#Radcliffe Square | Explore Tumblr Posts and Blogs

p1325 · 6 months

Text

youtube

The 'Timeless Classics' series by RBA stands as a commendable collection of 85 literary masterpieces, predominantly drawn from English literature, with notable inclusions such as Madame Bovary and Anna Karenina from diverse cultural landscapes. This curated anthology transcends geographical boundaries, making its enriching content accessible not only in various European countries under the names of ''Storie Senza Tempo'', ''Romans Eternels'', and ''Novelas Eternas'' but also in South America. RBA's commitment to delivering these cultural gems on a global scale reflects a dedication to fostering a profound appreciation for literature across diverse audiences.

Here are all the titles of the following collection: Jane Austen - Pride and Prejudice

Emily Bronte - Wuthering Heights

Louisa May Alcott - Little Women

Charlotte Bronte - Jane Eyre

Jane Austen - Sense and Sensibility

Edith Wharton - The Age Of Innocence

Jane Austen - Emma

Gustave Flaubert - Madame Bovary

Jane Austen - Northanger Abbey

Edith Wharton - The House of Mirth

Jane Austen - Persuasion

Louisa May Alcott - Good Wives

Nathaniel Hawthorne - The Scarlet Letter

Charlotte Bronte - The Professor

Leo Tolstoy - Anna Karenina (Part 1)

Leo Tolstoy - Anna Karenina (Part 2)

Jane Austen - Mansfield Park

Anne Bronte - Agnes Grey

Thomas Hardy - Far from The Madding Crowd

William Makepeace Thackeray - Vanity Fair (Part 1)

William Makepeace Thackeray - Vanity Fair (Part 2)

Pierre-Ambroise-François Choderlos de Laclos - Dangerous Liaisons Alexandre Dumas fils - The Lady of the Camellias

Henry James - Washington Square

Louisa May Alcott - A Garland For Girls

Henry James - The Portrait of A Lady (Part 1)

Henry James - The Portrait of A Lady (Part 2)

Jane Austen - Lady Susan. The Watson. Sanditon

Anne Brontë - The Tenant of Wildfell Hall

Thomas Hardy - Tess of the D’Urbeville

Edith Wharton - The Mother’s Recompense

Daniel Defoe - Moll Flanders

Henry James - The Wings of the Dove

Edith Wharton - The Customs of the Country

Kate Chopin - The Awakening

Jane Austen - Juvenilia

George Eliot - Middlemarch (Part 1)

George Eliot - Middlemarch (Part 2)

George Sand - Nanon

Henry James - The Ambassadors

Elizabeth Gaskell - Cranford

Thomas Hardy - Under The Greenwood Tree

Edith Wharton - Summer

George Sand - Indiana

Henry James - The Bostonians

George Eliot - Silas Marner

Henry James - The Golden Bowl (Part 1)

Henry James - The Golden Bowl (Part 2)

Edith Wharton - The Twilight Sleep

Emily Eden - The Semi-Attached Couple

Edith Wharton - The Glimpses of the Moon

Mary Elizabeth Braddon - Lady Audley’s Secret

George Eliot - The Mill on the Floss

Elizabeth Gaskell - Mary Barton

Fanny Burney - Evelina

George Sand - Little Fadette

Emily Eden - The Semi-detached House

Charlotte Brontë - Shirley I

Charlotte Brontë - Shirley II

Daniel Defoe - Lady Roxana

Theodor Fontane - Effie Briest

Edith Wharton - The Cliff

Thomas Hardy - Two on a Tower

Frances Hodgson Burnett - A Lady of Quality

Louisa May Alcott - Moods

Lucy Maud Montgomery - The Story Girl

Elizabeth Gaskell - Ruth

Thomas Hardy - The Woodlanders

Elizabeth Gaskell - North and South

Matilde Serao - Fantasy

Thomas Hardy - A Pair of Blue Eyes

Emilia Pardo Bazán - Sunstroke

Ann Radcliffe - The Romance Of The Forest

Louisa May Alcott - A Long Fatal

Charlotte Bronte - Villette

Sybil G. Brinton - Old Friends and New Fancies

Edith Wharton - The Bunner

Sisters Virginia Woolf - The Voyage Out

Margaret Oliphant - The Chronicles of Carlingford

Edith Nesbit - The Incomplete Amorist

Virginia Woolf - Day and Night

Guy de Maupassant - Our Heart

Frances Trollope - The Widow Barnaby (Part 1)

Frances Trollope - The Widow Barnaby (Part 2)

Elizabeth Gaskell - Half a Lifetime Ago

22 notes · View notes

dewitty1 · 1 year

Text

You can buy Sirius Black’s Islington home now

Number 12, Grimmauld Place, ancestral home of Sirius Black, is up for sale. Okay, it’s a well-presented grade II-listed Georgian flat in Claremont Square, Pentonville, N1.

