#Be it costuming or music or other symbolic elements

[saltpepperbeard]

y’all i’m in both david and mark motherbaugh’s walls for this one.

i was going through bits of footage for gifs as i do, and realized that the little note progression in the alma+stede scene sounded very familiar. sure enough...

it’s the same little progression as the pre-kiss confession, just in another key. it’s the lead-in to the love theme.

something something the handling of stede’s heart in both scenes. something something love but in different ways, hence the same song but in different keys. something something love towards stede finally progressing to the intended point.

...tldr, this show is insane for its symbolism and motifs and it’s wild that we keep discovering things over a year after the first season dropped.

#OFMD #Our Flag Means Death #OFMD Vid #Revenge Rambles #Gentlebeard #Blackbonnet #Stede Bonnet #Alma Bonnet #Edward Teach #I'm just #The amount of DETAIL paid to things like this #Be it costuming or music or other symbolic elements #It drives me BANANAS (affectionate) #I love it #Because it's like a TREASURE HUNT #I love finding all the little things they put in here for us #Or even better: I love finding small details that they put in for THEM and thought we wouldn't notice #But we did because we analyze every microsecond of this show HSLKDJS

[divine-knight-hand]

Imagine Looking for Wanda at a Halloween Party

Wanda Masterlist || Full Masterlist || Read on AO3 Halloween Triple Feature 2023 Masterlist

Pairing: Wanda Maximoff x Female Reader

Content Warnings: Some confrontational situations and traces of angst. After that, fluffiness all the way!

Word Count: 2,874

Dividers by @chaosofevil

"Well, well, well, if it isn't our friend, the... pumpkin?" Tony raised a curious eyebrow at my choice of costume.

I wore a round and wide orange top with orange pants and black boots. My cheeks and nose were painted with an orange blush, and a green felt stem sat atop my head with the help of an equally green headband.

"Couldn't even spring for a Jack-o-lantern?” Tony fought off a smile. “You're just a pumpkin?"

"What?" I rolled my eyes. "I had to embrace my inner... pumpkin. Look, at least I didn't show up as myself." I motioned toward Tony's suit.

He came to his own Halloween party as Iron Man. How original.

This year, Tony was holding a Halloween party in the lobby of the tower. Everyone showed up in costume for the festivities. There was fun dance music playing, and spooky decorations all around the room. I wondered how Pepper and Tony managed to fill the room with streamers, cobwebs, plastic spiders, and other seasonal elements overnight.

"Hey, kiddo!" Natasha approached us, waving four of her arms.

She wore a black suit with a red hourglass symbol on her chest. Each side of her suit had four arms hanging off of it, which dramatically swayed with every move she made.

I tried, and failed, to figure out which of her eight arms were real. "Hey, Nat! You're a black widow? That's clever."

"Oh, so it's okay if she comes as herself?" Tony rolled his eyes.

"You're wearing uniform." I retorted. "She's wearing a pun."

Tony playfully scoffed and waved his hand. “Fine. Be that way.”

"By the way,” I changed the topic of conversation. “Have you guys seen Wanda? Did she show, yet?"

"No, I haven't seen your girlfriend." Tony grabbed a glass of champagne off of a butler’s tray as they walked by.

"Me neither." Natasha added. “Sorry, kiddo.”

"Oh, ok." I sighed before Tony’s comment registered to me. "Wait- She's not my girlfriend!" I felt warmth creep into my face. "She's just my best friend."

"That's how it starts." Tony winked as he took a sip of his drink. "That's how it always starts."

I playfully smacked his shoulder, shaking off the resulting pain after the audible contact I made with his suit. "All right, Stark. I'm going to look for her."

“Good luck!” Natasha nodded in my direction. “I’m sure she’ll turn up.”

“Thanks.” I flashed her a small smile before turning to walk away.

"Enjoy the party!" Tony called after me. "And make sure to drink some punch. It's good punch!"

