#blanche duval

[kari-go]

Some of the adults :]

From left to right: Master Fu, Sabine Cheng, Marianne Lenoir, Sofia Petrov, Giada Rossi, Caline Bustier, Emilie Agreste, Arthur Duval, Blanche Duval, Nathalie Sancoeur, Demeter Mendeleiv, Gabriel Agreste, Tom Dupain, Viktor Petrov.

Emilie and Viktor are depicted how they would look like they were alive and in the story, not how they looked when they died.

Individuals under cut

#my art #miraculous ladybug #miraculous disaster au #reference #master fu #miraculous ladybug redesign #sabine cheng #marianne lenoir #sofia petrov #giada rossi #caline bustier #emilie agreste #arthur duval #blanche duval #nathalie sancoeur #demeter mendeleiv #gabriel agreste #tom dupain #viktor petrov

[if-you-fan-a-fire]

"NOUVELLES GARDES-MALADES DE NOTRE-DAME," La Presse. May 31, 1933. Page 12. ---- La collation du diplôme de l'école des gardes-malades de l'hôpital Notre-Dame a eu lieu hier soir, sous la présidence de Mgr A.-V.-J. Piette, recteur de l'Université de Montréal. Cette photographie représente le groupe des nouvelles graduées prise avant le banquet qui inaugurait la cérémonie. Assises, de ganche à droite: Miles Emilienne Porte- lance, Blanche Pronoveau, Hermance Lacasse, Carmelle Lamoureux, Aurore Dupont, Cécile Perreault, Berthe Marleau, Marie-Ange Riopel, Rita Joubarne, Marguerite Rivel, Colombe Guevremont, Marie-Ange Paradis, Simone Mayotte et Denise Ledue. Debout en arrière: Miles Germaine Leduc, Lucile Beaulieu, Adéline Arsenault, Juliette Fraser, Simone Bélair, Laura Richard, Yvette Dion, Simone Saint-Germain, Régina Lalonde, Aline Duval, Estelle Pauze, Pauline Larocque, Alice Talbot, Hélène Talbot, Anna-Maria Chevaller, Rachel Désilets, Juliette Lafontaine, Juliette Jacob. (Cliché La "Presse")

#montreal #gardes-malades #nursing students #nursing school #université de montreal #great depression in canada #women workers #history of canadian healthcare

[hudbannonarchive]

it’s insane and more than a little infuriating that we can so easily identify when a male director or some other ~auteur~ is exploiting the people who work under him, specifically the women, yet we’re never allowed to have any real conversation around it because we know that they’re going to continue to receive carte blanche so long as whatever product they’re making is successful and, more importantly for the purposes of this post, the defense of separating the art from the artist is always going to be used to choke any and all reasonable criticism. you hear this a lot when men talk about stanley kubrick, shelley duvall, and the shining. “well she agreed to do the movie”/“he’s a genius”/“it’s one of the most important horror movies of all time.” like you’d be very hard pressed to get even the faintest acknowledgment that kubrick’s film (which, yes, is a masterpiece) is the result of her human suffering just as much as it’s a result of his genius, if not more.

but anyway i was thinking about this more specifically with sam levinson, who is by now well known for his fascination with seeing young women being exploited. there are a lot of reasons why young girls are attracted to his work, it’s very trendy, but i also think for a lot of us there is an impulse to see the exploitation we face in real life and the traumas that come with it exist in a space outside of our own minds. seeing it on screen makes it tangible, it’s an acknowledgment that our suffering is real and it’s horrifying. so as bad as it might sound, i’m not actually against depicting women’s suffering on film even thought i know what a slippery slope it can be. this is one of the reasons i’m so drawn to david lynch, and a reason so many other women are, too. he has the same interest in exploring how young women are taken advantage of by the society that they live in but he’s coming at it from a much more empathetic place. twin peaks is about a young woman suffering under an unrelenting torrent of trauma and abuse, yet very rarely are we shown that abuse. lynch is less preoccupied with the events themselves and much more interested in what comes later. how do the women in these stories cope with what’s been done to them, how does the world around them shift and distort as they become increasingly aware that there’s no way to escape the horror, how does the society they live in turn a blind eye to, or facilitate, their misery? and in the rare moments that he is willing to show the abuse it’s raised to a level of pure horror. the scene where maddy is killed, or the scene where bob crawls over laura’s body while she’s sleeping in bed are both gut wrenching and so so hard to watch, you feel just as out of control and helpless as those women do.

but sam levinson isn’t interested in these emotions, he doesn’t even seem to have a larger idea beyond some superficial “we live in a society” nonsense. it’s honestly a little embarrassing to consider how much praise he’s gotten when he attacks every social issue he tries to address in his work with all the subtlety of an episode of glee. and the worst part of all of this to me is that his obsession with seeing women degraded translates to the very real exploitation of his employees who cannot publicly speak out against him without being written off as difficult or unreasonable or not understanding the artistic process. his actresses are subjected to an excessive degree of nudity, asked to give intense and difficult performances for characters who aren’t three dimensional enough to warrant the work, and even beyond that he exploits his employees through the unprofessional environment he creates on set where he refuses to adequately plan and prepare for the shooting and production of his projects. workers on his sets are completely at the whim of his artistic impulses, which means long hours shooting scenes over and over and over again and being denied the most basic protections, like bathroom and meal breaks.

and even when you do see criticism of sam levinson it very rarely touches on the core of the issue: the exploitation, and more specifically the exploitation of women. it’s actually kind of crazy to see how people hover around the issue, usually coming to the conclusion that he’s just an asshole and control freak rather than someone who’s actually causing real harm to the people in his employ. and the reason they refuse to acknowledge this is because if they did they would have to acknowledge how often it happens elsewhere in the industry, and eventually come to the conclusion that it’s a systemic issue rotting them from the inside out.