The iconic address, HQ of the main resistance to the dark forces of Voldemort, was a filming location featuring in ‘Harry Potter and the Order of the Phoenix’, starring Daniel Radcliffe as Harry of course, and Gary Oldman as homeowner Sirius, and is available for £385,000. The light and airy leasehold first-floor period property boasts access to a rear garden, with studio, separate kitchen and bathroom, and is mid-terrace. Plus, if entry to Hogwarts is not available to you, then the Gower School and Elizabeth Garrett Anderson School are virtually on your doorstep.

The wizardly pied-à-terre is also conveniently close to King’s Cross St Pancras station for when you need to catch the train from platform 9¾ (or hop on a Eurostar to Paris). It’s pretty minute, though, so probably not suitable for large pets or house elves.

More details

Edit-it was sold the minute it went on the market, that's how good the price is...

75 notes · View notes

dinner-at-charlies · 11 months

Photo

Lewis: "Was death instant?" Morse: "Instantaneous, Lewis. Coffee may be instant, death may not." (Colin Dexter; Inspector Morse)

Born in Gorton, Manchester, on 3 January, 1942, John Edward Thaw, CBE, was an English actor, perhaps best remembered for his role as Chief Inspector Morse (adapted from the novels of Colin Dexter, by Zenith Productions for Central Independent Television; 1987 - 2000)

John grew up in Gorton and Burnage, his mother having left when he was seven. Thereafter, he attended the Ducie Technical High School for Boys, and later the Royal Academy of Dramatic Art (RADA).

Soon after leaving RADA, John made his formal stage début in A Shred of Evidence, at the Liverpool Playhouse (his performance earning him a contract with the theatre). His first film role was opposite Tom Courtenay in the adaptation of The Loneliness of the Long Distance Runner (1962), and he also acted on-stage that year opposite Sir Laurence Olivier in Semi-Detached.

Thereafter, John appeared in several episodes of the BBC police series Z-Cars. Though it was his performances as the hard-bitten, tough-talking Flying Squad detective, Jack Regan, in The Sweeney (1975–1978), that established him as a major star in the United Kingdom.

John's final appearance as the opera-loving, crossword-solving Morse, was in The Remorseful Day; where, filmed in the grounds of Exeter College, Morse suffered a heart attack, and later died in the John Radcliffe Hospital.

John Thaw died on 21 February, 2002, seven weeks after his 60th birthday, the day after he signed a new contract with ITV. At the time of his death he was living at his country home, near the villages of Luckington and Sherston in Wiltshire.

He was cremated in a private service in Westerleigh, near Yate in South Gloucestershire. A memorial service was held on 4 September, 2002, at St Martin-in-the-Fields church in Trafalgar Square. The service was attended by 800 people, including: Charles, Prince of Wales (now His Majesty King Charles III), Richard Attenborough, Tom Courtenay and Cherie Blair.

53 notes · View notes

01libra · 1 year

Text

Magnolias in Radcliffe Square | Oxford

#mine #oxford university #Radcliffe camera #Architecture #academia aesthetic #uniblr #flowers #spring #blossoms #magnolias

33 notes · View notes

jgroffdaily · 7 months

Text

Merrily We Roll Along review summary Part 1

Peter Marks, Washington Post

Like precision code breakers, the team responsible for the revival of “Merrily We Roll Along” have cracked it.

The blessed contributions of Groff, Mendez and Radcliffe — in addition to Krystal Joy Brown, Katie Rose Clarke and Reg Rogers in crucial supporting roles — coalesce in a way that feels almost spiritual.

But when you’re hearing his music so beautifully realized — Radcliffe keeps up impressively with musical-theater prodigies Mendez and Groff — you grasp even more deeply the melodic and lyrical sophistication at work.

Groff’s transformation-in-reverse is a perceptive journey as well, from remorseful Hollywood sellout to star-struck starving artist, pressing his nose up against the window of fame and riches.

