#siân says | Explore Tumblr Posts and Blogs

camlannpod · 5 months

Text

Trailer Drop! Camlann releases in January 2024, subscribe now wherever you get your podcasts.

Transcript available here, or click the Read More below.

[Image Description: A blue-back painted background shows mountains that vaguely look like a figure lying down face up under a starry sky. Orange looping text says the title 'Camlann' and 'Subscribe where you get your podcasts'. White bold text says 'Trailer, Listen Now'. A wave form wobbles as the audio plays, and subtitles appear beneath it in white text.]

Camlann - Teaser Trailer Transcript - 6th November 2023

[Camlann is written and directed by Ella Watts and produced by Amber Devereux at Tin Can Audio, with production management from Ross McFarlane. This transcript was written by Ella Watts.]

A dial tone - it’s a low, warm trilling beep which rings in sets of two, six times, before stopping abruptly.

The voice that follows is feminine and light, with a precise English accent. The character speaks with a sense of formality, and formal warmth - like you might find in a hospital.

RECORDING 1:

Please hold. Your call is very important to us and we will get to it as quickly as we can. The Cataclysm is frightening for everyone. Remember, in times like these we need to stick together more than ever. If you need emergency assistance, please call 999 -

The dial tone returns, ringing three times. The voice that follows is light, masculine, with a Scottish accent.

RECORDING 2:

Your position in the queue is -

The voice that follows is androgynous and light, a different Scottish accent to the one before.

RECORDING 3:

Three-hundred and thirty-three

A long, continuous droning beep as the phone connects, which ends abruptly.

The voice that follows is feminine and Scottish, specifically Glaswegian. She sounds confident, but somewhat rushed - like an emergency phone operator. She is immediately authoritative and polite.

PHONE OPERATOR:

Hello, you’ve reached the Cataclysm Casualties Hotline. Can I take your name and date of birth?

At this point, a very soft static begins to build in the background.

The first voice we hear is androgynous, English and precise.

PERRY:

Peredur Green

The second voice is a low, feminine voice with a Welsh accent.

MORGAN:

Morgan Jones

The third voice speaks with a Chinese accent, and is light and feminine.

GWEN:

Shújūn Liu

The fourth voice is low and masculine, with a broad Scottish accent.

GWAINE:

Gwaine Turner

The fifth voice is light and masculine, with a light Welsh accent.

DAI:

Just call me Dai

The Phone Operator is business-like and professional.

PHONE OPERATOR:

Ok, and who are you calling for today?

The static keeps building softly, getting slowly louder.

Dai sounds frustrated and anxious, and he speaks quickly.

DAI:

My Mum. Siân Thomas? She was in Aberystwyth.

Gwaine speaks firmly and slowly. He falters when he clarifies Kirkwall, revealing his anxiety.

GWAINE:

Matthew and Louise Turner. In Kirkwall on Orkney.

Gwen sounds audibly anxious, speaking with urgency and a slightly higher pitch.

GWEN:

My father, Kai Liu.

Morgan says Ben’s name as if around a lump in her throat - she sounds sad, like she already knows something has happened to him.

MORGAN:

Ben. Ben Jones.

Gwaine sounds comfortably skeptical - as if what he’s referring to cannot possibly be true.

A new drone builds alongside the softly building static - like a swarm of bees or string instruments being played vibrato. It slowly gets louder and louder, a low pitched sense of intensity and dread.

GWAINE:

I saw something on the news about a sea serpent?

Morgan sounds like she’s going to be sick. She’s deadly serious, firm and clearly seriously worried.

MORGAN:

He’s fifteen years old.

Perry is authoritative and comfortable with the bureaucracy, though they still speak with a sense of urgency.

PERRY:

Anna and Sophie Green, in Portsmouth.

When Gwen speaks, there’s a sense of dread in her voice.

GWEN:

What’s happening in Kowloon?

Perry sounds incredulous and confused as they ask their question, full of disbelief.

The droning bee swarm sound gets louder, it’s hard to tell if it’s musical or a sound effect, only that it’s building a sense of dread like a horror film.

PERRY:

Listen, is this real? I’ve been seeing news reports about dragons -

The phone operator sounds guarded and distracted when she answers, clearly avoiding the questions.

PHONE OPERATOR:

Let me look that up for you. Where are you calling from today?

Each of the following answers comes quickly and firmly. Gwen’s stands out.

PERRY:

Bristol

MORGAN:

Bristol

GWAINE:

Bristol

DAI:

Bristol

GWEN:

Leicester

The phone operator sounds sincere and sympathetic in the way that a doctor might when delivering bad news to a patient.

A new sound effect joins the static and drone - background voices or muffled clanging metal, like the echoes you hear in a swimming pool. It sounds strange and surreal, contradicting the sensible pragmatism of the Phone Operator’s delivery.

PHONE OPERATOR:

I’m so sorry, it looks like we haven’t got anyone listed under that name on the database. This means they have’t been listed as a fatality. Call back tomorrow, and if you haven’t heard anything from us or your loved one in three days, try the online form.

Very softly, music fades in - synthetic strings playing a warm, hopeful folk music kind of melody. The strings build.

PHONE OPERATOR:

I know this is scary, but it’s ok. We’re going to get through this…

Everything pauses - the sound effects, the music, and the Phone Operator herself. There’s a beat of silence.

PHONE OPERATOR:

…together.

The music resumes, louder than before, as everything else fades away. The tune builds from strings into a melodic keyboard like-tune on a synthetic instrument that sounds like fairy lights. The music is warm and hopeful.

It dips in volume under the following voiceover - delivered by a light, masculine voice with a Welsh accent, the same actor as Dai. His delivery is confident and formal.

VOICEOVER:

Camlann, a post-apocalyptic audio drama by Ella Watts, inspired by folklore and Arthurian legends. Coming January 2024. Produced by Tin Can Audio.

The music builds - the synthetic keyboard and strings joined by a synth that sounds almost like an organ, building to a gentle, slow crescendo before dipping back down - each instrument falling away until only the strings are left playing the core melody of the tune, more and more quietly until the music fades and the trailer ends.