I rolled my eyes, positive that the “punch” had traces of alcohol, but went to the snack table to pour myself some anyway. The glass bowl on the table was full of blood-red liquid, and I used the ladle inside to pour some into a red plastic cup. Once I was satisfied, I stepped to the side, walking right into a large figure next to me.

"Oh! Sorry." I turned to see Thor.

He was a very buff Pop-Tart, though the muscles were courtesy of his physique, rather than the costume shop.

"Hey, Thor!” I softly chuckled at the comical sight in front of me. “I love your costume."

"Thank you!" Thor grinned. "You look wonderful, as well. It would seem we both arrived as our favorite foods."

"Yeah, I guess we did.” I returned his smile showing less teeth. “Hey, have you seen Wanda anywhere?"

"I'm sorry, but I haven't seen her." Thor frowned. "Have you tried asking Stark?"

"Yeah." I sighed. "Well, thanks anyway, Thor. Enjoy the party."

"You too!" Thor waved before I walked away, sipping on my definitely alcoholic punch.

I dodged dancers, sidestepped those in conversation, and passed groups of people that overall made me wonder how many of Tony’s friends were real, and how many only showed up to the party in search of some of his wealth and fame.

It was then that I found Clint talking to Bruce on the other side of the room. Clint had come dressed as a vampire, while Bruce was decorated in a skeleton costume.

I approached them with a smile. "Hey, guys! How are you?"

"Hi!" Bruce made a small wave at me. "We're doing fine."

"Yeah," Clint added. "We were just wondering how many friends Tony has here. Real friends, not associates or sponsors or random rich people."

I couldn’t help but laugh. "I was just thinking that, too!"

Bruce sheepishly smiled. "I guess great minds think alike."

"I hate to cut our meet-up short," I went on, "But, have either of you seen Wanda?"

Clint thought for a moment. "I thought I saw her on the other side of the room." He motioned across the room with one hand.

"Yeah," Bruce added. "She was talking to Thor's brother, wasn't she?"

"Ugh." I would have facepalmed had I not been worried about messing up my makeup. "Why the hell would Tony invite Loki?"

"Sour much?" Clint smirked at my resulting scowl. "He's here by Thor's request, and on the promise to not cause any mischief."

“As if he would actually hold to that standard. ” I rolled my eyes. "Do you think she's still over there?"

Clint shrugged. "Not sure."

"I hope you find her." Bruce bashfully scratched the back of his neck.

"Thanks." I started to walk away. "You guys enjoy the party."

I took a deep breath before heading towards the one corner of the room I had yet to explore. The crowd noticeably thinned as I neared the wall.

"What vivid colors for a plain character such as yourself." I rolled my eyes as the familiar voice purred.

I turned to him, only to be met with a black, green, and gold Asgardian tunic, topped with a wicked smirk. So much for being subtle.

“Loki!” I forced a smile. "You came dressed as a witch. A little cliché of a costume, don't you think?"

Loki's cocky smirk dipped for an instant before lifting back up. "Not everyone has original ideas such as your seasonal gourd."

"Actually, a pumpkin is a fruit." I proudly grinned. "I'm sure an intelligent man such as yourself can tell the difference between a fruit and a gourd." I mentally high-fived myself for having researched random pumpkin facts last night to really get into character.

Loki scowled. "Of course I can tell the difference! You simply don't wear food items well. That’s all."

"And you don't wear anger very well, princess." I teased. "So, I heard you were talking to Wanda earlier. Is that right?"

"Yes," Loki's smirk returned, paired with a mischievous glint in his eye. "Just as I've heard that you've been looking for her all night. Correct?"

"Well, yeah." A sour feeling settled into my stomach—the same one I usually got right before Loki would screw me over. "Can you point me in the direction she went?"

"Well, I could," Loki nonchalantly examined his perfectly manicured nails. "But I might not."

The frustration that had been building up inside me started to slowly seep out. "Loki, I swear-"

"Ah-ah-ah..." Loki held up his pointer finger to silence me. "You wouldn't want to make a scene at Stark's perfect party, would you?"