Ideally, this Broadway incarnation will be both a hit and a reflection of the higher aspirations of musical theater. It’s even tighter, funnier and more touching than what Friedman staged off-Broadway.

So much ingenuity. So much joyful creativity. So much for audiences to savor.

Kobi Kassal, Theatrely

Further, it's hard to go wrong when you have Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez above the title. The heart of the show lies with this trio whose genuine connection and truth shines out across the Hudson stage eight times a week. Groff, who has the charisma down pat, dazzles as Frank. When paired with Radcliffe’s Charley, filled with loveable charm, and Mendez’s Mary who is utterly gut-wrenching to watch as her true love slips away, this trio equals Broadway perfection.

Merrily marks the third Broadway revival of a Sondheim work since his death, in addition to the premiere of his final work, Here We Are, at The Shed. Many of his shows are beloved, but if you want a healthy dose of Broadway serotonin, get thee to the Hudson immediately. Truth be told, you don’t need to listen to the critics, and if you have gotten this far in the review, I think we are all on the same page. Some true theatre magic is happening on that stage, and for that we will forever be grateful.

Sara Holdren, Vulture

It’s possible for Frank to swing and schmooze his way through this scene as the worst version of himself: “Who says, ‘Lonely at the top’? / I say, ‘Let it never stop!’” he sings to his crowd of sycophants. But Groff is an actor who’s able to communicate hurt and humanity even through a carapace of ego and moral deficiency. (In this way he reminds me of Matthew Macfadyen: Who among us has any business feeling empathy for Tom Wambsgans? And yet …) All through Merrily’s opening scene, Groff’s eyes are dead hollows — deep, dark wells with reservoirs of tears way down at the bottom, threatening to make their way up. He smiles, he sings, his body propels itself around the room, and he’s not there. His Frank is the worst version of himself, but he knows it, and he’s terribly alone and afraid. Watching Groff — who, as the show moves forward and backward, becomes visibly younger: driven, yes, but also sweet and earnest, almost puppyish — I thought of Chekhov’s successful, unprincipled writer Trigorin, who tells his lover: “I haven’t got any willpower. I never have had … Go on, take me, take me away with you. But please, don’t ever let me out of your sight.” Groff makes clear that Frank’s is a tragedy of weakness, not simply of greed.

And Charley! As the twitching, high-integrity, high-anxiety writer, Radcliffe is a complete delight. Next to Groff’s Frank, who’s tall, square-shouldered, and — at least outwardly — self-possessed, Radcliffe is a vibrating sprite, the kind of person whose big brain you can practically see smoking as it spins.

The enlivening pulse created by Radcliffe, Mendez, and Groff gains strength and drive through the production’s rock-solid ensemble. Gilmour (also the costume designer) dresses them in softly period, unified swaths of color as the play moves back in time — blues, then beiges, then, in the lavish, La Dolce Vita–ish early ‘60s, in hard black and white. There’s something smart happening here: Groff, as Frank, wears varyingly sophisticated versions of the same white shirt and black trousers throughout the show, but at the top of Act Two, as Gussie (not yet his wife) seductively introduces him to “The Blob” — a pulsating swarm of influentials, “the ones who know everyone that everyone knows” — Frank’s clothes match the company’s for the first time. He is, whether consciously or not, getting sucked into something. No — it already has him.

Some shows can withstand miscasting — turns out, Merrily can’t. (It’s often said that the casting of very young actors was a large part of the original production’s failure.) Even the big producer, Joe Josephson, who can come off as a Hollywood hack with dollar signs for pupils, is brought a sense of hangdog appeal by Reg Rogers. You get the feeling that Josephson is affable at heart, tired in soul, and that even he might have had ideals once. Friedman’s great insight — perhaps owing to her own long career onstage — is to have sought out actors she, and we, can entirely trust, and to trust them. (It sounds simple. It’s not.) She locates the play’s potential to be caring rather than callous not on the page but in the specific human beings who are here, doing this thing, right now. A central trio as sensitive and superb as this one doesn’t just make Merrily more moving; it makes it much more fun. It even adds a faint glimmer of something resembling hope. If Frank can reconsider, then he may yet change. Or he may not. But either way, an actor must show us, as Groff does, a true encounter with the mirror. With their irresistible energy and chemistry, Mendez, Groff, and Radcliffe lift Merrily up, yet keep it grounded with real, apparent affection and emotional heft. They are the ones reviving the play, by revealing and jump-starting its heart.

