ikemen Revolution (archive)

Other games

Love and DeepSpace (archive)

VA jp (Zayne) VA kr (Xavier) VA kr (Rafayel) VA kr (Caleb)

birthday Xavier (heart rate) Zayne loves me

Mystic Messenger and Ssum (archive)

Ray April Fool's DLC Seven Pencil

Mugenro

Voiced teasers Prostitutes?

Dead games (RIP)

Comparison games

Wolfs Pets My heart on 11/11/23 Aggressively defensive Faces of the games Birthday presents Familiar backgrounds Sirius and Ibuki My fav smiles The same VA (how could it be?) Purple eyes Villain's logic Drama Princess Height Voice Why I like them (part 1) Final credits Alfons and Sebastian

Lesson of Japanese

...and grumbling

bad written story (Faust) time zones No luck (cards) That's just not fair (Jude) I don't love you, Gilbert Weekend plans Forget-me-nots Double Forget-me-nots tea Overwhelming Gilbert's card Free diamonds Cleaning

...and my scribblings

Alternative prologue IkeVamp: Prologue Picture

IkeVil: Bread Drawing lesson Innocent smile Lazy morning Vow The call of the moon

IkePri: The brave one Innocent Rose

Mixed: Husbands

[mischief-and-tea-by-the-sea]

Rating: Explicit Archive Warning: No Archive Warnings Apply Category: F/M Fandoms: X-Men - All Media Types, The Avengers (Marvel Movies), Avengers (Comics), Marvel, Marvel (Comics), Marvel 616 Relationship: Emma Frost/Tony Stark Characters: Emma Frost, Tony Stark, Norman Osborn, Green Goblin, Hank McCoy, Scott Summers, Steve Rogers Additional Tags: Team Up, X-Men and Avengers and S.H.I.E.L.D., Fights, Battle, Tony Stark Needs a Hug, Hurt Tony Stark, Banter, Sex, Oral Sex, Vaginal Sex, Romance, Fluff and Humor, Sexy Times Language: English Series: Part 3 of Hard as Diamond, Tough as Iron Collections: Marvel Rare Pair Bingo Round 4 Published: 2024-08-10 Words: 7,185 Chapters: 1/1

Summary: Plans for a romantic weekend spent at Xavier's Institute for Gifted Students with his wife were moved up when Tony got the psychic call from Emma to show up much sooner and to bring the Avengers and S.H.I.E.L.D. as of course, that's when the Green Goblin decided to show up with minions to attack the mutants. Just how romantic will it be post-battle, especially if someone winds up hurt?

Notes:

From Smutty One-Liners Part 1

For @stormxpadme 1. “I dreamed of your legs wrapped around my waist.” (Emma/Tony)

@marvelrarepairbingo Round 4 Square I5: Finding the Right Time for Love

[caelestialilium]

Cherik Week Day 2 - Mutant!Erik and Human!Charles

Some fools called him a terrorist. Today, it was written in bold letters in the New York Times, last week in the Washington Post.

Humanity made him the enemy.

There were other mutants who fought for their kind’s rights, but none of them were as well-known and radical as Erik was. Most of them were moderate, they sat next to humans on their talk shows and discussed ridiculous laws while mutants were killed by the far-right.

He couldn’t stand Scott Summers’ face anymore who spoke with humans as if they were his best friends. As if they would not sell him the second it was possible.

Often, they also invited humans to discussions, eroding the voices of mutants and instead letting unconcerned people speak.

Someone who was invited all the time was Dr. Charles Xavier. One had to admit he had done a lot of important (he was a geneticist as far as Erik knew) research on the DNA of mutants, he was one of the first to recognize the existence of mutants – but he was a human.

That was enough to make him despicable to Erik, which was why he sat in a bar after a political meeting of the UN. Of course, he hadn’t been invited - not even the more moderate mutants were invited.

Charles Xavier had been.

Luckily, no one could forbid him to sit in the audience. Erik had listened intently which was why he went to a bar after– he needed a beer.

Sadly, his frustration wasn’t reduced by their horrible, American beer.