#camlann #camlann podcast #audio drama #fiction podcast #audio fiction

54 notes · View notes

thesherrinfordfacility · 10 months

Text

lmao guess whos activated ✨blathering oaf mode✨ again (clue: its me)

(cut because length and spoilers, read at your own peril)

so this post got me spiralling into detective mode again and yes i know douglas suggesting it might have been war/pollution but i have certified trust issues™ and i dont believe that for one darn second

BUT

i also don't think it's a kiss. lemme explain horrifically

so i took another look at the two frames we have of The Leaked Smooch™ and the background has a lot to be desired (if you take into account that the boys are taking up most of the frame (duh), plus already fairly average quality video PLUS compression from when i captured it)

but i think we can safely rule out that The Leaked Smooch™ doesn't happen in the theatre here, mainly because even though the quality is bad, the glasses in the Smooch™ are crowley's modern ones, not the ones we saw him wear in the 1941 flashback in s1, plus his hair is differently styled... so yes can pretty confidently say this is not the kiss we are looking for

so i wanted to pinpoint what era the theatre bit is actually set in, and therefore i set about identifying the theatre in question. turns out kids that im not a good researcher (despite it literally being my job) so it took FUCKING AGES but i eventually found set photos of the boys entering a theatre, specifically the hippodrome in bo'ness:

now this was a turn-up for the books, because that's crowley's 1941 costume right??? id recognise that iconic fit anywhere. az's costume is trickier to pinpoint bc he wears the same damn thing but pretty sure this is a match to the church scene:

so we know from s1 that we have the church scene yada yada, and crowley offers aziraphale a lift home... which we know he accepts given that the s2 trailer gives us the ✨Dinner of '41✨ scene:

the other bit however to this puzzle is that there ALSO a set pic of aziraphale at the hippodrome in his magician's outfit. given the frame from the trailer where he looks like he's about to brick it going on stage, surrounded by lovely burlesque girlies and dame siân phillips in period dress, AND there were extras on the set dressed in ww2-type army uniforms, so i think it can be fairly surmised that this bit also occurs in the 40s

so my thought process is that we're getting two separate scenes (kinda) from the 40s, we have the church bit from s1 plus the Dinner of '41 scene as its own entity, but then, like

aziraphale is doing his magic act as a side hustle to this burlesque show? and crowley turns up to watch him, hiding out up in the box?

if we follow this completely made up narrative ive just come up with, aziraphale, im assuming, finishes up and gets changed into his normal clothes, and then goes up to this box to meet crowley?

to this end, i captured and slowed down the bit in the opening sequence where aziraphale and crowley (sorry douglas, not buying it) are in the box... and-

now to my eye, the motion of them in the clip looks like they are dancing? i don't have the source to hand but we've had it confirmed that a choreographer was brought into s2, not impossible az would go up to meet crowley after his magic act, whilst there's still something going on on the stage, and the two end up dancing or something? and az bless his heart gets spooked from that?

im reasonably convinced that this might be the origin of the 'you go too fast for me' line - something happens and ultimately aziraphale gets spooked given that he's only just realised he has Feelings for crowley, and so my boy fucking legs it (a lil post i made a while ago about this exact scenario if you'd care to peruse)

other thing to note:

there is a figure that is lurking behind aziraphale and crowley in the box, which looks like it moves specifically in sync with crowley, so it could be a shadow, or someone/thing is in the box that they aren't aware of 👀 so maybe this thing (?) witnesses it all? whatever went down in the box?

so in my addled feral mind, ive come up with a speculation that even as im breathing life into it sounds unhinged and so implausible it's hilarious -

i put to you, members of the jury, that something was meant to happen in that box, and it didn't... that something being that crowley makes a move of some kind - kiss, dance, hug, declaration, WHATEVER - and aziraphale was meant to accept it/reciprocate/idk, but didn't.

and that fucks with the plan, and for lack of better terminology creates a nexus event (lmao thanks loki) which in turns starts screwing with other events, somewhat like i theorised in this post here tehe

are aziraphale and crowley, essentially, the earth's endgame? idk about u but ive read enough angst fics to know that it's not inconceivable that crowley and aziraphale's mere existence may have been part of god's plan to represent free will on earth, defend humankind, and give balance and meaning to it

so what would happen if aziraphale essentially rejected that? did the most human thing possible and resisted the plan? idk i feel at this point i am just writing a fic and this will all be ludicrously incorrect bUT half the fun is torturing yourself over your own theories right 🙃

#good omens #good omens season 2 #the more i speculate the more i come up with THE MOST bullshit theories #but i just feel like i need posts like this for posterity's sake just in case there was truth in the madness #but be warned kids if you gaze into the abyss the abyss also gazes into you #my god i SO HOPE that the two figures are literally not az or crowley bc that would be the funniest scenario #all this bullshit and for what? NOTHING #good omens speculation #good omens spoilers

75 notes · View notes

wildwoodgoddess · 1 year

Text

For everyone who wanted a female Sherlock Holmes, A Study In Garnet is now available!

I spent last year serializing A Study In Garnet for my Patreon supporters, and now, as promised, the book is available for purchase in ebook and hardcover for everyone!

I'm so excited, especially about the hardback version. Y'all, it's SO PRETTY! I found a fabulous print-on-demand printer that has made my hardcover dreams come true.

Anyway, before I geek out too much about the print version, I just want to thank everyone who has liked and shared my posts about this book and the research I did for it. I appreciate the support!

Here's the blurb for the book:

January 29, 1881: Afghanistan ruined her body, but London has broken her heart.

Dr. Siân Watson longs to shed the male disguise she used to join the British Army, but when you look like a bloke, it’s easier to amputate a man’s leg on a battlefield than buy a dress in London. Undaunted, she heads to the Criterion Hotel to find help. But when a chance encounter with an old friend leads to meeting the mesmerizing Sherlyn Holmes, Dr. Watson’s plans are upended—faster than you can say “the game is afoot.”

Now, instead of going home to Wales, she’s moving into 221B Baker Street with Miss Holmes, whose piercing deductions are as thrilling as they are unsettling. Life with the world’s only consulting detective is powerful medicine, but as they hunt for whoever is murdering cab drivers across London, Watson fears her growing affection for Holmes might injure her more deeply than any bullet. As Holmes’s obsession with the case pushes Watson into risks she swore never to take again, she must choose: whatever respectability a woman doctor can earn—or Sherlyn Holmes. Both is not an option.

When their quest for justice lands them in trouble with the law, Watson fears she has survived one war only to fall in a different kind of battle—one that may destroy what’s left of her heart.