#jonathan groff #merrily we roll along #reviews #daniel radcliffe #lindsay mendez #Maria Friedman

9 notes · View notes

harvardfineartslib · 1 year

Text

Celebrating Asian American and Pacific Islander Heritage Month this month!

Mary Lum’s exhibition catalog entitled “Moving Parts (&)” is in-library use only at the Schlesinger Library, but we wanted to include this catalog because Lum’s beautiful exhibition is up at Harvard Radcliffe Institute through June 24th. We encourage you to visit her exhibition while it’s up!

For this exhibition, Mary Lum has created an artist’s book and installation featuring photographs of temporary constructions made from a palette of broken vintage letterforms. The exhibition catalog is also gorgeous.

Mary Lum : moving parts (&) Cambridge, MA : Harvard Radcliffe Institute for Advanced Study, [2023] HOLLIS number: 99156684077103941 *Schlesinger Library In-library use only

Ghost forest Lin, Maya, 1959- [artist, interviewee} New York : Madison Square Park Conservancy, [2021] HOLLIS number: 99156668641703941

Zarina : paper like skin Los Angeles: Hammer Museum, University of California; Munich: DelMonico Books/Prestel, 2012 HOLLIS number: 990137311030203941

Ray Yoshida's Museum of Extraordinary Values Sheboygan, Wisconsin : John Michael Kohler Arts Center, [2013] HOLLIS number: 990139821660203941

Maya Lin : here and there New York : Pace, [2013] HOLLIS number: 990137085350203941

Tsherin Sherpa : spirits Richmond, Virginia : Virginia Museum of Fine Arts, [2022] HOLLIS number: 99156624177103941

Ruth Asawa : citizen of the universe London : Thames & Hudson Ltd ; New York, New York : Thames & Hudson Inc., 2022. HOLLIS number: 99156425913103941

Zhang Huan : altered states New York : Asia Society ; Milano : Charta, 2007. HOLLIS number: 990108885030203941

Do Ho Suh : works on paper : at STPI Singapore : STPI Creative Workshop & Gallery ; New York : DelMonico Books/D.A.P., 2021. HOLLIS number: 99155779049803941

#AsianAmericanandPacificIslanderHeritageMonth #AAPIHeritageMonth #AAPIHeritage #AAPI #MaryLum #HarvardFineArtsLibrary #Fineartslibrary #Harvard #HarvardLibrary #harvardfineartslibrary #fineartslibrary #harvard #harvard library #harvardfineartslib #harvardlibrary

14 notes · View notes

mandy-eminem-moxley77 · 10 months

Text

12 years ago today, the final Harry Potter film: Harry Potter and the Deathly Hallows Part 2 premiered at Trafalgar Square, London.

Daniel Radcliffe: "I don't think the end of the story happens tonight because each and every person who has seen and followed these films over the last 10 years will carry the story with them through the rest of their lives and it will affect what they do”

#harry potter #jk rowling #hogwarts school of witchcraft and wizardry #my favourite #awesome #harry potter movies #harry potter and the deathly hollows #daniel radcliffe #emma watson #james and oliver phelps #tom felton #rupert grint

8 notes · View notes

emmawatsonspecial · 1 year

Text

Emma Watson attending the 'Harry Potter And The Philosopher's Stone' world film premiere at the Odeon Leicester Square, London, on November 04, 2001, wearing a denim dress by Kenzo and a pair of Aldo boots – with J K Rowling, Daniel Radcliffe, Rupert Grint and Cher.

#Emma Watson #J K Rowling #Daniel Radcliffe #Rupert Grint #Cher

29 notes · View notes

thepixelpenguin · 3 months

Text

Mario Kart Tour: Oxford Foray

Told you this page would be random.

I think an underappreciated aspect of Tour's city track design is their atmosphere. They don't just tour recognisable landmarks in a believable layout, they really capture the city's character! From New York's dazzling nightlife to LA's casual appeal, Singapore's extreme extravagance to Sydney's energetic simplicity, Vancouver's splashes of colour and natural beauty, Amsterdam's effortless harmony with canals and nature alike, Rome's ancient architecture with comfortable life on top, Madrid's modern bustle with impressive history underneath, Athens' proud (and hilly) past and Bangkok's humble yet hopeful future, and Berlin's seamless integration of all eras: they're all accurate as far as I can surmise. There's only a few that I think don't quite hit the mark. Paris’ modernity is smothered in quaint romanticism, though what else could one expect, Tokyo has little of its maximalist flair, but perhaps the graphics limited that, and then… London.