#was talking to my friend about the news with his new show and got to thinking about this #long post #*

[referenceshoteliers-blog]

#AndréTerrail #DenisCourtiade #DenisFerault #DianeBlanch #gastronomie #PlazaAthénée #TrophéeduMaîtred’Hôtel

[darkpalmor]

6 MARS 2024

Programme martial

Échauffement en cinq minutes : Un haïku ou un tanka (5 minutes) : Thème imposé, l’oiseau. N’importe lequel… Le tanka est une sorte de haïku prolongé, et compte cinq vers très courts, de 5 - 7 - 5 - 7 - 7 syllabes. La rime n'est absolument pas obligatoire, ni même nécessaire.

Sous leurs ailes noires Le paysage défile. Les corneilles passent, Leur ombre trace un chemin Sur la neige immaculée. Sous leurs ailes blanches Et leurs allures canailles, Les mouettes rieuses N’ont pas toujours la vie belle Et font souvent les poubelles. Le petit canard Égaré parmi les cygnes, C’est un beau connard ! Il va dans la cour des grands Et se fait casser la gueule !

1°) Échanges épistolaires (15 minutes) : Du courrier en cascade. On écrira les quatre lettres échangées successivement entre trois personnages : André écrit à Bruno pour lui demander d’intervenir auprès de Caroline, Bruno écrit à Caroline, Caroline répond à Bruno et écrit aussitôt à André pour lui faire part de son ressenti à propos de cette intervention. L’intervention dont il s’agit se situe dans la sphère personnelle, mais André et Bruno sont dans une relation professionnelle. Caroline est liée à Bruno professionnellement, et ses relations avec André sont d’ordre familial. Débrouillez-vous avec ces indications. Chaque lettre doit avoir une dizaine de lignes au maximum.

A->B : Monsieur le Directeur, Je me permets de vous soumettre un cas difficile sur lequel j’aurais besoin de votre intervention. Ma cousine, madame Caroline Dupont, est régulièrement envahissante et a tendance à occuper au moins un quart, voire un tiers, de la surface du double bureau qui lui est assigné dans l’open space, en doublette avec madame Jacquard, qui n’ose pas s’en plaindre auprès de vous et en a fait part en confidence à mon épouse, qu’elle rencontre au salon de coiffure. Mais je m’égare. Vous comprenez bien que je n’ai pas au bureau l’autorité légitime pour dire à ma cousine de prendre moins de place. Et en famille, il est malvenu de parler travail. Aussi je vous demande d’intervenir en ce sens, mais sans lui dire que c’est moi qui ai pris cette initiative. Vous pouvez, par exemple, si je puis me permettre une suggestion, lui faire installer une table basse, ou la déplacer au bureau double de monsieur Duval, qui est tout seul, et qui en serait sans doute très heureux, car il lorgne souvent sur ses jambes, qu’elle a fort jolies, au demeurant. Avec mes respects, et dans l’espoir que ma requête saura vous toucher, veuillez agréer, Monsieur le Directeur, etc. etc. André Martin, agent de surface. B->C : Madame Dupont, J’ai ouï dire, par votre cousin monsieur Martin, que vous appréciez d’avoir été embauchée dans le service que je dirige, sur ses recommandations. Je n’ai pas encore eu le loisir de constater de visu votre efficacité, mais les rapports hebdomadaires m’informent que vous êtes ponctuelle, que vous vous entendez très bien avec votre collègue dans l’open space. Donc, afin de mieux faire connaissance avec vous et avec vos capacités, je vous propose de participer de plus près aux décisions du management. Je vais donc vous faire préparer un poste de travail dans une partie du bureau directorial. J’avais envisagé d’employer monsieur Duval à ce poste, mais je pense qu’un œil féminin sera préférable. Vous intégrerez ce poste à la fin de la semaine en cours. Soyez assurée de ma bienveillance, etc. etc. Le Directeur, Bruno Retailleau C->B : Monsieur le Directeur, Je ne sais comment vous remercier de votre proposition, que j’accepte volontiers. Je m’efforcerai de me montrer à la hauteur, et j’espère que ce changement sera accompagné d’une promotion et d’une amélioration de mes conditions salariales. Mon cousin, monsieur André Martin, délégué syndical, sera certainement très attentif à ce dernier point. Avec mon respect, etc. etc. Votre dévouée future collaboratrice, Caroline Dupont C->A : André, mon cher cousin, Comment vas-tu ? On ne se voit pas beaucoup au boulot, la boîte est trop grande, mais il faut que je t’en raconte une bien bonne. C’est rigolo, tu le constateras. Le grand patron, le Retailleau, veut me prendre comme collaboratrice managériale au sein du groupe directorial, c’est à peu près comme ça qu’il me l’a fait savoir. Par courrier ! Tu te rends compte ? Dans son propre burlingue… Je ne sais pas ce que ça cache, et je me méfie. Tu sais qu’il y a déjà ce pervers de Duval qui me reluque tout le temps, et il paraît que le Retailleau il est encore plus chaud-chaud… J’ai dit que j’accepte. Mais c’est la mère Jacquard qui va me manquer ! Celle-là, elle est trop sympa, elle se fait toute petite pour moi, elle prend une partie de mon travail… Bref, André, je te tiendrai au courant. Et s’il me tripote, le Retailleau, avec le syndicat on va lui mettre les prudhommes aux fesses ! Fesses qu’il n’a pas très jolies, entre nous. Je t’embrasse, Caroline

