reading and watching “classic” books and films is such an interesting experience because, before you get into them, when you only know them by name and maybe the vaguest plot outline, they’re intimidating and stuffy and up on a pedestal, but then you finally take the leap and check them out and realize that almost every story that’s achieved such a legendary level of popularity did so because something in its emotional core reached out and grabbed a lot of people by the throat and you are NOT immune.
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Prompt:
Instead of going for Tim, Jason goes for the easiest way to utterly destroy his Replacement and kidnaps his civilian boyfriend to demonstrate just how easy it is to lose something (or someone) you love in this line of work.
And while the whole “make the Replacement beg” part of the plan is going amazing…. Jason really didn’t plan the whole “keeping a conspiracy theorist teenager hostage” through to the end.
Bernard just wants to know what the new crime lord’s deal with Robin is. And why— and how— exactly he’s supposed to be a bargaining chip when he can count the times he met Robin on one hand. oh! and could someone maybe tell his boyfriend, Tim, that he’ll be late for their coffee date on Tuesday?
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John Tenniel (1820-1914) - Edgar Allan Poe's 'The Raven', 1858
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merlin owns an arthurian museum with authentic items from the third/fourth century as well as statues, busts, and portraits from different artists over the years of king arthur. who better to ensure everything is real rather than someone who was there? eventually, people are pushing for him to find more artifacts bc its been a few years and he history nerds are bloodthirsty beasts. people also want to find excalibur but whatever. merlin caves and is like “might as well see what else fell into lake avalon” so they dredge it up. merlin is relaxing at home when he gets a call. he’s expecting them to say they found something small like perhaps a link or armor or a rare, old jewel. then he hears
“we found a body”
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Custom Dress worn by Elaine Roebuck to her Bat Mitzvah
Christian Dior
Spring 1957
“It all started when I was twelve years old and I wanted a bat mitzvah. My father said absolutely not — girls didn’t have bat mitzvahs in those days,” Roebuck tells me. “My mother rallied for me and finally my father said OK. The next thing I knew, we were on the train to Montreal to look at my dress.”
The dress in question is a silk organdy masterpiece custom designed by Monsieur Christian Dior himself. Dior did not design for children back in ‘57, but he made an exception. “Not just anyone could go in and say ‘whip me up a dress for my daughter’s Bat Mitzvah’ – that wasn’t their business,” says Dr. Alexandra Palmer, the museum’s senior fashion curator. But that’s just what Elaine’s mother, the late Molly Roebuck, did. “She had a motto: If you’re going to do something, you better do it right,” says her daughter. “And in her mind, Dior was just right.” Likely, the exception was made on account of Dior’s relationship with Holt Renfrew, the prestigious high-end retailer with exclusive rights to his collection in Canada back when it launched.
So, with the help of her friend, buyer Betty Macpherson, Roebuck commissioned the dress in Paris. It was to be modest, but fantastical enough for such a special night. After a few months of trading sketches with Dior himself, the muslin models arrived in Montreal, where Dior’s pieces were made-to-measure for the Canadian market. “The dress was dreamlike and it made me think, or maybe even feel, like a princess,” says Roebuck. The end result was a full-skirted silk organdy cocktail dress with daffodil embroidery. As it was a one off, the fabric never appeared in Dior’s collections. “I knew the dress was special, but at the same time, I didn’t think I was different from any of my friends,” she says. (Teen Vogue)
Royal Ontario Museum (Object number: 2013.68.14.1-2)
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THEY SAY THERE IS A CARPENTER FROM THE PROVINCE PERFORMING MIRACLES IN THE CAPITAL
another scene and some sketches of the fake byzantine empire ocs! thomas is a carpenter, john is a merchant. there's an emperor (two, actually) in here, looming ominously over everything.
(I call it the fake byzantine empire because the setting is playing with byzantine history that spans across three centuries, but it's also pulling from things like Statius' Thebaid and later medieval literature. folk catholic horror, probably. doctrinal debates and schisms are in here)
on the topic of nameless and unknown saints, tho, sometimes I think about this excerpt from an essay in Closet Queeries and the time I was on my way to Tanjay and saw an abandoned chapel along a road with a statue of a saint I didn't recognize inside
Closet Queeries, essays by J. Neil C. Garcia
⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app / tip jar!
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whoever edited that bsd official art to make it look like chuuya is holding onto dazai’s arm will be put on trial for irrevocably changing my brain chemistry and making me so much worse
the original and the edit in question. this artwork really makes me crave a mid to late 19th century historical au where Chuuya is a swordsman struggling with changes to his job due to the meiji restoration and with Dazai as a detective/private investigator who hires Chuuya as his bodyguard when a seemingly harmless investigation turns dangerous. they kind of hate each other (as per usual) but Chuuya needs the job and Dazai, while he proclaims to dislike chuuya, is also very smitten with chuuya’s fighting style and temper (as per usual).
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