As noble as Xavier’s commitment was (he was surprisingly positive towards mutants which was quite uncommon, most humans did not share that view), his opinions were naïve. He dreamt of co-existence, while mutants were killed in broad daylight just because they were mutants with visible mutations.

After he had ordered a new beer (disgusting beer was better than no beer after all), someone tapped on his shoulder.

“Is the seat taken, Mr. Lehnsherr?”

Erik tried to look as deadly as possible when he looked up at the man – he hadn’t recognized the voice immediately, but as he saw the blue eyes and the brown, slightly longer hair, he noticed Dr. Xavier standing right in front of him.

“Are you sure that you want to sit next to me?”

“Oh, I am certain you are quite the enjoyable company.”

For a second, Erik hesitated, but in the end, he pushed the chair a bit away from the table, suggesting Xavier may sit.

[imaginary-things-nothing-else]

Summary: When a New Brotherhood of Mutants forms in Magneto’s name, Erik Lehnsherr returns to Xavier’s School and the son he unknowingly left behind.

@superherotiger thank you for giving me that last push to finish editing, I really hope you like it <3

@maximumcoffeeme In 2021 I made this post on my mainblog and you asked me to tag you. Your ask to be tagged has literally been pushing me from behind for years. So here's the follow up, three years later. Sorry it took so long.

[stormxpadme]

Smutty One-Liners Part 1

6. “My tongue still remembers the way you taste.” (Tony/Emma)

15. “I know I should care about the reason why you’re naked in my bed, but I will just enjoy it for a moment.” (Scott/Logan)

Smutty One-Liners Part I “My tongue still remembers the way you taste.” | Tony/Emma

Posted the story for this prompt right on Ao3.

Fandom: X-Men (Comicverse), Iron Man (Comics) Rating: Mature Warnings: Creator Chose Not To Use Archive Warnings Relationships: Emma Frost/Tony Stark Characters: Tony Stark, Emma Frost, James "Rhodey" Rhodes, Scott Summers, Logan (X-Men) Additional Tags: Minor Logan/Scott Summers, Because fuck canon, Alternate Universe - Canon Divergence, i ship scott summers with happiness, Scott Summers Deserves Happiness, Paranormal, Ghosts, Illusions, Grief/Mourning, Emotional Hurt/Comfort, Telepathy, Cuddling & Snuggling, Romance, Angst with a Happy Ending, Depression, Denial, Horror, Mystery, Developing Relationship, Implied/Referenced Alcohol Abuse/Alcoholism, Captivity, charles xavier is not a nice person, water parks, Amusement Parks, Concerts, Traveling, Musicals, 5 Times, Light Petting, Wakes & Funerals Summary:

After the war with Orchis has ended, Tony tries to fix his relationship with Emma. For some reason, every time they try, they get rudely interrupted. Soon, Tony begins to realize something about Emma is not what it seems ...

Or: 5 times Rhodey crashed Tony's date with Emma and 1 time he didn't.

[skynapple]

About + Links!

Here's a little about me! Master List, links, and fandom tags below:

About Me:

Madi or Sky, (26), she/her #my face #my art I write and sing from time to time.

Been on Tumblr since early 2012. I'm not here for drama.

Employed in one of those hellish 8-to-5's as a marketer, professional writer, and professional graphic artist. That's all you need to know.

Viewer discretion advised: I am a Christian and tag anything religion related as #sunday tag

What does your URL name mean? Inside joke from Anakin Skywalker RP days It's Sky-napple

POSTING:

Mostly Love and Deepspace (LNDS): #madi plays lnds

RWBY

DC (Bat Family)

Star Wars

HTTYD

My Hero Academia

ADDITIONAL/MISC

ARCHIVE - You can scroll back a lot faster from a birds-eyes-view

-----------------------------------

Side Blogs:

RWBY BlackSun drama-free ship blog: @fromshadowstosun

Star Wars - general @recklessjediknight

Star Wars - Jedi Series @tanalorrs-heartthrob

------------------------------------

Love and Deepspace: I post,, a lot.

NA Server: "Skylar Moore" #82000111114 I gift daily.

Favorite characters:

Xavier bias but I love them all

Self-proclaimed captain of the Jeremiah Protection Squad.