2°) Défragmenter (10-15 minutes) : Petits bouts perdus. Ces cinq fragments sont à compléter et assembler librement, puis à développer en un récit dramatique. « … attendait on ne sait trop quoi, mais … » « … étaient comme ensorcelés par … » « … jours un chien divaguait … » « … pour laisser derrière soi les ténèbres … » « … voient de nous des détails que nous … »

Les personnes qui nous environnent, souvent, voient de nous des détails que nous ne croyons pas perceptibles, des petits gestes que nous faisons sans y penser, des manières de parler qui révèlent des pans de notre être profond. Et à ce sujet, je me souviens que l’année dernière, un de mes bons voisins s’est montré sous un jour que je n’aurais jamais imaginé. Il était comme aux aguets derrière la clôture de son pavillon, il attendait on ne sait trop quoi, mais j’ai compris qu’il guettait le passage d’un animal qu’il détestait : tous les jours, un chien divaguait dans le quartier, sans son maître, laissant ses marques odorantes et glissantes un peu partout. Mon voisin allait lui faire un mauvais sort, et il attendait, bâton à la main. Immobile, tête raide, ses yeux étaient comme ensorcelés par une haine qui le dominait au point de le rendre violent. Et le chien arriva, pissa tranquillement ses trois gouttes sur le portillon. L’homme se précipita sur la bête en hurlant, essayant de lui casser la tête. Ce fut raté : le chien était trop vif et partit en courant. Cet épisode me fit comprendre que le brave homme était capable, comme tout un chacun, peut-être, de se transformer en criminel. L’être humain, trop souvent, sort de son calme apparent et sombre dans la folie meurtrière, pour laisser derrière soi les ténèbres d’une vie fracassée, d’un psychisme dévasté, alors qu’il serait si simple d’avoir un peu de tolérance, même envers un chien qui fait ses besoins où il veut.

3°) Asphyxie expérimentale (5 minutes) : écrire sans la lettre R ! On improvisera un court texte sur le thème imposé du piercing, sans employer une seule fois la lettre R.

L’ombilic clouté d’un diamant, les lobes piquetés d’épingles oxydées, des joues où passe un vieil os de poulet, le nez augmenté d’un bel anneau jadis destiné à un bœuf de belle taille, le haut des épaules plein de signes cabalistiques bleutés, tout cela, ajouté à quelques tatouages bien placés mais dissimulés aux inconnus, fait la joie de mes yeux aux aguets de la fantaisie de cette jolie punkette qui m’aguiche…

[ulkaralakbarova]

The Handmaid's Tale

In a dystopicly polluted rightwing religious tyranny, a young woman is put in sexual slavery on account of her now rare fertility.  Credits: TheMovieDb. Film Cast: Kate: Natasha Richardson Serena Joy: Faye Dunaway Nick: Aidan Quinn Moira: Elizabeth McGovern Aunt Lydia: Victoria Tennant Commander: Robert Duvall Ofglen: Blanche Baker Ofwarren / Janine: Traci Lind Aunt Helena: Zoey Wilson Aunt…

View On WordPress

[jefrozyul]

Les influenceurs web encore marginalisé!

Cher Richard Martineau, comment vous décrire et par quel mot pour commencer...

Petit récit pour ceux et celles qui ne regardent pas la télévision, le créateur de contenu Zoé Duval était de passage à l'émission Le monde à l'envers pour le terme sur les influenceurs et disons que l'un des têtes d'affiche de l'écosystème Québecor n'aime pas trop ce nouveau genre de personnalité publique.

Vous avez deviné je parle? Richard Martineau.

Mettons-nous quelque chose au clair, Martineau a fait une crise de jalousie tellement qu'on se serait cru dans Blanche-Neige et les sept nains quand la méchante reine demande au miroir qui est la plus belle du royaume et finalement c'est une autre au lieu de cette dernière.

Les "néo-influenceurs" vs. les vieux de la veille

Bref, les influenceurs du web ont pris naissance vers la fin des années 2000 et début des années 2010. Mais leurs présences dans le paysage médiatique s'est imposé vers la fin des années 2010 même devenu un métier parmi d'autre.

Mais sérieusement en 2023, il faut encore faire un dessin sur c'est quoi un influenceur ou une influenceuse?!