I stopped to think for a moment. Tony was an annoying person, but that annoying person also happened to be my friend, and I didn’t want to do anything to hurt him if I could help it.

I tried to quell the fire in my stomach. "I guess not."

Loki slowly approached me as his smirk widened into a sadistic grin. "I suppose I could point you in the direction of your lost friend... if you agreed to assist me with a small request."

"No." I scowled. "I'll just find her myself."

I turned to storm off when Loki grabbed my upper arm and spun me around, yanking me toward him. “Let’s not be too hasty, now, pet.”

“I’m not your pet.” I growled through clenched teeth. “Let. Me. Go. NOW!”

I grew a little embarrassed as a few partygoers turned to look at us, but I didn’t back down from my stance.

“What happened to not making a scene?” He muttered as he reluctantly released my arm.

“Trust me.” I started. "You’d know if I caused a scene. And, if you think, even for a second, that I'm going to let you use me for whatever trick or plot you want me to do, you’re sorely mistaken."

“Is that so?” Loki’s expression grew dark. “Then I suppose you care not to find your little friend.”

“You’re worse than useless!” I was practically bursting at the seams. “Nobody can stand you, you know that? Your games only ever hurt people. So, yeah, I’ll take the risk finding Wanda myself, since the last person who played into your tricks and mind games wound up dead.” I resisted the urge to clap a hand over my mouth. I definitely took that way too far…

Loki scowled, but his eyes were clearly filled with hurt. “You know not what you speak of, Midgardian."

"Just stay away from me." I turned to walk away.

I only made it a few paces before I heard Loki's voice call from behind me. "Your friend is outside. She left in need of fresh air after we exchanged words."

I turned back in time to see Loki's backside as he walked away. I debated just following his instructions to where Wanda was, but I knew I couldn’t after pressing his wounds like I did. Instead, I rushed after him.

"Loki?" I softly called when I finally caught up to him. When he didn’t respond, I tried calling louder. "Loki?"

"I can hear you, mortal." He faced me with a dark expression. "I just wish I couldn't."

“That's fair.” I sighed. “I just couldn’t leave without apologizing for disrespecting you. I really crossed a line back there. I’m sorry."

An expression of shock crossed Loki's face, followed by a flash of sadness, before he began to seem unbothered. "I… appreciate your apology. I suppose I should return the sentiment. Though I do tend to derive pleasure whenever your face makes that scrunched-up scowl as the result of your vexation, it may not be the most... ethical method of entertaining myself."

"And bringing out your baggage might not have been the best way to handle it." I held my hand out to him. "Truce?"

Loki skeptically raised an eyebrow at me before taking my hand in his. "Very well. No more… pranks... at least for the time being."

I smirked. "Watch it, Odinson. I might pump-kick your butt if you go back on our truce."

Loki rolled his eyes. "Oh, the puns from you, girl."

I laughed and started making my way toward the door. "Enjoy the party, Loki."

"You, as well." He called after me.

I began weaving through the crowd to get to the door. I finally made it and pushed the door open with a sudden urgency. I had a feeling that I needed to find Wanda as soon as possible.

There were more rich people outside who didn’t even bother dressing up for Tony’s Halloween party. As they let the outside air fill with their dry, ingenuine laughter, I pushed through crowds of them, earning myself dirty looks from people who had higher net worths than me.

But, that didn’t matter. I had to find Wanda.

”Wanda?!” I called, “Wanda?! Where are you?”

I shoved through more people in suits and costumes as I frantically scanned the area for red hair, ignoring the rude comments from people around me. As I made my way farther from the tower, the crowd began thinning.

Suddenly, a small voice called my name loud enough for me to just barely hear it.

I turned to the source of the sound to see Wanda, hiding away from the partygoers with an anxious expression. “Wanda!”

She wore a bright red bodysuit with a headdress and cape that sported similar crimson hues. I wasn’t sure what she was supposed to be dressed as, but she was gorgeous.