---- Love and Deepspace Roleplay Blogs -----

Jeremiah RP: @jeremiahofphilo

Astra Ask Blog: @sasstras-gaze

Fic Links:

Budding Romance (Jeremiah x MC) - PG, [Ongoing]

Deepspace Gossip (Xavier x MC) - PG, Drabble

5 More Minutes (Xavier POV, slight angst over MC)

Different Resonance (Xavier x MC) - PG, One-Shot

Midnight Dew & Promises (Jeremiah x MC) - PG, Platonic

If you read this, drop your favorite ice cream flavor!

[lisharchivez]

Day 2 Adventure Above Clouds event⭐ Xavier moment post : ALL possible outcomes

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Requirements

The posts will appear in social on the 2nd day of Adventure Above Clouds event's debut in game (regardless if you finish Mystic Adventure prologues/chapters with LIs or not )

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⭐He posts this

Jeremiah hasn't interacted with this post. Is this the same for you?

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⭐Here are your comment options

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⭐Outcomes

Option 1. Option 2. Option 3.

more from the event : Adventure Above Clouds

For more chat and posts all possible outcomes check my pinned here .

thanks for the support

The end ;)

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[fibula-rasa]

(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.” 

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

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☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

[goddessoflove1998]

I just had to come here and tell you guys something, I know this won’t go far, but I had too…

I don’t know if you guys know “Notyourtypicalauthor” from ao3 and “NYTA Faker” at Twitter, but he posted a recent work at ao3 and imagine my surprise seeing that he STOLE someone else’s creation…. Like, for real? This is so fucked up, who does that?

The original one is called “Cheating Derek: The one about Adrian Harris by Benn Xavier” and NYTA stiles the whole thing, he just changed names and made it Sterek…. I know lots of people don’t like reading Derek cheating on Stiles, but come on guys that’s not a reason to do something like that, don’t stole someone else’s hard work, it means something for the author, I felt so bad about it, imagine what the author might be feeling to? Imagine putting all your efforts and creativity into something, just for a bad person come and stole it? Painting, writing, sculpting, drawing is a form of art and for many, a scape for the real world…. How can someone do that? Really, this makes me so angry….

If you guys want to check and compare for yourself here is the links for it

Original:

Copy (shit):

I know this won’t calm anyone’s attention, but I had to do something….

[gerec]

Rating: Teen And Up Audiences Archive Warning: No Archive Warnings Apply Category: M/M Fandom: X-Men (Alternate Timeline Movies) Relationship: Erik Lehnsherr/Charles Xavier Characters: Erik Lehnsherr, Charles Xavier, Moira MacTaggert, Raven | Mystique Additional Tags: Alternate Universe - No Powers, Friends to Lovers, Friends With Benefits, Mutual Pining, Falling In Love, Erik Lehnsherr/Magda mentioned, Steve Rogers/Charles Xavier mentioned, Jealousy

Summary:

Charles and Erik have always been close, and despite assumptions to the contrary, they've only ever been friends. It takes them a while to figure out what everyone else seems to have known all along.

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Written for @lyricfulloflight's Secret Mutant Madness prompt, and even though I didn't get it done in time to include in the collection I'm still posting it! 3/5 chapters are up now and the last 2 should be done soon!

[lost-in-liquid-nights]

Roleplay Ad

Update: Due to not wanting to overwhelm myself. While also providing my current rp partners with quality and relatively consistent rp, my request for rp partners is currently closed! Still feel free to reach out if you like and I'll keep you in mind for if things open up.

Ah, hello Tumblr roleplayers, it has been a while! I am one of many who was left adrift after Omegle shut down and am on the search for rp partners.

I am looking for rp partners in a variety of fandoms, genres, ships, etc. I’ll have all of them listed in a hopefully organized manner below and will do my best to keep this list accurate. If you’re interested, feel free to shoot me a DM or interact with this post and I’ll reach out to you. But please do read through this post fully before doing so, thanks!