La plupart du public y voit plus des côtés négatifs et moins les côtés positifs comme exemple ce faire de l'argent facilement et rapidement mais je peux vous prouvez le contraire pour vous dire que gagner sa vie comme influenceurs du web est un parcours d'embuches.

Si je peux dire une chose est que ses jeunes, qui publient leur contenu sur le web, rêvent peut-être du monde des télécommunications et y trouvent une place où exprimer leurs talents car les influenceurs web peuvent se spécifier dans divers sujets autre que l'humour.

Conseil si vous êtes faite parti du club des vieux de la veille comme Richard Martineau, intéressez vous à vos enfants même petits-enfants de ce qu'ils regardent comme influenceur web et ne vous fiez pas des agités qui brandillent des épouvantails.

Une génération et ses influenceurs

Richard Martineau a une longue carrière dans le journalisme et ça tombe bien car depuis qu'il est embauché pour le Journal de Montréal, il y a un côté influenceur.

Mais dans son livre de la vie, être influenceur s'est résumer à René Lévesque ou encore Albert Camus. Ce n'est pas mauvais si on fait une profonde réflexion sur quel aspect ses exemples de Lévesque et Camus ont comme influence car l'influence prend plusieurs formes.

Grosso modo, développes pour être compris!

Les influenceurs d'aujourd'hui et d'hier influencent par leurs visions, leurs idées, leur art, leurs positions, leurs sens des affaires ou encore leurs volontés d'un monde meilleur. Bref la liste est longue...

L'influence est vu selon chaque individu.

#influenceur #québec #canada

[moviemosaics]

The Handmaid’s Tale

directed by Volker Schlöndorff, 1990

#The Handmaid's Tale #Volker Schlöndorff #movie mosaics #Natasha Richardson #Blanche Baker #Faye Dunaway #Robert Duvall #Victoria Tennant #Elizabeth McGovern #Aidan Quinn

[lupitovi]

Les révolutions commencent toujours parce que les classes au pouvoir méconnaissent et méprisent les classes populaires. Ainsi du 18 mars 1871 et de la Commune de Paris. Le Paris populaire tout entier est maltraité et violenté par l’Assemblée élue trois semaines plus tôt, un ramassis de toutes les friperies des régimes monarchistes ou bonapartistes du passé, qui n’a qu’une seule crainte : ce Paris populaire est armé. Les gardes nationaux ont des fusils. De véritables parcs à canons ont été formés dans les faubourgs, à Belleville et à Montmartre. En douce, à trois heures du matin, Monsieur Thiers, « chef de l’exécutif », tente d’envoyer la troupe les enlever — dans un plan général visant à neutraliser les points stratégiques pour occuper militairement Paris, désarmer la Garde nationale et finalement mater les populations des quartiers ouvriers. C’est en douce, c’est à trois heures du matin, mais ce n’est pas vraiment une surprise. Les canons ont été hissés sur les hauteurs de Montmartre et de Belleville justement parce que l’armée a déjà essayé de s’en emparer. On a jugé plus prudent de les mettre sous la protection des faubourgs... Et les faubourgs les protègent. La population de Montmartre réagit. On a négligé de prévoir des attelages pour tirer les canons, des vivres pour les soldats. Les femmes apportent à boire et à manger. Les soldats mettent crosse en l’air. Son vol des canons raté, Thiers fuit Paris, dès trois heures du soir. Il utilise un escalier dérobé puis une grande berline attelée de deux chevaux. Son tempérament l’éloignait invinciblement des dangers physiques (dit un historien). Son gouvernement le suit. À Versailles. Des hauteurs des faubourgs, les lumières de la démocratie et du socialisme tentaient depuis des mois de descendre dans les profondeurs de Paris. Des mouvements insurrectionnels avec tentative de prise du pouvoir, il y en avait eu quelques-uns, depuis le 4 septembre. Les lignes de plus grande pente amenèrent, ce 18 mars, les gardes nationaux de Montmartre, par la rue Blanche et le Nouvel-Opéra, jusqu’à la place Vendôme, ceux de Belleville et Ménilmontant place de l’Hôtel-de-Ville, ceux du treizième (avec Émile Duval) à la préfecture de police. Poussant le Comité central de la Garde nationale devant eux. Sans insurrection, sans bataille, juste glisser des faubourgs jusqu’au bord de la Seine, entrer, occuper les lieux et hisser le drapeau. On trouva le fauteuil du maire Jules Ferry encore chaud et les mets de son dîner à moitié dévorés. Le maire avait envoyé des télégrammes et vraiment tenté de rester à Paris. Il avait résisté plus longtemps que le gouvernement, mais pas assez pour finir son repas. Il était parti vers dix heures du soir, emportant le dessert dans ses poches. À minuit, le Comité central s’installait. Et voilà : cette fois, « ça » y était. Le pouvoir était à prendre. On le prit. On, c’est-à-dire le Comité central de la Garde nationale — des inconnus élus par les bataillons des misérables. On commença à discuter. Et à hésiter. Différentes options furent évoquées, marcher sur Versailles, convoquer les électeurs, liquider la Révolution — notamment. On avait la force des fusils et on eut la simplicité de ne pas s’en servir. On ne retint pas plus à Paris les régiments de ligne qu’on n’y avait retenu le gouvernement.