I noticed her visibly shaking as I ran up to her. “Wanda? What happened? Did Loki do something to you?” I already felt the urge to go back on our earlier truce creeping in. “Because, I swear, I’m gonna-”

”No!” Wanda cut off my threat, which was lucky for me, since I had no idea how to effectively threaten a literal demigod. “Loki did nothing wrong, I promise.”

My rage quickly shifted to guilt for getting so easily distracted. Focus on Wanda, damnit!

I placed my hands on her shoulders. “What’s wrong, then? Are you alright?”

She sighed, looking at me with watery eyes. “I’m scared… I’m terrified.” She sniffled. “And I don’t know what to do.”

“Wanda,” I frowned, trying not to picture the pathetic image of a ghoulish pumpkin trying to console a weeping… whatever Wanda was dressed as. “Whatever you’re afraid of, you can talk to me. I promise, I can help you get through it.”

Wanda sniffled again and ran a delicate gloved hand across her face to catch runaway tears. “It’s just… All night, I’ve been hiding. I’ve been… secretive. I want to tell the one person who should know, but I’m afraid.” She shuddered. “And I thought, If I never tell them, I’ll exist in this limbo forever. But if I do…”

“They might not respond in the way that you want?” I breathlessly asked. Wanda wordlessly nodded.

It was in that moment that I took her in with my eyes. She truly was gorgeous. Her wide brown eyes. Her soft pink lips. The way her headdress framed her round face. The way her costume conformed to the curves of her body. She was gorgeous.

I didn’t lie to Tony earlier. Wanda wasn’t my girlfriend…

…But it didn’t change the fact that I wished she was.

It was true that I was infatuated by Wanda’s beauty, but I was also in love with her mind and personality, so seeing her this upset crushed me.

”Wanda,” I breathed. “It hurts me to see you this way. There’s only one word of advice I can give you: Stay strong. No matter how it turns out, just tell them what you need to tell them. No matter what, I’ll be here for you. And if they’re a good person, they’ll be good to you, too.”

Wanda gulped, “I can’t do that…”

”Yes, you can.” I urged. “I know you can. You can do anything.”

Wanda sniffled. “I don’t want to ruin our friendship.”

My blood ran cold. “I’m the person you’re trying to tell something to?” She wordlessly nodded once again. “Wanda,” I nervously chuckled. “You can tell me anything.”

She looked like she wanted to say what she was dying to say, but shook her head. “I’m not as brave as you.”

”Maybe I’m not brave, either.” I spoke without thinking. Wanda cocked her head in confusion and I just continued before I could hesitate. “You can’t idolize my bravery if I wasn’t brave enough to reveal my own secret to you.” I grabbed her hands and took a deep breath. “Wanda Maximoff…” There was an expectant glint of what seemed to be hope in her eyes when I paused. “I love you. I love you so much, and I-“

Before I could finish my declaration, Wanda cut me off with a kiss. She wrapped her arms around my neck and shoved her tongue in my mouth. I greedily took it in my own as I moved my hands along her waist to the small of her back, one hand reaching up to her hair. I dreamt about a moment like this for so long, and I wanted this to last forever, but Wanda and I eventually had to break for air.

We were both still gasping when Wanda breathed. “I’m not afraid anymore.”

I smirked and opened my arms. “Then come here and pump-kiss me again.” We both visibly cringed at my horrible pumpkin pun before bursting into laughter.

“That was really bad.” Wanda giggled.

“Well, there’s more where that came from.” I smirked. “You’re going to be hearing those for the rest of the night.”

Wanda warmly smiled. “I’m looking forward to it.” She wrapped her arm around my waist. “I can’t wait to party with my new gourd-friend.” She winked.

I laughed at her pun, too content to correct her with the fact that a pumpkin was a fruit, not a gourd. Speaking of corrections…

“Hey, Wanda,” I began. “Can I ask you a question?” She nodded. “What’s your costume?”

“Oh!” She seemed to come alive with a newfound excitement. “This old thing?” She let my waist go to twirl in a circle and toss her cape with a flourish. “I’m dressed as a Sokovian fortune teller!”