*******************************

I also wanted to share this endorsement from my author friend, Gabrielle Harbowy, because I really loved it:

"If you think you're done with Sherlock Holmes retellings, think again. Meredith Rose has written an excellently researched and executed period mystery with a deeply compelling queer and genderswapped Holmes and Watson. The subtle, masterful brush with which she portrays the queerness of the time, and the intensely caring yet neurodivergent Holmes, carries just the right touch. It's everything I didn't realize I needed from a Sherlock Holmes book." —Gabrielle Harbowy, author of Aether's Pawn

You can get the book in either hardcover or ebook on my shop page. I offer shipping for the print version worldwide, and I'm offering a 15% discount on all my books, using the discount code BOOK15 at checkout.

Thanks for supporting my creative efforts, and I hope you will enjoy the book. If you know anyone who would enjoy it, please forward this info to them. I'm going to be hard at work on book 2, so stay tuned!

Take a look at A Study In Garnet in my shop

98 notes · View notes

angel-and-the-serpent · 24 days

Text

ALL WE KNOW ABOUT DR WHO 2024

View this post on Instagram

A post shared by Doctor Who (@bbcdoctorwho)

instagram

-Trailer released today DR WHO 2024 TITLES 1. SPACE BABIES-Written by RTD, Directed by Julie Anne Robinson 2. THE DEVIL'S CHORD-Written by RTD, Directed by Ben Chessell (i think this is the musical/60s episode) 3. BOOM-Written by Steven Moffat, Directed by Julie Anne Robinson 4. 73 YARDS-Written by RTD, Directed by Dylan Holmes Williams 5. DOT AND BUBBLE-Written by RTD, Directed by Dylan Holmes Williams 6. ROGUE-Written by Kate Herron and Briony Redman, Directed by Ben chessell (I think this is the Bridgerton-like episode) 7. THE LEGEND OF RUBY SUNDAY-Written by RTD, Directed by Jaime Donoughue 8. EMPIRE OF DEATH - Written by RTD, Directed by Jamie donoughue (the title is on The Tardis, where it usually says police box-war episode?)

NEW GUEST CAST EP. 1- Golda Rosheuvel- (queen Charlotte: A Bridgerton story) as Jocelyn EP.2- Jinkx Monsoon UNKNOWN EPISODE NEW CAST Callie Cooke, Dame Siân Phillips, Alexander Devrient, Bhav Joshi, Majid Mehdizadeh-Valoujerdy, Tachia Newall and Caoilinn Springall. PREVIOUSLY ANNOUNCED GUEST CAST Michelle Greenidge, Angela Wynter, Anita Dobson, Aneurin Barnard, Yasmin Finney, Jonathan Groff, Gwïon Morris Jones, Bonnie Langford, Genesis Lynea, Jemma Redgrave, Lenny Rush and Indira Varma.

15 notes · View notes

chanrizard · 2 months

Text

tagged by my lovely siân 💚💚

fave kpop group: skz

member that sparked your interest first: felix. and i hate to say this but it was That TikTok it rewired my brain in a way im not too proud of lmao

first bias: felix. he's my son you see :')

current bias: ahem. *points at blog* *shrugs* :]

what makes them your current bias: oh i watched a couple of channies room eps when i was still in my baby stay phase thinking neat let's see what these are about and 5 seconds in i said Oh No This Is Gonna End Horribly For Me Isn't It out loud and immediately adopted him cause of the immense love he has for his members and the passion that pours out of him whenever he starts talking about producing music and dissecting the process behind the creation of an album/a song and the horrible terrible no good vey bad dad jokes that i love dearly and the embarrassed, awkward giggles and overall dorkness that evaporates away whenever stuff gets serious and requires a Professional handling it and 4 years later im still down bad horrendous with no signs of ever getting up from the floor 🫡

bias wrecker: lino he's my other specialest little dude i love him a normal amount. he's also the member i'd sell a piece of my soul to be irl friends with he must be hilarious and a great friend

Which member(s) are you currently obsessing over that aren’t your bias/bias wrecker? none sorrydfjsdbhfsdbj my brain doesn't have enough RAM to fixate on more than 2 people at once tho Father Toast has tried to camp in there from time to time and almost succeeded

When did you first discover this group? 2020 with the glorious first edition of the cktdp besties intro to kpop playlist

Have you ever been to one of their concerts? Not yet!!!!! T-4 months babeyyyy

some of your fave songs by the group? booster my forgotten queen, topline, cover me, get lit, dlmlu, blueprint and mixtape: OH

tagging: @strayklds @y-eontan @faunandfloraas @leetaehwan @lee-minhoe @christakisbang @wantbytaemin @snug-gyu @minchanz and @minbinchan

#*tag game #iirc me and lino have the same MBTI which doesnt mean anything or it could mean that we'd be besties or archnemeses no in between lmao

18 notes · View notes

thetavolution · 4 months

Text

I'm bringing my Tav-related stuff over here to not overload my regular tumblr haha.

First up is Tessa! More info:

I did borrow a lot of this profile layout from elfinbloodbag.

TESSA

Full name: Theresa Siân Chastain Name meaning:  Theresa: late summer; Siân: God is gracious; Chastain: chestnut Pronouns: She/Her Race: Human Age: 35 Orientation: Pansexual Romance: Gale Dekarios Class: Rogue Monk Subclass: Thief / Way of the Open Hand Origin: Criminal Theme song:  I Deserve to Bleed — Sushi Soucy / Used To Be Young — Miley Cyrus

Personality Despite being a professional thief, Tessa is a kind-hearted person. She always overflowing with joyful enthusiasm. Tessa is outgoing and funny. She’s the "mom friend" even if she hates it when people say that. She’s the one who takes care of everybody and tends to them physically and emotionally. Some say she missed her calling as a cleric.

She has a big heart and it’s easy to take advantage of it, especially with a good enough sob story. She has a good-natured sense of humor, but she's not averse to dark humor either. When she’s angry or hurt, or just talking to someone she hates, she can be particularly cold and scathing.

Tessa is far from morally perfect, of course. She’s made peace with stealing, focusing on targets that “deserve” it. That said, she doesn't believe in hoarding wealth. She keeps what she needs (with some left over as a little treat) and spreads the rest of it around to those who might need it.

She can get stuck on things, like an idea or desire. She'll become obsessed with it and remain laser focused on it to a fault.

Once you’re in her good graces, she is ride or die. While intelligent, she can be impulsive. She’ll realize how stupid her actions were after it’s too late to take it back. Going back to her motherly tendencies, she can also go full mama bear when loved ones are threatened.

She’s a romantic at heart and she’s looking for true love. Unfortunately, due to being so eager to find love, she’s jumped into some terrible relationships. Those closest to her will often acknowledge (or joke about) the fact that she overlooks a lot of red flags in the early stages of a relationship. (For Tom Cardy fans, she would be the one to date the person whose favorite film is Human Centipede.)