Michèle Audin - Comme une rivière bleue 

#michèle audin #commune de paris

[kari-go]

Oh they look so much better

#slight redesign for them #i just made them more slutty lmao #my art #miraculous ladybug #miraculous disaster au #kwami swap #arthur duval #blanche duval #peacock miraculous #peacock!arthur #peacock!blanche #temper #emo #god thats a stupid name xdd #I FORGOT TO DRAW THE MIRACULOUS FUCK

[shadowmaat]

You nailed their dynamic, which is really impressive given how obscure the ship is! If you would be interested in a short follow-up to my last prompt, perhaps after the battle is over, our badass lady continues impress by taking some of the machinery Administrator Nevin Duval used to keep the slaves in check and crushing it with her bare hands and feet. This serves to both inspire the slaves around them and impresses Kit, whom after a bit more flirting she then carries into the Sunset.

The fallout from Duval’s operation and the ROCI raid of his slaveholding facility was taking longer to unsnarl than Kit had planned. Captain Taliesin, a whiphid with startling pink fur, asked them to stay to help with the now-freed slaves. Technically it was only Aayla they required, but Kit wasn’t about to leave her behind.

The former slaves were rightly wary and paranoid; some of their suspicions transferred to Aayla as she’d been lying to them about her identity, but her actions- and the support of Sienn, who’d risen as the leader of the group- help assuage most of their concerns. It didn’t stop the situation from being any less tense, and Kit could feel Aayla’s mounting frustration both in the Force and through his ahwey, the dulling agent having long worn off.

ROCI was doing its best to catalogue everything, but it was time-consuming, and when one of Taliesin’s underlings made an off-color joke about the shock collars in the presence of some of the people who’d been wearing them... Aayla’s temper snapped before his own could.

She picked up one of the collars and stalked toward the unfortunate jokester, a male human who was likely still in his late teens.

“You think this is funny, do you?” Aayla curled his lips at him. 

Kit tucked his hands behind him and sauntered closer, but made no move to intervene. If anything, he was ready to back up whatever she did.

The officer, already pale-skinned, managed to blanch further.

“Uh, no, ma’am! Sorry, ma’am! Lady Jedi, ma’am.” He started to back away. His cronies deserted him, suddenly finding they were needed elsewhere.

“Perhaps you’d like to try this on for yourself to see how it tingles.” She made a move as if to clamp it around his neck.

“No!” The officer stumbled back, raising his hands. “I’m sorry! It won’t happen again!”

“Apologize to them!” She stabbed a finger in the direction of their audience, now huddled closer together. 

He turned, babbling more apologies to the unimpressed and worried group. 

Aayla held her hand out and concentrated. The collar floated into the air.

Taliesin was approaching at a dead run. “Masters Jedi!” They shouted. “Please! Be careful with the evidence!”

Aayla ignored him. The Force hummed and suddenly the floating collar dissolved into its component parts and dropped to the ground.

“Now you have more evidence,” she said, staring directly at the unfortunate officer. 

Sienn applauded, soon joined by the rest of the slaves. The officer saluted hastily and turned to escape.

“Riegel! Halt!” Taliesin snapped.

Riegel froze where he was, shoulders hunching.

“Master Secura, you have my profound apologies,” Taliesin said. “Please, don’t undo all our hard work because of the indiscretions of one man.”

Kit winced. Of all the ways to calm Aayla’s temper, once raised, that was not the way to do it. His own irritation was piqued as well, not only at what had happened, but at the implied insult- intended or not- against Aayla. He nudged her with his elbow.

“Using the Force, darling?” He said. “Isn’t that cheating?”

Aayla shot him a bright look, her smile going sharp. She held out her hand, calling another collar to her. This time, she wrapped her hands around it and pulled.

Muscles bulged in her arms and across her shoulders. It was arousing as hell, and not for the first time, Kit was grateful that his biology wasn’t on display the way it was in many mammals.

“Please!” Taliesin tried again.

With a creak, the metal started to bend and then snapped. Smirking at Kit, she tossed the two pieces to the dismayed ROCI Captain. Gasps and more applause came from the slaves. Sienn whistled.

“If you’ll excuse us, Captain,” Aayla said. “I believe we’re done here.”

The next thing Kit knew, Aayla was sweeping him off his feet and into her strong and capable arms. Grinning, he looped an arm around her shoulders.

“My hero,” he said.

“Damn right.” Grinning right back at him, she carried him back in the direction of their borrowed quarters, accompanied by the whoops and wolf whistles of the slaves... and perhaps a few of the ROCI officers as well.

#jedimindfic #Kaayla #Kit/Aayla #got silly with names #blame Thursdays #Anonymous

[julianacapulets]

The afternoon finds Juliana Capulet pacing the Twelfth Night museum – furious footsteps assaulting the ground beneath Giuseppe Zanotti sandals, heels hitting the ground hard enough to damn well pierce it in harsh counts of the moments that pass by with disgusting haste. These walls have never known the madness that twists her features then, especially awaiting ( @tomassabello​ ). But FEBRUARY 23rd, 2019, marks five days since beloved Rafaella was taken, and with every passing day, the roses are exceeded by thorns.