I'm certainly biased, it being my home country and the only city on the list I've seen for more than a day, but it seems to only hit the beats of its most recognisable icons: laudably no doubt, but the city isn't just its imposing imperial riches! What strikes me about London is its fast-paced mishmash of cultures that fill in all the gaps between the great British statements like water running over cobbled streets: history and novelty around every corner! The course gives me the impression of the former but not the latter.

I'm not sure I'm qualified to rectify this, but I can make up for it with another English icon! My hometown has its history, but not enough to base a tour around. My current homestead, however, is undeniably culturally significant, and it's not just that. I hope I did well to convey the place as storied and not just interesting, but inviting, a genuinely fun place to stay for a day or a year. That's how I feel about it at least.

HERE WE GO

1: Our foray begins on the left side of the picturesque High Street, between Queen’s College and the Examination Schools. It’s a noticeably wide street (and a noticeably wide gothic limestone starting gate with a waving chequered flag to boot), with a cobbled dividing strip, and plenty of buses to crowd the way! As the road narrows and items are collected, there’s a right turn into the Covered Market, which has three narrow lanes to choose from, and a few opportunities to weave between.

Out of the market is a sharp right turn down a walled alley, with the lovely Exeter and Lincoln colleges adjoining. This is before a huge 180 turn with another item set around the Radcliffe Camera, an impressive dome in the middle of a big communal square. Having lost its fence, at that, so if you’ve got a mushroom and are prepared to miss out on items, the shortcut is worth it! Racers continue north past All Souls College and the Bodleian Library to reach the roundabout connecting Broad Street and Holywell Street. Remember the Bridge of Sighs to your right.

The route continues up Parks Road, a leafy avenue with plenty of boost panels, before splitting around Keble College! If you continue straight forwards, you get an easy wide road, and a view of both the Natural History Museum and University Parks. However, if you take that subtle sharp left, you can find a potentially faster cut-through that’s a bit tougher to navigate. I didn’t even have to design this one!

Both options reconvene at the apex of St Giles, where a patch of off-road leads to an optional ramp, and the road broadens to quite a degree, leaving room for a ridiculous row of coins. The abbreviated straight ends at the Martyr’s Memorial, which now has just a humble patch of grass behind it instead of an entire church, just to improve the flow.

A quick left turn introduces Broad Street, which, you guessed it, also widens out, somewhat narrowed by some of the city’s numerous bike racks. However, this one has its right half covered in short wooden ramps, for the first half! These can be useful for some trick boosts, but more coins lay the other way. Items are given at the halfway point. Before reaching the roundabout at the end, there is a conspicuous diversion past the Sheldonian Theatre (which has no fence, to make way for the race) and through the library complex towards the Bridge of Sighs. Racers may either run straight through the gate (tricking as they go) or take the grated glider ramps to make it over the bridge!

The return to the start line via New College Lane and Queen’s Lane is a winding, narrow path, walled in by the historic namesake colleges. You’ll have to forgive them for not having karts running through their grounds. Nonetheless, navigate those chicanes and a final left turn (with a sneaky cut over the pavement) brings you back to the line. It’s a long one alright!

2: As in track 1, we begin on the High Street, though this time we forge ahead past the Covered Market, the traffic turning off before the Carfax Tower, until the course swerves into the Westgate Centre. In a strikingly similar manner to Coconut Mall, the route has two walkways either side of an optional drop with escalators, before a right turn into a more open area where the drop and escalators are forced. I swear it’s coincidental! The decor is distinct at least.

After grabbing items wherever you may encounter them, exit the mall via another sharp right turn onto open road. Make use of its breadth before you have to navigate the Castle & Prison, which is exactly what it sounds like! A couple of narrow turns later, there is a brief anti-grav uphill to wind up the Castle Mound to a big glider ramp, from which one must avoid the dreaming spires of Nuffield College and St Peter’s College some random church, or grab some of the revolving coins if you’re daring…

Though you could just drop onto the street, the Ashmolean’s grand ionic forum is a perfect landing place, where one can drift around to jump down the stairs and find themselves heading onto Broad Street once again! This time, the route heads past the theatre and turns at the roundabout, so the other lot of ramps, this time occupying the left half, can be made useful. The lap ends the way you’d expect after turning at the roundabout.