In her younger years, she was much more of a wild child which often comes back to bite her, especially when former lovers and enemies reappear in her life.

History Tessa was born in Bryn Shander, the largest of the Ten Towns in Icewind Dale. She and her twin brother, Leander, are the youngest of Edgard and Sibyl Chastain's six children. She’s technically the youngest since she was born five minutes after Leander.

Tessa was raised from birth to be a proficient thief. Her father, Edgard, is a renowned member of the Zhentarim. They mostly focus on stealing and smuggling. Tessa grew up learning to live life in the underbelly of the city. She never knew anything else, even though she always wished she could have the life of a “normal girl.”

She came to Baldur's Gate with her father on Zhentarim business when she was abducted and infected with a tadpole. It was their first time in the city, so the Chastains aren't a familiar face to the local Zhentarim members.

Likes: The thrill of stealing, fighting, helping people, taking care of the poor and the sick, reading, writing, animals (especially dogs/wolves), nighttime, rainy mornings, adventuring, music, and cold weather

Dislikes: Hot weather, hurting good people, nobility/the wealthy, bugs, abuses of power, and cruelty

Fears: She’s afraid of ending up alone. She’s also afraid she deserves to be alone. She questions if she’s actually a good person on an almost daily basis. She's terrified of growing older and having a life full of regrets. She feels as thought a lot of it has already passed her by.

Quirks: I don’t know if this counts as a quirk, but her left hand is her dominant hand. She likes to tap her foot like a rabbit, even when she isn’t nervous. People often mistake it for a nervous tick. It’s just something she’s always done. She has a loud laugh that she’s insecure about.

Mental Health: Tessa has daddy issues. Her father takes advantage of her and she’s desperate to earn his approval. She ties her self-worth to other people’s opinion of her. She often falls for terrible people because she’s so desperate to be loved. Her father never really showed her what it’s like to be properly cared for, and it shows. She doesn't even realize how bad her self-esteem is.

Favorite Foods: Sun-Dappled Paella and Cranberry Cake

Favorite Drinks: Tea and Brandy

Favorite Flower: Roses

Height:  5’7”/173 cm

Skin: Beige.

Hair:  Brown but with a slight ginger tint.

Eyes:  Green.

Color Scheme:  Generally, she wears whatever lets her hide in her environment. She wears a lot of blacks, greens, and browns. Back in her hometown, it’s not unusual for her to don white colors to blend into the snow.

When she’s dressing just for herself, she’ll wear blues and greens.

Fashion Sense: She’s mostly practical when it comes to her clothing. As a thief, she can’t really afford to be too gaudy or flashy. Everything she wears has a specific purpose. She is usually hiding behind the Shadow of Menzoberranzan cowl.

In the rare occasions she can dress for the sake of looking nice, she does like to wear intricate gowns. If you’re going to be a criminal, why not enjoy the fruits of your labor and have a nice dress or two?

She does have tattoos, including a rose tattoo on the left side of her neck.

Family:

Blue — 5. He’s Tessa’s pet winter wolf. He’s intelligent and cunning. He was orphaned by a hunter as a pup before Tessa found and adopted him. Her love and care led to him to be a big teddy bear of a wolf. He's back in Bryn Shander.

Edgard Chastain — 60. Edgard is Tessa’s father and the one who led the entire family down the path of crime. He’s a charismatic guy, but he has his struggles and insecurities. He is plagued by self-loathing and depression, often acting on his worse impulses.

He wants to be liked, but he also wants to be feared as a criminal, putting him in conflict with himself. He can be selfish and self-serving, leading him to betray his loved ones or hurt them deeply. He’s corrupted his relationships with his ex-wife and children over the years. Tessa is desperate to believe he'll change.

Sibyl Lisette Chastain — 60. Sibyl is Edgard’s ex-wife and the mother of Tessa and her brothers. After Edgard cheated on her, she left him. It’s clear Tessa takes after her mother. Sibyl is cheerful, optimistic, and excited to live life. She’s heartbroken when her children repeat Edgard’s mistakes and she can’t stop it from happening.

She had dreams of becoming a writer, but she fell in love with Edgard when they were both 17. Within months of dating, Sibyl became pregnant. After that, Sibyl became a criminal, losing the ability to pursue her dream career. She continues to write even if she never shares it with anyone.

Conrad Chastain — 40. He’s the eldest Chastain child. He has a somewhat normal life. While he does work in the black market, he has a loving wife and two children. He’s a loving father, calm, and level-headed, but he has a very dad sense of humor.

Flynn Chastain — 38. Flynn is the flirtatious brother and he has several lovers. It’s also likely he has bastard children out in the world he’s never met.

Gavin Chastain — 37. He’s intelligent, but irresponsible and self-sabotaging. He fears being rejected and failing, so he engages in self-destructive behavior.

Emile Chastain — 36. He’s the quiet Chastain child. He’s not happy with his lot in life, but he doesn’t complain. He always wants to do the right thing, but he’s often scared to say anything that goes “against the family.”

Leander Chastain — 35. He’s Tessa’s twin. He and Tessa grew apart as they became adults. He’s a bard rogue who loves music. Leander is repeating a lot of his father’s mistakes, even if he thinks of himself as better than Edgard. He’s a great thief, but he’s been burning his own bridges and fighting his own demons. He’s a charismatic social butterfly. He hides his demons from Tessa and the rest of his family.

Marta Chastain — 39. She’s Conrad’s loving and doting wife. She works a normal job, keeping the family with one foot in respectable society. She’s a teacher and hides the fact she’s married to a criminal.

Tem Chastain — 11. Tem is Conrad and Marta’s oldest child. He’s a silly and goofy kid who has no idea his father is a thief.

Kara Chastain — 8. Kara is Conrad and Marta’s youngest. She’s a sweet little girl with a mischievous streak.

#baldur's gate 3 #bg3 tav #baldurs gate tav #tav bg3 #tav x gale #tav oc #baldurs gate 3 #tav baldur's gate #baldur's gate 3 tav #bg3 oc #dnd oc #dnd character

15 notes · View notes

ghoulpepperv · 5 months

Text

OC Questionnaire!

Tagged by: I believe I should say @razrogue because they tagged anyone who wanted to do this!