“I love it!” I grinned, holding my arm out to her. “So, what’s in store for me and my new lover?”

She giggled as she locked my arm in hers. “Our future is yet to be determined, detka, but it’s looking bright.”

She leaned in to give me a peck on the lips before we made our way back to the party.

#halloween #halloween fanfic #spooky season #wanda maximoff #wanda fluff #wanda marvel #wanda x reader #wanda x female reader #marvel fanfiction #marvel fanfic #mcu wanda maximoff #mcu wanda #wanda mcu

[bananaofswifts]

Peek into the eclectic wardrobe of one of the world’s most popular singer-songwriters at the Museum of Arts and Design (MAD)’s latest exhibit, Taylor Swift: Storyteller, opening Saturday at Columbus Circle.

The retrospective showcases decades of Swift’s costumes, props, jewelry and other visual elements from the 12-time Grammy Award-winning musician’s prolific career, including the highly recognizable ballerina and cheerleader ensembles from 2014’s Shake it Off , the gem-adorned one-piece from 2022’s Bejeweled and the striking Nicole + Felicia red wedding dress from 2021’s I Bet You Think About Me — all selected by MAD’s Curator of Modern and Contemporary Art, Craft, and Design Alexandra Schwartz.

Swift’s team reached out to Alexandra after seeing the work done by fellow curator Elissa Auther with artist Machine Dazzle on his Queer Maximalism exhibit, but she admits that she wasn’t intimately familiar with Swift’s catalog prior to working on Storyteller. “I knew her big hits, but I didn’t know her work all that well,” Alexandra told W42ST. “I have learned a lot in this process — it’s been fascinating getting to see how she’s developed as an artist and in addition to her songwriting, learn that she’s such a brilliant business person who has navigated combining that songwriting and artistry with being this incredibly successful performer.”

After working on 2022’s Garmenting: Costume as Contemporary Art at MAD, the curator had a robust working framework with which to tackle Swift’s large catalog of designs. “In Garmenting, we were coming at it from the perspective of artists rather than designers,” said Alexandra. “I teach part-time at the Fashion Institute of Technology and I got to know fashion history and theory and learned about curating fashion through that exhibit’s experience.” She added, “I’m fascinated by how clothes are part of our culture — not just in terms of the choices that we make about what we wear, but what they mean on a broader societal level and what they say about contemporary culture.”

Swift’s reputation for integrating visual storytelling into her music videos, red carpet appearances and concerts was an inspiration and Alexandra found plenty of symbolic messaging in the songwriter’s clothing choices. ​”She creates an entire world through her work,” said Alexandra. “Her videos are these very complete thought-out worlds she’s created and her performances are as well — her garments and her costumes are a huge part of that. She’s very, very intentional about what she wears in performance, how those garments help to tell a story.”

For Swift, “the element of fantasy is really important and enticing and fun — but what’s been interesting in working on this show is that she really does see all of her different creative endeavors: the videos, the design, the costumes, as a part of her songwriting and her storytelling craft as a songwriter,” said Alexandra.

Swift also loves to leave hidden messages for her notoriously eagle-eyed fanbase.”She’s famous for her Easter eggs,” said Alexandra, “and it is very interesting how she’ll refer back to other times in her career and her storytelling through her songs.” She added, “One thing that I find interesting about her, and she’s talked about this herself, is that she is very aware that as a performer, and especially as a female performer she has to always change her image to capture people’s attentions, keep them interested and keep them thinking about her music in a different way. I think a lot of her costumes and her videos show that sort of self-awareness.”

Swift’s tendency to keep fans guessing extends to her choices in designer, added Alexandra. “There are quite a few costumes by Jessica Jones, who works with many different performers,” she said, “but what she wears in performance varies. Some costumes are by couture fashion designers, like the Versace and Marchesa, but then she’ll wear faux fur jacket by Free People mixed with Louis Vuitton boots — it’s interesting to see how she combines things.”