[SENT] JULIANA: I need to see you. Our spot. Noon. [SENT] JULIANA: Please.

Her eyes rove over the words sent at dawn – and already, she feels too far away from them. As if the composition of letters belonged to another, not herself. Juliana’s feet storm a chaotic rhythm, yet have nothing on the thoughts that flood her mind painfully: possibilities; the very worst of the what if’s. But her hands no longer shake, not when her hands furl in tight fists, blanched bundles, unrelenting. She cannot be weak, not when her Rafaella needs her. 

She won’t be. She won’t fail her this time.

                       “Please, please, please, please, please ...” The Capulet heiress chants under her breath, hurried & mindless like a mantra in meditation, one said enough times to either convince the universe or be rendered trite in the trying process. She makes herself be patient; a feat that, the year before, she could still tell herself was no hard ask. She keeps her feet moving within a preset number of tiles—twenty to the right, then twenty to the left, then back—lest she walk out the museum’s entrance and march herself to the Montague emissary’s doorstep, her fist banging a hole into the door’s wood and into her face if that is what it takes to know Rafaella state.

Somehow, she remembers that Tomas might not be happy about an assault on his wife. After all, is Celeste Duval’s safety not the very bargaining chip she is about to use to callously manipulate the adored man who, realistically, might no longer wish to be her friend when he hears what she’s got to say? 

Footsteps sound, that familiar gait she’d know in a darkened room. Scarlet-polished nails dig viciously into tender palms before she turns, forcing her heart back from from where it leaps, immediately, to her throat. Her pulse pounds vividly.

“Tomas.”

#with: tomas sabello. #date: 23.2.19. #location: twelfth night museum. #act ii; scene ii. #{ look! i kept it short! you know... ish. }

[avgvstvlvsdionysos]

Ave!

Some interesting pics from the "Érdekes újság" (Interesting news)'s 1914, 1915 year volumes.

1.: "Hungarian miner' s house in Michell." The arcicle is of a mine explosion in Canada, where the workers was hungarian.

2.:"Balloon race in Paris, Our picture is depicting the balloons in the Tuilerians garden, the little picture shows the two (Blanch, Duval) victims of the exploded balloon.

3.:" Ranson, english trainer of catch-catch."

I found this a quite interesting, I don't wish that you ever heard about this sport. It's extincted by the time. The catch-catch was a hungarian invention that bacome popular in the western-eu. countries in the '10s. The essence of the sport is, the player has some rings to throw on the central stick' s hooks. The hooks represent several points, and the gamers, usually two, have to earn more points with their throws than the rival.

4.:A hungarian soldier cleaning his boots. I found interesting the doodles in the background, and he is cute xD.

5.: An italian airship shooted by the turkish navy.

6.:"Katalin Juhász corporal, and Erzsi Horváth infanterist has been on the front for 4 months. The Hindemburg reg. 's volunteers of Székesfehérvár."

7.:The italian front, Hungarian sholdiers climbing up on the Dolomits.

I wish they will be interesting for you too, but in the books, it' s so mutch better.

Gloria Antinoiii!!!

#old books #old photo #old journal #1910s #1914 #1915 #ww1 soldiers #ww1 #hungarians #canada #old paris #women in history #women in war

[shakespearenews]

Tom sees Hubert as a man who has to step into the father figure role when the mother is lost. In developing the character in rehearsal, he felt it was important that Hubert was seen as part of the family, someone known by John all his life. Tom took inspiration from the character of lawyer Tom Hagen in The Godfather, played by Robert Duvall in the Coppola film, turning Hubert into an informally adopted member of the family. He is the mild-mannered voice of reason and tries to be a peace broker, suggesting Blanche marry the Dauphin, although his plan fails. In a room full of posturing figures, he is the one most like us in the audience, the observer of chaos.

#shakespeare #william shakespeare #acting #actors #tom mccall #king john #hubert #whatever became of

[arecomicsevengood]

A YEAR OF READING ACKNOWLEDGED MASTERPIECES #3: E.C. SEGAR’S POPEYE

So, while the original idea behind this series was for me to read an acclaimed comic I expect I’ll like but had not yet actually read, or to read something I’d read a little of but not its entirety, covering E.C. Segar’s Popeye is something of a cheat. When Fantagraphics began their reprint series, a roommate had the first volume, of what would eventually be six, and I read that; I later ordered my own copy of volume 3, and I own a copy of The Smithsonian Collection Of Newspaper Comics, which reprints the “Plunder Island” series of Sunday strips covered in volume 4. I enjoyed all of it, but didn’t feel a pressing need to acquire more, and now Volumes 4 and 5 are out of print and command high prices on the secondary market. This motivated me to get a copy of the still-available volume 6, which might seem less appealing because it’s the last stuff Segar did before he died, and health issues led there to be periods of time where the strip was entrusted to his assistants, in sequences not included.