No obligation tagging: Anyone who wants to do this, but I'll tag @apocalypsecowboy-galactrod @countslimeula @casperolivervo @ashleecraft

NAME: Beryl Timbergrove

NICKNAME: Bear

GENDER: Female (She/Her, but she doesn't care if you use They/Them either)

STAR SIGN: I don't know, but going off this, she was born in Mirtul and she's 40-years-old

HEIGHT: 5'7"

ORIENTATION: Pansexual

NATIONALITY/ETHNICITY: Wood Elf (Warlock Bard) from Friendly Arm

FAVORITE FRUIT: Strawberries and Persimmons

FAVORITE SEASON: Autumn

FAVORITE FLOWER: Oleander and Selûne's Tear

FAVORITE SCENT: Bergamot, Vanilla Bean, Honeysuckle, Burning Wood (like Bonfires), and Coffee

COFFEE, TEA, OR HOT CHOCOLATE: Coffee

AVERAGE HOURS OF SLEEP: 4 hours of trance

DOGS OR CATS: Cats

DREAM TRIP: She would love to visit Neverwinter.

NUMBER OF BLANKETS: She likes to have at least two. She gets cold easily.

RANDOM FACT: Beryl has no idea where she was actually born. She has mommy issues and they don't talk. Not very often, anyway, and it's never heartfelt. Her mother was an adventurer who didn't stop adventuring even while pregnant. It's anyone's guess where she's actually from. Her earliest memories are being raised by a halfling woman (who was not her mother) in Friendly Arm. Her mother isn't dead, just disinterested.

NAME: Theresa Siân Chastain

NICKNAME: Tessa and Tess

GENDER: Female (She/Her)

STAR SIGN: She wouldn't even know what to tell you. She was born in Eleint and she's 34-years-old though

HEIGHT: 5'6"

ORIENTATION: Pansexual

NATIONALITY/ETHNICITY: Human (Rogue Ranger) from Damara (Cold Lands)

FAVORITE FRUIT: Pomegranates

FAVORITE SEASON: Winter (It reminds her of home)

FAVORITE FLOWER: Frostrose and Crocus

FAVORITE SCENT: Apple Cinnamon, Pears, Elderberry, Lingonberry, Lilacs, Roses, and Fresh Snow

COFFEE, TEA, OR HOT CHOCOLATE: Tea

AVERAGE HOURS OF SLEEP: About 6 hours.

DOGS OR CATS: Dogs, technically? She's all about wolves and foxes. She's the maniac who has a winter wolf as a pet.

DREAM TRIP: She'd love to visit home again, but Gale has gotten her curious about Waterdeep. She'd probably visit Waterdeep first.

NUMBER OF BLANKETS: One. Most places outside of the Cold Lands are too warm for more than one. She only has the one because it feels weird to not have any blankets.

RANDOM FACT: Tessa comes from a family of thieves that's headed by her father. She has four older brothers and a twin brother. She and her brothers were raised to be criminals so they don't know any other lifestyle. Her parents are no longer together due to her dad's infidelity.

#bg3 tav #bg3 oc #baldur's gate 3 oc #baldur's gate oc #baldur's gate 3 tav #baldur's gate 3 #bg3 #baldurs gate tav #Beryl #Tessa #Beryl Timbergrove #Wood Elf #Warlock Bard #bardlock #Rogue #Rogue Ranger #Tessa Chastain

8 notes · View notes

stingslikeabee · 4 months

Text

The Continental verse

Born as Lilian Siân Owens-Drysdell to a Welsh crime syndicate family, Lilian had the life of a princess growing up: surrounded in equal measures by luxury and the knowledge of what her family did for a living, the girl nonetheless took after her mother and her hobbies - gardening, beekeeping and being as sweet as the honey produced in their backyard had been Lilian's preferred strategy to achieve her own goals.

Not that she needed to manipulate the patriarch or most of his men to get anything - those under Edgar's rule would always do whatever his oldest asked without any hesitation, but his daughter just had a knack for being welcoming, hospitable and displaying other true talents of a seasoned hostess like her mother, used to holding, planning and organizing many grand events at the Drysdell estate.

And perhaps it was precisely because Lilian was so much averse to inheriting her father's role that she insisted in carving a different path, away from Edgar's shadow and influence. While firing a gun or getting into hand to hand combat were nothing the girl hadn't been trained for given her bloodline, there was no sense of personal fulfillment for Lilian in being a mafia boss. Instead, there was something much more attractive in connecting to people.

Finding out what made someone content, uncovering their strengths and weaknesses, providing for others while taking note of their reactions and soaking all that information - these were the true joys for Lilian, who fully embraced the approach of catching flies with honey and adopted the alias of 'Melissa'. With her origins, it was not difficult to find employment under one of the many Continental branches, earning the respect of the fellow hotel workers for her abilities and eventually getting promoted to the position of a concierge.

As concierge of the Continental, Melissa is the right-hand to whatever manager is currently serving as head of that location, as appointed by the High Table. While she is not privy to management-exclusive secrets of hotel operations, she is nonetheless vital to keep the hotel running essentially as what it is meant to be - from the regular hospitality services to the additional activities they might offer their guests for the right fees, there is a lot that she oversees and deals with, with varying degrees of personal involvement depending on how legendary the guest is.

The fact that she has blood ties to the Welsh mafia is not a state secret - but it is not openly advertised and, given how far Melissa has moved to make a career for herself, that connection is rarely (if ever) made. Most of the times, her reputation derives from the excellent service offered and the obvious preference for customized jewelry, accessories and weapons - several of Melissa's items have honeybees or honeycombs engraved or carved into them and she seems to enjoy the associations to the Greek nymph who she borrowed the alias from.

Note: I don't know what to say - but I sat down to watch 'The Continental' (the show set in the same verse of the John Wick movies) and I just had to make a concierge!Melissa verse. It has been in my head for a full day and I just decided to unleash this gremlin variety on the dash to make it everyone else's problem. I am using a mix of the movie and the show lore here and keeping her associated to a nondescript Continental; it doesn't even need to be a main one or under Winston's management (following Charon's death in JW4). It just made sense to me - Melissa's verses by default have her being a hostess and someone who derives a great deal of pleasure in connecting with people and making them feel welcome; it hardly felt like a stretch. The main difference is that this is a Melissa that knows how to fight back; she would never win against trained/professional assassins because that's not her forte, but she's not as useless in a physical confrontation as 99% of her counterparts. It's also safe to say she's absolutely used to violence despite having a decent family (although one she doesn't see or visits frequently). And although this is a verse rooted in John Wick lore, it doesn't need to be restricted to it! For any other purposes, she's just a concierge at a very unique hotel with surprising skills - either because she just doesn't want to pick up the family legacy as an outright mafia boss or for another personal reason that has driven her to the hospitality business. This is flexible and easy to be adapted as needed!