After studying the singer’s catalog and costumes, Alexandra gained a newfound appreciation for Swift’s creative process and impact on global audiences. “Seeing the craftmanship of the costumes is incredible,” she said, “It’s a treat to see all the embroidering and decoration and beading on these pieces up close.”

As Taylor Swift: Storyteller readies for opening, Alexandra can’t wait to welcome passionate Swifties to the exhibit. “It’s going to be fascinating to see,” she replied. “It’s been great already to see the buzz about it and hear about people who are planning to come to New York to see the exhibit. I’ve just gotten to know the Swiftie community in the last couple of months and it’s intense!” she laughed. “It’s very exciting that so many fans are going to be here and I really hope they enjoy it!”

#taylor swift

[djsherriff-responses]

Personal opinions and general character design critique regarding the Nymphs from Rayman (spoiler: they all suffer from having same face/body syndrome and the designers being too horny to consider other design elements)

Betilla: I feel her origins redesign was a downgrade from her whimsical style in the first game, but I also do understand why they wanted to change her, as origins was meant as a reboot of the franchise and they wanted Rayman to be the only limbless in the Glade of Dreams. But since origins ended up not being a series reboot (with its plot only existing in code) and Rayman having skins/costumes who are meant to be different limbless characters anyways , changing Betilla drastically was already meaningless in the long run , much less the choice to make her be a basic hot nymph

Outside of it being impossible to Google her name in front of family , I personally don’t mind how she looks in Origins as the red hair contrasts really nicely with the greens, if you really wanna push some symbolism imagery here you can make arguments the red + green is meant to be reminiscent of flowers or berries. Ultimately though it is just a green bikini outfit with thigh highs and the only real connection to her role as the nymph of the forest/jungle area of the game is the colours, and maybe the odd stitch work pattern

Which is a bit of shame as you can easily replace the blue stars of her old design with an actual star-ish looking flower called Bletilla (literally one letter off from her actual name) or other flora

I don’t think the issue was they wanted to give Betilla a redesign that had sex appeal , I just think they went in the wrong direction with it. Considering that she played a large role in the old educational games and she was a sort of mentor figure to Rayman (if not just straight up his mother depending on one’s headcanons), they could’ve given Betilla a personality and sex appeal by making her a hot teacher type character (who may or may not count as a milf), hell give her signs of age like small wrinkles to really get the point across she’s older than most of the player characters, and she’s aged like spicy fine wine

Her design in the first game is adorable while giving her the vibes of a mature fairy god mother type mentor, but I don’t think it would work in the more modern Rayman games without some updated tweaks. It is pretty though and does has more personality than her origins design, and the other nymphs for that matter

Holly: I like that there’s some actual details on her and some colour variation compared to her sisters, even if she’s 3 out of 6 nymphs whose main colour is some shade of blue

Besides giving her an outfit that isn’t a skirt and bra, I think her design could better reflect that her domain is the desert of dijiridoos by having some musical elements to her design. It’s kinda odd her tattoos/body paint (which do look good on her and her skin tone) don’t reference musical notes at least, wasted opportunity there

I have this issue with Edith and Annetta as well, but I’m a bit confused about why dead animals seems like a popular fashion choice for these ladies , especially since (in the origins game) none of the nymphs are shown as fighters (not saying they’re incapable, the game just doesn’t show them as such) and we’re not giving lore hints about it? I’ll talk more on this issue when I get to the other two , but it’s odd that Holly’s domain is populated by birds and she’s wearing a bird skull

Was it a nightmare and she kill it? Is it a beloved pet and she couldn’t part with them even after death? 🤷‍♀️

I can’t really think of any alternatives for her or the other two animal hat sisters atm, but at least it’s looks badass even if it doesn’t do much personality wise, so points for looking cool at least

Edith: Edith I think is the worst design of the sisters , hands down, no competition. I mean , what is there to really say about her? “Oh we have a level based around a combination of spicy food and ice drinks with dragon butlers , how should we design this chick?”