3: Unlike both 2 and 1, we start our race on Cornmarket Street (under a long hanging sign of oil paints on wood, the closest I can get to putting a pub in a kids’ game), a place I would be remiss not to include, along with its clutter of bicycle parking. If there’s one thing you notice about transit in Oxford, it’s how many bicycles are in the way. However, if you can dodge around the racks, you may find some coins or even dash panels…

Anyway, Cornmarket is a simple, if not uninterrupted, straight, which racers take south, spying once again the Carfax Tower and then the Town Hall and impressive Christ Church. You know, the big one. The road continues down St Aldates with all its traffic, but soon turns left through the open gates of Christ Church Meadow! The next half of the lap takes place in greener pastures, first down a puddle-ridden southward straightaway with sparse items and Moo Moos spectating, then when the course meets the Thames and Folly Bridge, a more wide open snaking route with grass shortcuts abound! The riverside path remains intact, but still off-road.

After doing this eastward a while, the course drastically narrows as it winds its way northward strictly following the meanders of the Cherwell. Of course, there’s nothing stopping you from driving through the river itself, but the bumpy terrain and drag force balances any advantage of breadth. A wiser path is found by jumping onto a series of punts, which can be quite hard to aim for, but offer a trick each time. They’re not hard to come by in Oxford. This continues all the way to the Botanic Gardens, which can themselves be snuck through via a gap in the fence. Those wishing for a complete row of item boxes and, of course, the exquisite surroundings, can find themselves jumping over the pond in the south section before reaching the north, where a quick right around the fountain directs you between the greenhouses to reenter the river. The river, of course, does continue past the gardens, but who would want to miss out? Especially when that part of the bed gets so muddy…

When you’ve finally made it to Magdalen Bridge, you need only drive under it to find a wide slope up to the roundabout, which is drifted around before crossing the bridge to witness the lovely Magdalen Tower! We then cross the line - the line from the other versions, that is - before sneaking past the University Church to reach the road past the Radcliffe Camera. The Bodleian Library can now be dashed through for a guaranteed double box, if you can find the narrow entry! The rest is obvious: take Broad Street one last time, westward now, to reach the top of Cornmarket Street.

So how might these all fit together if they were given the Mario Kart 8 Deluxe treatment? Honestly, probably better than the individual courses! Lap 1 takes version 1, of course, but stops short of Broad Street, instead cutting through via Cornmarket to start lap 2, with version 2 taking over by way of a right turn at Carfax Tower. Lap 3 simply commences from the High Street and doesn’t bother with the whole Broad Street diversion: we’ve already seen it!

Oh right, I also made the music for it! You'll have to forgive Musescore's playback engine, they try, bless 'em.

It too had to be truly emblematic of Oxford, and besides the obvious historical, academic, fancy vibes, no sound reminds me more of this place than the echoing of church bells! And there are choirs in every college. So I ended up with a rather baroque piece, arpeggiated bass, change ringing, suspensions and all, which certainly suits the locale, but does NOT typically suit Mario Kart's encouraging energy. Heck, they almost always rely on synths, too, let alone their melody-first composition style that is entirely unfamiliar. How did I fit the mould? By focusing on intensity of Biblical proportions! If there's one thing choirs and organs can do, it's a ramp-up of DRAMA. With enough build and release, it's got the natural energy. Slap on a drum-beat and it ends up shockingly fitting. With all the zero inspiration I had to go on, I seriously surprised myself with this one. Judge for yourself!

Oxford is quite a convenient place to work with: most cities are so massive that you have to smush all the landmarks together and the layout doesn’t quite come naturally. But this place is already so compact, and packed with unmistakable buildings! Also, I know they’re trying to be flattering, but can you believe London saw not a drop of rain?! I think Oxford should be partially cloudy by contrast, providing a gentle rainfall, but with enough streams of sunlight to pierce the depressing grey… it could make the meadow look positively angelic!

Perhaps one day I’ll try my hand at Hong Kong Hustle to address Tokyo’s plight… or Shanghai Streets, I can’t decide! And then there’s one that is so easy to make that it’d be kind of funny just to do for the sake of it. We’ll see.