#ooc!#new verse #v: the Continental #who knew three random episodes #and some Katie gifsets as the adjudicator #would make me go this hard haha

2 notes · View notes

freakingoutthesquares · 1 year

Text

THE QUIDS ARE ALRIGHT Select Magazine, November 1996 Words: Siân Pattenden Photographs: Patrick Ford (I think)

The 1996 Mercury Music Prize. Pulp got the gong, the wonga went to War Child and Jarvo’s eyes went funny!

Primal Scream, Suede, M People, Portishead... The past winners of the Mercury Prize are as varied as the day is long. “And cursed,” according to Mr Jarvis Cocker. Tough luck that Pulp won then.

The awards themselves were mild affair. Lots of suits from record companies stared at Bryan Ferry. (Sitting at a table with his old Roxy Music mucker, Brian Eno.) People toasted the greatness of the music industry, and astounding leaps in telecommunications.

And not very many pop stars showed their faces: both the Manic Street Preachers and Oasis were across the pond, unable to attend, and there was surprisingly little celebrity hanger on action.

Though there were a few live ‘turns’ Underworld and Black Grape didn't play on account of the tricky nature of their life performance. Presenter Richard Jobson – cut out of the BBC coverage - read from an auto cue and didn't make any jokes.

Pulp spent the evening enjoying the bountiful champagne wine on offer and trying to get their mates into the dinner. They didn't think they had a chance of winning, although they weren't saying who they thought would. Shaun Ryder was surrounded by girls wanting his autograph for most of the time, looking rather chuffed with the whole affair. His money, he said, was on Pulp taking home the gong.

Norma Waterson, Select’s favourite Brit-folk chanteuse sat and ate her grub, not fulfilling her ambition to meet Jarvis. He kept nipping around anyway. Brian Eno table-hopped. (Perhaps Bryan Ferry had said something nasty about his nose.) Underworld scoffed, drank lager and cheered their own video.

Finally, after the caviar, or quiche for the vegetarians, the winner was announced. A shiver went down Pulp’s collective spine. They weren't kidding when they went up to receive their award, they gave the money, £25,000 to War Child and tried to fob the award off on someone else.

Jarvis refused to touch it, claiming he'd be doomed if he did. “Everyone goes crap after they've won it,” he said. Guitarist Mark Webber picked it up, and Cocker convinced him he'd been jinxed. In spite of such bad vibery, Island Records had the astounding foresight to book a couple of hotel rooms so that Pulp could have a party into the small hours (Robbie Williams turned up ‘specially).

But Jarvis still didn't know why they were celebrating. Mark Webber agreed: “We've been trying to give the award away all night, then we thought of all the bands we'd like to give it to who should be jinxed,” he said before disappearing into the thick of the booze up.

Transcription by me. More info on PulpWiki

Not to say that the prize IS cursed, but Russell did leave a couple of months later and, well...

#russell senior #jarvis cocker #mark webber #mercury music prize #90s #britpop #printed article #cursed

9 notes · View notes

cosmic-navel-gazin · 2 years

Photo

@dongtopus Oh boy oh boy, fasten your seat belt sir!

I’ll just go with the second question first and say: YES! This happens to me all the time! I distinctly remember this one time many years ago that really irked me. I was watching Barry Lyndon and this guy played by Patrick Magee suddenly appears:

Basically the only difference was the placement of the beauty spots. I shook my fist at Kubrick, I was in awe at first but then so pissed for a while that he beat me to it lmao.

Back to the first question, here’s the the first neat faces that popped into my head:

Max von Sydow

Basil Rathbone, I want his smug bastard energy

Speaking of bastard energy, Siân Phillips and Glenn Close

Our man Ian Mckellen

Gael García Bernal put a spell on me and I’ve never been the same since

Javier Bardem (that profile one!)

Jeremy Brett

These three...Omar Sy, Olivia Colman and Toni Servillo... their faces in general, but the million dollar smile just, arghh I want to capture that

“poor lil meow meows” category: Zbigniew Zamachowski and Anatoliy Solonitsyn

Juliette Binoche

Charles Dance

Roger Hammond, Geoffrey Palmer, Cyril Shaps in The Madness of King George (1994)

John Hurt and Richard Harris, the last two are of them in The Field (1990)

Philippe noiret and Massimo Troisi, love their contrast in Il Postino (1994) on the last pic

Willem Dafoe

Jonathan Pryce

Rachel Weisz

Peter O’Toole

Peter Vaughan

Daniel Day-Lewis

Rui Rezende, here playing a romantic well-read werewolf in a renown brazilian soap opera:

The Name of the Rose (1986), the monks there is the gift that keeps on giving for me. I have nothing but love for all the diffferent and excentric looking characters be it well known actors or lesser known,only appear for a couple of shots figures in the background

Ivan the Terrible (1944) is also a gold mine for tons great and distinct looking faces

I love this fella over here he looks like a small bird of prey

Bonus: Kapellmeister Bonno from Amadeus (1984) played by Patrick Hines. He has the best facial expressions and reactions, every time... I can't take my eyes off him

#Honourable Mentions: Kyle MacLachlan and his chin #Also Twin Peaks and Coen Brothers' movies have a great selection of amazing distinct faces love them #this could've been even longer I had the contain myself #if anything now I have a lil quick library of faces easy to acess to whenever I'm looking for a certain facial feature to draw #I took printscreens because it only let me upload 10 pics and my power is not to be contained or limited #asks #replies #dongtopus

22 notes · View notes

radicalfeministnews · 2 years

Text

Article to consider and critically discuss: "A wave of TV shows, films and books is now really getting to grips with the difficult, and sometimes shocking, realities of becoming a mother."

Media by women discussed: dark TV comedy-horror "The Baby", book, The Panic Years, by journalist Nell Frizzell, the 2016 film Prevenge (horror), Maggie Gyllenhaal's 2021 Netflix adaptation of Elena Ferrante's 2006 novel, The Lost Daughter, the much lighter sitcoms Motherland and Workin' Moms, the comedy-drama TV show from Australia The Letdown covering mothers' PTSD and struggles, Marianne Levy's new book, a collection of essays, Don't Forget To Scream written by Levy when pregnant and directly after about her experience, more books by mothers about motherhood, Mother Ship by Francesa Segal, I Am Not Your Baby Mother by Candice Brathwaite, My Wild and Sleepless Nights by Clover Stroud, A Life’s Work: On Becoming A Mother by Rachel Cusk... and Fiction books, Nightbitch by Rachel Yoder, The Harpy by Megan Hunter, and The School for Good Mothers by Jessamine Chan on the "bad mother" stereotype and losing custody of children.