“Just put her in red with a lizard hat”

Almost nothing about her design reflects her domain besides that she’s blonde and wears red , and that’s only half of the domain she’s meant to be part off. Her outfit pattern could’ve at least have some reference to the ice levels, or give her literally anything to connect her to those ice levels

I also don’t like how her hair is styled, the colour is fine but the shape looks ugly

Incredibly morbid Edith walks around with a dead butler on her head, especially considering the final boss/king of her level is also a dragon. Unlike Holly and Annetta, I can’t even give Edith credit for looking cool because it’s just more red on a very red and bland design

…… do you think Edith uses her corpse hat as a hand puppet?

Annetta: While I think it’s a weird choice to have nymphs of nature walk around with corpse head gear (much less ones of their domain’s general population) I think Annetta is the most justified of the nymph sisters to be wearing a hat made of a dead animal

Considering that her domain has a notable fishing population and she’s already dressed in fish scales, Annetta wearing a fish skull does actually contribute to showing the lore of her as a character and her connection to her domain. Unlike Holly and Edith , I don’t need to come up with some theory about their fashion choices when Annetta’s reflects already existing lore in origins (what little of it at least)

I personally do think the outfit looks ugly and plain uncomfortable, but I will give this design some credit for having one of the more visually detailed designs by virtue of her scales alone, and it actually makes sense for the nymph whose domain is the literal ocean to be in a skimpy outfit, even if her shell bra has to be glued on to her boobs

Unlike Edith’s outfit colour which is just red, Annetta’s has various shades of blues and teals that are reminiscent of the sea. It’s pretty I like it

Helena: Much like Edith there’s not that much to say here but what I can say is mostly positive

Helena’s a pretty standard design of “blonde chick in cool blues with white fluff details” and yeah that’s generic usually, but here I really like her. I think it’s how the fur and cloth looks textured along how her hair front is styled that makes her incredibly cute to me

Yeah, Helena is a simple but cute character design

Weird that a mountain nymph who has to live through cold weather wears a skimpy outfit with her bare thighs out , but I’m gonna assume that’s because she , much like her sisters, was designed to be sexy first and given aesthetics after they made the body model

Fée de la Mort/VooDoo Mama/Big Mama: As cool as she looks, when compared to both her monster form and the other nymphs , you can tell she wasn’t planned to be one of them, especially when you look up Mamma Hite

I bring that up because while Fee has a good design, she is also a visual metaphor that reflects Origins’ identity: a failed series reboot whose plot was scrapped in favour of goofy extremism (or sex appeal in the nymphs case)

So about Fee’s actual design: I personally don’t like the pink used on her and would’ve liked her Nymph form to reflect the monster form besides the hair

probs to the fact she’s the only nymph with her own pose which already gives her a lot of personality , but the combination of her tattoos, bone jewellery and her baggy looking eyes really sells the fact she’s from the land of the livid dead and thus sticks out amongst the other fairies, even if you ignored the bat wings she has

visually she does work as a undead fairy of the underworld who likes to rock and roll, so job well done with that

I kinda do wish they stuck with the frog though

#rayman #Character design #Rayman nymphs #betilla the fairy #i really wanna do actual redesigns of these girls and not just random sketches

[millenari]

I promise I will shut up about the Broadway Revival sometime soon but thinking about it again, I do think that if it were just bad, I wouldn’t pay any attention to it at all.

Like… I don’t really clown much on the West End Revival. I mean, yes, the three big changes in that production I know off the top of my head are A) Rap!Tugger, which most everyone hated, B) Growltiger costumes, which most everyone didn’t care about, and C) Sexy!Griz, which most everyone either hated intimately or didn’t care about. But even so, nobody really dissects the West End Revival the way we do the Bway Revival. And part of that may have to do with less accessible boots, but I’ve seen (probably) most of the West End Revival footage that exists and yet it’s the Bway Revival that gets my goat.

And, yes, the Gillian Lynne snub element of the Bway choreo definitely plays a big part in that.