The editors say those strips aren’t good, I’ll take their word for it. Other people have tried to sell other Popeye product, and I’m sure some of it is quite good: There are some people who take pains to point out that the Segar comic strips are not similar to the Fleischer brothers cartoons, but I’m sure those cartoons are good fun, I generally like the stuff that studio produced. I have seen the 1980 Robert Altman movie, starring Robin Williams and Shelley Duvall, with a screenplay by Jules Feiffer and songs by Harry Nilsson, which is a notorious flop, but with some admirers: Still, it’s a slog, which the comic strip never is. IDW’s comic strip reprint line put out books collection the late eighties/early nineties run of former underground cartoonist Bobby London, what I’ve read of that stuff (just previews online) is unfunny garbage. I think they also were behind reprints of comic books by Bud Sagendorf, and a revival written by Roger Langridge, neither of which I’ve read, though Langridge’s work is always ok; good enough for me to think it’s good, not compelling or transcendent enough for me to spend money on it. It’s all work done by those who have rights to the license, which makes me view it as essentially merchandise, like a pinball game or something. The Segar stuff is where it all comes from.

While other masterpieces of the first half of the twentieth century comics page, like George Herriman’s Krazy Kat or Winsor McKay’s Little Nemo are definitely acquired tastes, Popeye was not only popular enough to make its creator a rich man back in the day, it remains functional as populist entertainment today. I feel pretty “what’s not to like?” about it, and would recommend it to whoever. It’s funny, the characters are good, there’s adventures. The humor is three quarters sitcom style character work and one quarter the sort of silliness that verges on absurdism.

This light touch separates it from the first half of the twentieth century’s “adventure strips” that didn’t age as well, despite having well-done art that would influence generations of superhero artists. Segar’s art isn’t particularly impressive, but every strip tells a joke or two, and even if you don’t laugh at every joke, you’ll appreciate its readability, especially if you’ve ever tried to read a Roy Crane comic, or even Chester Gould’s Dick Tracy. I don’t want to praise E.C. Segar by merely listing works his comics read better than, but it really is notable how many people today are basically trying to do what he did, but are failing at least in part due to not understanding that’s what they’re trying to do. If you want to do a comedic adventure story that becomes popular enough for you to be financially successful, it might be worth reading a volume of Popeye and observing its rhythms. When I was reviewing Perdy a few weeks ago, I was thinking “This basically just wants to be a R-rated Popeye.” I recently found 3/4 of the issues of the Troy Nixey-drawn comic Vinegar Teeth for a quarter each; despite that comic’s high-concept pitch involving Lovecraftian monsters, it would probably have been better if it thought of itself as being a descendant of Popeye, rather than something that could be adapted into a movie. I’ll just phrase it in the format of a popular Twitter meme: Some of you have never read Popeye, and it shows.

Lesson number one, which just sort of emerges naturally from the format of the daily strip, is you’ve got to make jokes, and they can’t just be the same one, over and over again. To that end, you need a cast of characters, who each have their own bit, and who play off each other in various ways. It is easy to see why people don’t do this: Large ensembles grow organically, and most people start telling a story with either a central character or something precisely in mind they want to chronicle. The comic strip, with its long runs originating from a practitioner’s ability to tell a joke, can be a bit freer to stumble onto something that works, without even necessarily having a title character to return to.  The collections might be named after Popeye, but the comic strip being collected in these books was called Thimble Theater, which ran for a decade before Popeye showed up and circulation sky-rocketed. For a while, I think the consensus on the early stuff was it was pretty boring and hard to read before Popeye came in and livened the whole thing up, but recently there was a reprint of this earlier material, and I know the dude who reviewed it for The Comics Journal liked it, though I’m sure it’s easy to find someone at The Comics Journal who will like an old comic strip even if it’s bad. Either way, modern cartoonists don’t have Segar’s luxury, or having their work run for a half-disinterested audience until something clicks so much word spreads.

The gag-a-day pace, built around getting into new situations and adventures, itself creates a pressure to be inventive today’s graphic novelists can’t really match. After Popeye is established as a good character, prone to getting into scrapes, Segar can show us the comedy of him caring for a baby. He can also introduce Popeye’s dad, Poopdeck Pappy, that this character looks basically exactly like Popeye but is a piece of shit is a funny idea that would not occur in the early days of planning a project.

One reason why you wouldn’t necessarily do such a design choice is because, if you’re thinking of different media as a way to success, having characters with the exact same silhouette runs counter to the generally accepted rules of animation. Thimble Theatre, as per its name, is based on theater staging, rather than the more expressionist angles of film: We’re looking at characters from the side, usually seeing whoever’s talking in the same panel unless one of them is out of the room. These characters tend to have the same height, basically. Someone once said that looking at Popeye, printed six strips to a page, is kind of like looking at a page of sheet music. It’s not a particularly visually dynamic strip, the amount of black and white on a page is close to unvarying.

This is why I don’t believe in prescriptivism, or a suggestion of rules: I’m pretty sure that Popeye works because it’s not working super-hard to be visually interesting. This would be the number two lesson of what there is to learn from Popeye. I think this transparency in style is what allows this comedy/adventure hybrid to work, though I know others would blanch at this. It’s going for a big audience, and while I think this visual approach serves that end, I know why others, especially those who’ve been struck by later superhero comics or manga, would see visual excitement as the best way to achieve that goal. The audience that read newspaper comics wasn’t necessarily adept at following visual storytelling, and the sort of relationship that newspaper strips could have with a wider readership is not going to be achievable now. The folks that ride for Segar these days are mostly alt-comics people, like Sammy Harkham or Kevin Huizenga, who aren’t attempting the sort of popular entertainment extravaganzas he trafficked in.