The Handmaid's Tale by Margaret Atwood is mentioned at the end.

dark TV comedy-horror "The Baby" "We were excited about the possibility of exploding cultural ideals around motherhood," says co-creator Siân Robins-Grace about the starting point for the series, "and revealing the darker, violent or oppressive forces at play in that kind of ideal account of what motherhood should be. The genre of horror obviously allows you to take that to a really extreme place, and set up some really taboo situations to explore why they might be taboo."

Co-creator also said: "I think a lot of ways that motherhood is depicted is thin and uncritical, and reinforces the idea that 'the mother' is cis, female, straight, middle-class, white, caring and nurturing." so ya know, wonderful implication that a woman admitting struggle in motherhood or revulsion to it is "not cis" or that mothers being female is a stereotype. But in general she is probably just buzzwording

Her co-creator Lucy Gaymer adds that for her, the series – and genre – was a way to process her own internal battles about motherhood: "The genesis of this idea comes from me being in my 30s and feeling really confused about whether I wanted to become a parent or not, and I didn't realise that until after we'd plotted episode one, when I was like, 'Oh, of course I had that idea as it represents what it would feel like for me to become a parent right now'. It definitely comes from that place of anxiety, and also of jealousy of people who seem to feel so clearly one way or another. That feeling of not being sure feels scary and sometimes isolating."

The article name checks Rosemary's Baby, The Omen and Mommie Dearest (films) as examples of horror depictions of motherhood, and I want to say while I don't know the 2nd two the film of Rosemary's Baby is sexist and from a sexualizing, terrorizing women as titillation, male view, even if we could also have a good reading of it (disagreement welcome)

A recent book, The Panic Years, by journalist Nell Frizzell. The book covers the "biological deadline" women have to consider when thinking about trying to be pregnant at some point

"2016 film Prevenge, another horror story in which a pregnant woman's foetus orders her to carry out a series of murders to avenge her partner's death. As the baby's chipmunk-esque voice threatens her ("What did I say will happen if you don't do as I say? Blood will be shed, one way or another") it's extreme and ridiculous of course, but, deep down, speaks to fears that many carry about the power that the living being inside them holds over them. As Ruth (Alice Lowe) says about missing an ultrasound scan: "I don't want to know what's in there. I'm scared of her. I'm not even in control. It's like I'm some crap, banged out car and she's driving, I'm just the vehicle," she tries to explain to the patronising midwife, who replies with another platitude."

More quotes from the article on Prevenge:

While I've never procreated a homicidal infant, I have had two babies delivered prematurely by emergency C-section who both required a five-week-long stay in a NICU (neonatal intensive care unit) – and so slasher horror plot aside, the abject terror around labour and birth that the film depicts is something I can relate to. Even before my double traumatic labours, while pregnant with my first child, I remember feeling like the experience was akin to knowing you're going to be in a car crash, but you don't know when, or how bad it's going to be.

Understandably, it's hard to relax and "enjoy the pregnancy" as you're so often reminded by healthcare professionals, midwives and anyone else who happens to be walking past in the street. Portrayals in popular culture push the idea that babies are something that happen to you, rather than because of you. In Prevenge – aside from all the slash-and-kill sprees – it's implied that Ruth is already a bad mother as she's breaking the unspoken code of complying and not complaining, as her baby hasn't even been born yet. In an interview with Indiewire, Lowe – who was eight months' pregnant when she wrote, acted in and directed the film – said: "I kind of took all my frustrations of what I was feeling… Suddenly, you're a mother and people think different about you and you don't have control over your job anymore. All of this stuff, I was feeling fairly grim and dark about, and I just put it in this film."

"Another mother breaking the code is Leda, the protagonist of The Lost Daughter, Maggie Gyllenhaal's 2021 Netflix adaptation of Elena Ferrante's 2006 novel. While not a horror story, Leda (Olivia Colman) is regarded as something of a monster by the family she meets on the beach while holidaying in Greece – including the pregnant woman who she tells bluntly: "Children are a crushing responsibility". The character then flips the script on how mothers are expected to act with her unsettlingly unpredictable behaviour: she helps find a lost young girl on the beach to the relief of her family, only to steal her doll, watching the girl's devastation unfold, to play with at home. Over the course of the film, we discover she's behaved in this kind of impulsive way before, committing the most unthinkable, most transgressive of acts – in the eyes of much of society, anyway – and walking out of her family home, leaving her two young daughters behind.

Through flashbacks we see young Leda (Jessie Buckley) struggle as a young mum with her career, relationships, sexuality and personal sense of being, as well as some clearly unprocessed trauma from her own mother. The story asks the audience to confront an uncomfortable question: who was my mother before I was born? What were her desires, wills and opinions before she was in this role; and what has happened to those now?"

When it comes to the frustrations of motherhood, the sitcoms Motherland and Workin' Moms explore this territory in a lighter fashion, foregrounding in a both realistic and hilarious way the manic juggle that parents – mainly mums, if we're being honest – are expected to undertake. Mistakes will inevitably be made, and then there's the guilt and shame to contend with when this happens.

Another comedy-drama that has nailed the complications and conflicting emotions of the maternal experience is Australia's The Letdown. So much popular culture tells the story of pregnancy and birth – typically shown in a nice, neat, two-minute montage of a woman crying and screaming – and then wraps things up there. Which is why The Letdown was refreshingly unusual in starting its story when its lead character was two-months post-birth. Having been through a distressing labour, we see Audrey (Alison Bell) seriously minimising her experience and telling her mum-and-baby group: "It was fine, thanks, in the end, C-section," while also emphasising she was "not too posh to push. I didn't elect it." She's already guiltily justifying an experience that was out of her hands, in the hope that people don't judge her for it.

"As the show goes on through its two series, we're shown in both banal and excruciating detail how difficult it can be just to get through the day with a newborn, and the emotional weight of the first year that hangs heavy each day. Finally, fighting back tears, Audrey admits why she's struggling: "It wasn't a great start. I kept arguing for a natural birth because I'd read all this stuff and… we nearly lost her." One of the other characters later suggests Audrey has PTSD – official figures estimate anywhere between three to nine percent of women who give birth do, although it's likely that many more women are never diagnosed. For me, that PTSD hit home on my son's first birthday – while everyone was celebrating his arrival, I was experiencing upsetting flashbacks of the anniversary of one of the scariest days of my life. Everything ended up fine, I was reminded by my partner and well-meaning friends, and that's all that mattered, wasn't it?"