A Little About Myself:

-Age: 20+

-Pronouns: She/They

-Experience: I’ve been roleplaying off and on in a variety of fandoms and styles for around 10+ years

What I’m Looking For In A Roleplay Partner:

-Age: Roleplayers who are at least 20+ as well

-Style: I’m open to a variety of styles, I roleplay everything from one sentence “text message” style to multi-paragraph advanced lit. Though my preferences tend to lean towards lit/advanced lit.

-Location: I’d prefer someone who’s comfortable transitioning to Discord, once we agree on what we want to rp

-Expectations: One of the things I loved about Omegle were the casual vibes when it came to when an rp needed to end. So, while I hope for some long term rps, I’m looking for people who will be okay with rps ending when interest dissipates. Without the need for big explanations as to why. This goes both ways! I won’t expect such explanations from you either if we start any sort of storyline and you end up wanting to drop out. The way I see it, this is meant to be a fun pass time and ideally shouldn’t feel like a stressful obligation for either of us.

My Current Fandoms & Ships:

Films:

Fandom: Avengers (Films)

Ships: Steve Rogers/Tony Stark, Clint Barton/Tony Stark, Bruce Banner/Tony Stark

Fandom: Captain America (Films)

Ships: Steve Rogers/Bucky Barnes, Steve Rogers/Sam Wilson, Sam Wilson/Bucky Barnes

Fandom: Guardians of the Galaxy (Films)

Ships: Peter Quill/Rocket Racoon

Fandom: Venom (Films)

Ships: Eddie Brock/Venom

Fandom: X-Men (Films)

Ships: Charles Xavier/Erik Lehnsherr

Fandom: Star Wars (Films)

Ships: Luke Skywalker/Han Solo, Poe Dameron/Finn

Fandom: Pacific Rim

Ships: Hermann Gottlieb/Newton Geiszler

Fandom: Star Trek (Original Series, Original Films, and Modern Films)

Ships: James T. Kirk/Spock, James T. Kirk/Leonard McCoy

Fandom: It (Films, 2017) & It (Mini Series, 1990)

Ships: Eddie Kaspbrak/Richie Tozier, Mike Hanlon/Bill Denbrough

Fandom: Spiderman (Films & Comics)

Ships: Johnny Storm/Peter Parker, Harry Osborn/Peter Parker

Fandom: Nimona (Film & Comic)

Ships: Ambrosius Goldenloin/Ballister Blackheart

Series:

Fandom: Loki (Series)

Ships: Morbius/Loki

Fandom: Moon Knight (Mini-Series)

Ships: Marc/Steven, Marc/Jake, Steven/Jake

Fandom: Daredevil (Series)

Ships: Foggy Nelson/Matt Murdock

Fandom: Infinity Train (Series)

Ships: Min-Gi Park/Ryan Akagi

Fandom: Merlin (Series)

Ships: Merlin Emrys/Arthur Pendragon 

Fandom: Stranger Things (Series)

Ships: Eddie Munson/Steve Harrington, Mike Wheeler/Will Byers

Fandom: Supernatural (Series)

Ships: Dean Winchester/Castiel, Dean Winchester/Benny Lafitte, Sam Winchester/Gabriel

Fandom: Hannibal

Ships: Hannibal Lector/Will Graham

Fandom: The Witcher (Series & Games)

Ships: Jaskier/Geralt, Eskel/Lambert, Eskel/Aiden

Games:

Fandom: Phoenix: Ace Attorney Trilogy (Games)

Ships: Phoenix Wright/Miles Edgworth

Frandom: Disco Elysium (Game) 

Ships: Kim Kitsuragi/Harry Du Bois,  Jean Vicquemare/Harry Du Bois

Fandom: Modern Warfare (Games)

Ships: Simon Riley/Johnny “Soap” McTavish

Fandom: Detroit: Become Human (Game)

Ships: Connor/Hank Anderson, RK900/Gavin Reed

Fandom: Dragon Age

Ships: Anders/Hawke, Fenris/Hawke

Podcasts:

Fandom: The Magnus Archives (Podcast)

Ships: Jonathan Sims/Martin Blackwood, Jonathan Sims/Timothy Stoker, Martin Blackwood/Timothy Stoker, Gerard Keay/Michael Shelley

Fandom: Malevolent (Podcast)

Ships: John/Arthur Lester