If anyone wants to take the names Rio de Janeiro Jaunt, New Delhi Journey, Moscow Scoot, Stockholm Swing, Cairo Cruise, Geneva Chase, or best of all, Brussels Bout, be my guest. And if any modders feel like 3d-modelling most of Oxford for me, I would love to give it a look :D

#mario kart #mario kart tour #mario kart 8 dlc #fanmade #soundtrack #level design

2 notes · View notes

morse-perez-and-davenport · 1 year

Text

Roger Allam and Shaun Evans filming Endeavour S9F3 Exeunt, Radcliffe square Oxford, Aug 8th 2022

#shaun evans #endeavour morse #roger allam #fred thursday #endeavour series 9 #itv endeavour #bts endeavour #photography #black and white #endeavourneverland

58 notes · View notes

aradiamegido · 11 months

Text

DRAC IN BLACK [screenplay, working title, wip]

Synopsis: After his divorce from the Bride of Dracula, Dracula (Radcliffe) decides to form a band with his three monster buddies (TBD) and enter the Supernatural Band Competition. At the same time, Dracula’s son Nikolai (Chalamet) feels like his father doesn’t take his interest in music seriously, and also enters the competition. Trouble really starts brewing when a rival band called The Slayers (Black, Banderas, Reeves, Atwell) enter the competition, although their real mission is to kill Dracula and his buddies. What will be the end result of this supernatural showdown?

CAST:

Dracula – Daniel Radcliffe

Nikolai – Timothee Chalamet

Dracula Bandmate #1/Rhythm Guitarist/Wolfman – NOT ADAM DRIVER we need someone HIRSUTE for this role. Maybe Russell Brand or Michael Sheen?

Dracula Bandmate #2/Bassist/Frankenstein’s Monster (Adam) – Could still be Tom Hiddleston maybe?

Dracula Bandmate #3/Drummer/Black Lagoon Creature – I guess the actor for this one won’t matter too much bc of costuming/prosthetics so maybe Adam Driver can be this one guy I GUESS.

Van Helsing – Jack Black

Quincy Morris – Antonio Banderas (with very thick Spanish accent)

Jonathan Harker – Keanu Reeves

Mina Harker – Hayley Atwell

Bride of Dracula – ???

[We start with a black screen. DRACULA speaks.]

(V.O.) DRACULA: Have you ever wondered what it would be like to live forever? To live for centuries, to see empires rise and fall, all while you sit in your castle and watch?

[Black and white shot of a forbidding castle, complete with lightning sound effects.]

(V.O.) DRACULA: I used to wonder that, too. That is, until I met my Bride.

[Another black and white shot, this time of the BRIDE wandering around inside the castle with a candelabra held aloft.]

(V.O.) DRACULA: I admit, our first meeting was a little…rocky, shall we say.

[Cut to black and white shot of the Bride throwing rocks at him.]

(V.O.) DRACULA: But as we began to learn about each other, we discovered that we had much in common.

[Black and white shot of Dracula playing a pipe organ while the Bride looks on in interest. She applauds at the end of his piece.]

(V.O.) Dracula: We married, and for a time, we were happy.

[Cut to a wide sepia shot of a house. A SOLD sign is in the foreground of the shot. The Bride is seemingly lifted into the air and spun around as if by magic, but it’s actually Dracula (but he doesn’t show up on film). The Bride looks happy and steps over the threshold of the house, then moves her hand in a ‘come in’ gesture.]

[Cut to a Hospital, in a modern color film shot. The Bride is holding a swaddled baby in her arms with Dracula by her side. They both look happy.]

(V.O.) DRACULA: Unfortunately, not everything lasts forever.

[Cut to Lawyer’s Office. Dracula and the Bride both look unhappy as they sign a document.]

[Cut to outside the same house we saw in the sepia shot earlier. A U-Haul is out front, and then it drives away as Dracula and his son, NIKOLAI, look on sadly.]

[Text overlay: ONE YEAR LATER]

[We see Nikolai in his bedroom, sitting on the edge of his bed. He is playing with a small music synthesizer. His bedroom looks remarkably typical of a teenage boy: band posters on the wall, piles of clothes on the floor, etc. There is a knock at the door.]

DRACULA: [from behind the door] May I come in?

NIKOLAI: [He ignores his dad, continuing to play his music.]

DRACULA: [annoyed] Nikolai, you know I can’t come in without your invitation. We need to talk.

NIKOLAI: [He ignores his dad for a few more seconds, then sighs and sets the synth aside.] Yeah, come on in.