Marianne Levy's new book, Don't Forget To Scream. In one anecdote, she explains: "I got chatting to a mum at the school gate and I asked her about her experience of birth. 'Oh, it was awful,' she said. 'It's why I only have one. But, you know, it's fine.' 'Is it?' I said. She thought for a moment. 'No'."

Don't Forget To Scream is a collection of essays making sense of the psychological shifts and heavy emotional turmoil of becoming a mother, which also reflect on why people are so unwilling to talk about these. "After my daughter was born eight years ago, when I tried to tell people what was happening to me, they told me I was wrong, or mistaken," Levy tells BBC Culture, explaining what led her to write the book. "It was as though, on becoming a mother, my language had lost its meaning. A few times, they literally walked away. So when my son was born four years later, instead of speaking, I wrote. I found I could be truthful on the page in a way that I could not in conversation."

More visceral books about birth and bringing up children: Mother Ship by Francesa Segal, I Am Not Your Baby Mother by Candice Brathwaite, My Wild and Sleepless Nights by Clover Stroud

The writer that arguably first paved the way for this line of memoir, Rachel Cusk's A Life’s Work: On Becoming A Mother (2001). Cusk – an acclaimed novelist – left London with her partner and small child, found herself pregnant once again, and wrote what one reviewer described as "akin to a war diary".

Cusk faced fall out from publishing it: "I was accused of child-hating, of postnatal depression, of shameless greed, of irresponsibility, of pretentiousness, of selfishness, of doom-mongering and, most often, of being too intellectual." But equally, she noted how she was also lauded for her frankness, quoting one appreciative critic who had written how "Motherhood, as it is lived, is still individual, personal, private, and therefore deeply undervalued, sometimes even by those of us who move between the 'real' world of work and the shadow world of family life. Between these worlds, Cusk has crafted a work of beauty and wisdom."

Other writers have notably been turning to fiction recently to portray motherhood in its most animalistic form – from the woman who metamorphosises into a dog in Rachel Yoder's Nightbitch (now being made into a film with Amy Adams) to the half-bird-half-human inspiration for Megan Hunter's tale of family life and adultery, The Harpy. Or they have gone dystopian, as with The School for Good Mothers by Jessamine Chan which examines the "bad mother" stereotype via the tale of a mother losing custody of her daughter and being sent to an institution in order to dwell on her failings.

Key Quote in the Article:

"For me, the negative depiction is that of the perfect mother; the traditional image of a woman brimming with endless tender love who never entertains a moment's negativity (or, indeed, personality)… We seem to have removed the space for women to speak freely and openly about their experiences having and raising babies and children. The result is tremendously harmful. The consequences, for maternal mental health, the mental health of our children, and wider societal health, economics and equality, are appalling." - Marianne Levy, author of Don't Forget to Scream

BBC/AMC adaptation of Adam Kay's bestselling medical memoir, This Is Going To Hurt, which follows Kay's real-life experiences as a junior doctor on an Obstetrics and Gynaecology ward in a British hospital, also came under fire for its traumatic scenes of women giving birth, as well what "positive birth" expert Milli Hill called the "paternalistic, misogynistic attitude" of Kay towards his female patients. But others argued the depiction of the maternal experience was creditable for being uncomfortably real. Times journalist Alice Jones wrote that she "didn't feel angry watching This Is Going to Hurt, I felt glad that someone was telling the truth. Birth can be beautiful, but it's also brutal. What are we going to do about that?"

Culture exploring the darker side of motherhood may also now have an extra resonance at a time when, in the US, some states are intending to remove the constitutional right to an abortion, after the Supreme Court overturned the case of Roe vs Wade. In one harrowing episode of The Baby, we see how the titular child's biological mother – Helen (Tanya Reynolds) – is held hostage and forced to give birth, in scenes reminiscent of The Handmaid's Tale; Robins-Grace explains how differently that scene hits home for her now. "It's sobering to realise that we were naive to believe, in a legislative way, that [abortion] was off the table."

More generally, the fact that current films, TV series and books might shock us and shatter our collective illusions about motherhood is only a good thing, says Levy. "Popular culture finally seems to be waking up to the idea that mothers can be interesting, dynamic characters in their own right, front and centre to the story, with all the foibles and flaws and fascinating facets exhibited by the rest of humanity."

Articles linked within the article:

"The Science of Safe and Healthy Baby Sleep" https://www.bbc.com/future/article/20220131-the-science-of-safe-and-healthy-baby-sleep

"Mumsnet is driving fear of childbirth, expert warns" https://www.thetimes.co.uk/article/mumsnet-is-driving-fear-of-childbirth-expert-warns-fztj8qlth

"Motherhood doesn’t have to mean misery Alienation, despair and boredom have become the default depiction of life after children. Where’s the joy gone, asks Rosie Kinchen" https://www.thetimes.co.uk/article/motherhood-doesnt-have-to-mean-misery-cbqf3trjt

"I was only being honest: When author Rachel Cusk wrote A Life's Work, her disarmingly frank account of motherhood, she was shocked by the vicious reaction it provoked from other women. The experience forced her to question herself as a writer and a parent, as she records here" https://www.theguardian.com/books/2008/mar/21/biography.women

"Postpartum Post Traumatic Stress Disorder" https://www.postpartum.net/learn-more/postpartum-post-traumatic-stress-disorder/

"Traumatic birth and post-traumatic stress disorder" https://www.nct.org.uk/labour-birth/you-after-birth/traumatic-birth-and-post-traumatic-stress-disorder

"This is Going to Hurt: What medical shows get right and wrong" https://www.bbc.com/culture/article/20220209-what-tv-medical-shows-get-right-and-wrong

"This Is Going to Hurt: misogyny on the maternity ward? Are claims that the BBC’s new hit is hateful towards women correct?" https://www.thetimes.co.uk/article/this-is-going-to-hurt-misogyny-on-the-maternity-ward-wqllbj2t9

"Abortion: What does overturn of Roe v Wade mean?" https://www.bbc.com/news/world-us-canada-61804777

"Why The Handmaid’s Tale is so relevant today" https://www.bbc.com/culture/article/20180425-why-the-handmaids-tale-is-so-relevant-today

17 notes · View notes