Reading Popeye feels like reading, basically, which is a nice, contemplative experience, that not all comics can capture. I read a few pages of it before bed. Obviously, this pace is not how people consumed it in its heyday, but the pace people took it in at, a strip a day, is even more deliberate and steady, and I think, was crucial to its popularity. For a comic to be popular, it has to have characters that are interesting, obviously; there is probably no better way for an audience to build a relationship with fictional characters than over extended periods of time. This speed corresponds to the pace it was created at, one that now seems insanely luxurious to anyone whose workflow is dictated by the internet’s demand for content. It’s a total crowdpleaser, but it existed at a time where crowds could slowly gather. Popeye’s a popular entertainment from an era of reading, listening to the radio, going to plays or movies. It holds up, owing to a basic pleasantness we can understand as low stakes, and that’s helped along by the restraint of the art. It’s telling a story. It’s not a farce, crowded with visual jokes, and it’s not dictated by characters’ emoting either. I love a visually expressive art style, but here it’s important that the visuals remain “on-model,” reinforcing the stability of the characterizations. This sort of thing is also evident in Chris Onstad’s Achewood, which I would argue is the preeminent 21st century character-driven comic strip, with an audience that feels relatively “wide” rather than pointedly “niche.”

Lesson number three to how to make a popular comic is the thought I find myself thinking all the time, which is “Everyone needs to chill out.” The number one impediment to making entertainment that just quietly works is the desire to stand out and make a name for yourself as quickly as possible. This is similar to how the number one impediment to a peaceful and contented life is the demands of a failing capitalism where we are all competing for a shrinking pile of resources. To read these books now is a luxury, an indulgence, and while I don’t much go in for those, reading older comic strips carries with it this sort of nostalgic appeal for an era where it didn’t feel like everything was screaming at you for your attention all the time. As broad as Popeye is, it now possesses a certain dignity, owing to this dislocation in time from its origin. I don’t know if this felt like a feature at the time. I do think that if you are an artist that wants to be successful now, you should do what you can for the sort of circumstances that allow for genuine, long-lasting success to build, which involves a certain degree of permission to fail. Mainstream comics companies, with their mentality of “we’re going to print hundreds of comics a month, in hopes some find a niche large enough to be briefly profitable we can then try to milk for their last dollar and they quickly become exhausted,” act against this. As in a garden, there needs to be space for things to take root and grow.

[mikwrites-archive]

Push Away

anon requested: 17. height difference kisses where one person has to bend down and the other is on their tippy toes  - hey can u do a peter parker imagine with kiss prompt 17 please? & could it possibly include the character and peter being best friends and getting in a fight over something. thank you :)

pairing: peter parker x reader

warnings: none i think

a/n: hhhh this is shit i’m sorry 

“I don’t think we can be best friends anymore.”

“What?”

Peter blanched, staring at you with wide eyes as you avoided his gaze.

“What are you- what do you mean?” Peter prodded, beginning to worry and panic at your silence. 

“I don’t want to be best friends anymore. I can’t.”

“I’m sorry I haven’t been spending that much time with you but you can’t just say we aren’t best friends anymore!” He argued confusedly. “At least tell me why?”

“Because I have feelings for you!” You burst out. “I have for years and you probably don’t have them back!”

A shocked silence was met with your blurted confession, and you instantly regretted speaking. 

“You what?” Peter shouted.

“I...” You stammered, trying to come up with something to say in return.

“I have feelings for you too.” Peter blabbered, flushing as your jaw went slack. 

A moment passed where you both just stood, frozen before you rushed towards him, arms flinging around his neck as you stumbled, Peter suddenly tilting down and you tiptoeing so your lips could meet.

“I’m sorry I tried to push you away.” You mumbled, head dropping to bump against his chest.

“It’s okay. I get it.”

General Taglist: @emmaamalie  @maroon-richie  @gay-ships-and-tea-sips @lavenderuris @eggo-child  @starrytozier  @strang-ersclub@beepbeeprichtozier @beep-beep-toziers@ieroists@maggie-duvall  @a-l-o-s-e-r-r  @babylovereddie@leighsphotos-blog  @strangertoizer@nineteeneightiesau@twoplayergaymers @stars-sayuraloser @turtles10146@idioticcabbage  @wukindly @catching-fire-in-the-wind  @only-if-it-matters@stranger-losvers @firefistnoct @itaddictfinnie-wolfhard@jayne-bee@rubywolf12@chloemarissa14 @umlingo @artwonderr@nel-ida @redvelvet-cupcake @finnie-wolfhard @sweet-emmi@mickey-loves-nicki@caitlin-la

Marvel Taglist: @lionheo04 @not-a-chain-of-dasies @spiderdudeparker

Peter Parker Taglist: @calpurxia

#peter parker #peter parker x reader #peter parker imagine #spiderman #spiderman imagine #spiderman x reader #spider-man: homecoming #marvel #marvel imagine