DRACULA: [He opens the door and steps in. He’s wearing an all-black suit, save for the tie and pocket square, which are blood red.]

DRACULA: Thank you.

NIKOLAI: [He rolls his eyes in typical teenager fashion.] What do you want?

DRACULA: [He clears his throat. We see that he has many rings on his hands, but none where a wedding band might be.] I wanted to talk to you about getting out more.

NIKOLAI: [He scoffs.] You’re not exactly a great example of that, Dad. [The last word is said with malice, as though he wishes he were addressing someone else with the title instead of him.]

DRACULA: [Ignoring his son’s words, he continues] I know we both have a habit of not getting out of the house enough, and I thought that maybe we could both use a hobby of some sort.

NIKOLAI: I have hobbies. [He gestures to his room.] You just don’t care about any of them.

DRACULA: [indignant] Of course I do! What about that time you had a pet lizard?

NIKOLAI: You used him as security to keep away intruders until he got eaten.

DRACULA: [oops] …Right. What about when you wanted to study genetics?

NIKOLAI: That was because of Jurassic Park, and also I was six.

DRACULA: Oh. Right.

[There is an awkward pause for a few seconds until Nikolai sighs.]

NIKOLAI: Look, I’m glad you’re trying to be supportive after Mom left, but I don’t need any support, okay? I’m doing fine. Just…leave me alone. [He pulls his synth back onto his lap and begins to play it.]

DRACULA: [He looks like he’s going to say something, then sighs and leaves, quietly shutting his son’s door behind him.]

#my writing #screenplay #drac in black #dracula #vampires #wip

7 notes · View notes

andromeda4004 · 1 year

Text

WIP Wednesday

Can’t believe how close I’m getting to the start of @ineffablyausten and posting Morningstar Grange, my take on a GO Northanger Abbey AU. It’s past half-written and I should be able to post twice a week through the event, even though some of the characters are kicking my arse at the moment (Aziraphale and Crowley pick up 19th century dialogue beautifully, but period-appropriate Beelzebub? What was I thinking?) If you’d like to read another snippet, this time a conversation in the Pump Room between Rev Aziraphale Fell and Mrs Gabriella Archer, the widow who has him squarely in her sights, it’s below the cut:

“Mr Fell!” She waved her fan at him as soon as he stepped into sight. “Mr Fell, what can have made you so late? I have been waiting for you this age at least!”

He fumbled automatically for his waistcoat pocket, but there had been no opportunity to replace his missing watch as yet, and so he stopped himself short of pulling the chain loose. “I am sorry for it, Mrs Archer, but,” he found the wall clock at last, “it is only just one now. I hope you have not been here long?”

“Quite hours, sir, I’m sure; oh but I suppose you were reading, after your visit to the library last week?”

“I had set the morning aside for some leisure, yes, since the rain poured so dreadfully.” He found them somewhere to sit.

“Something improving, I hope?”

“A novel,” he confessed, “rather a fine piece of work; I am only through the first volume, but already I am quite engaged with the characters.”

“I would not have taken you for a novel-reader, Mr Fell. Gentlemen do not commonly interest themselves in such frivolity; they read better books.”

“Oh, I have always been a great reader of anything I can acquire, and I certainly include novels in that; they speak to human nature, I find, as well as many texts on religion or philosophy do. Are you fond of reading, Mrs Archer?”

Her smile seemed a little pulled. “I have not always had the leisure to indulge; I read on household management a good deal when I was first married, and of course I take much comfort from my book of sermons, but for novels … oh! Clarissa! I did derive much solace from reading Clarissa.”

“A most worthy inclusion,” he agreed. “And you enjoyed it?”

“I was delighted with Clarissa! I should like to spend my whole life in reading it.”

With some effort, Aziraphale held back the observation that, given Clarissa’s unprecedented length and heavy moralising tone, one easily could spend a lifetime in the attempt to complete it. However, Mrs Archer’s smile had brightened at finding this common ground between them, and in his willingness to please he found some pleasantries to say about Mr Richardson’s famous novel. His own library at home had a full collection of Mrs Radcliffe’s romances, and the volume he had been reading that morning was the latest publication by the author of Sense and Sensibility, which he also owned, but Aziraphale judged that Mrs Archer might consider that to fall a little too far into frivolous territory.

#ineffablyausten #good omens fanfiction #wip wednesday

19 notes · View notes