But also… the Bway Revival is sometimes really good? The West End Revival just... *is*. It’s a 98 clone with slightly different (and generally disliked) costumes. If it weren’t for the sort-of-racist and unbearably cringe Rap!Tugger, I don’t think this production would get much attention within the fandom at all (despite doing really well financially), because that’s all it really is: a perfectly serviceable 98 clone.

(And that’s not a bad thing. I like 98. I like the West End Revival. It’s a good production with skilled performers, chunks of it are on yt check it out.)

But the Bway Revival changes don't universally suck. There are elements (lots of elements!) of the Bway Revival I adore and I genuinely think are better than the original. Everything to do with Macavity, imo, is just brilliant. The old Macavity fight choreo had this kind of cool abstract tribal vibe to it, but the new choreo looks violent. It also looks more catlike; Munk and Mac crouch low to the ground like hunched-up cats, they circle each other, and the hits actually look like they connect at the right angles. The goofier parts (the mutual ass-slap, the playing tug-of-war with Demeter, the piggyback ride) are removed so it feels more serious: Munk actually looks nervous or frightened sometimes despite not backing down, and it looks like the background cats might be being controlled (which explains why few cats try and help Munk during the fight until the end). Not even to touch upon the lighting and music.

Revival!Macavity’s style of movement is super unique and recognizable too, Daniel Gaymon’s Macavity is amazing, I love how the way he moves sometimes makes him look possessed by something (also his Plato was adorable, He Has The Range Darling). His costume is cool on its own, (I don't love the old Macavity design, which simultaneously makes him look more like a tiger and also a little boy wearing pajamas rather than a housecat) but I love how the little mane-like collar and wig curls makes him look like Tugger & I love the parallels between the two that this production emphasizes. Tugger, the tribe’s most popular cat & pride and joy, versus Macavity, the outcast. Tugger, who everyone wants, versus Macavity, who can’t seem to acquire the one cat he wants.

Plus Macavity’s mind control? In the classic Mac freezes the cats; in the Bway Revival he forces them to dance. In the show where dancing together is a symbol of togetherness and community.  In the show where characters frequently imitate each other to indicate closeness or admiration. In the show where you spend like 5 minutes watching Grizabella the Outcast Cat fail to dance along with the others, Macavity forces the others to dance with him. NO NOTES WHATSOEVER.

And the extra lore and worldbuilding they add to the magic element? I don’t love the Macavity Interlude, but “He hypnotizes with his eyes/His head moves like a snake” in combination with the fact that it seems like Macavity needs eye contact to control other cats? Plus how Tugger, Munk, and Deuteronomy all seem to be immune to his powers to a degree?

This element isn’t really in the boot on yt but in later performances there’s a bit at the end of the fight where Macavity, (on the top of the car) visibly tries to use his powers on the gathered cats, and when he fails he looks down at his hands and then scrambles to grab the jumper cables. The idea that he has some kind of ‘magic meter’ that he is capable of using up somehow? Potentially explaining why he went the subtle route and tries to impersonate Deut rather than go in guns blazing for Demeter?

THE WAY DEMETER REACHES FOR HIM WHEN HE FIRST GRABS HER? The way she looks like she’s flailing and trying to get away from him the second time, after the fight? Tantomile jumping between Demeter and Mac the second he lets go of her?

AND DON’T EVEN GET ME STARTED ON THE MISTO/MAC PARALLELS I’VE BEEN WORKING ON A GIFSET FOR THAT

It’s so good. Those changes make me go insane. Because they’re deliberate, and pointed, and they add things to the story, build upon the story, and add more depth to the story. They’re also just cool and fun to look at and play around with. That’s the thing that gets me about the Bway Revival, because they were capable of making insightful and meaningful changes that genuinely elevated the source material in really cool ways.

#cats fan on main #and this all especially holds true in a piece of media like cats that relies so heavily on visual storytelling #from which like half of its audience walks away going 'wait was that just 2 hours of nonsense?' #if you dont want your audience to think theyre watching a bunch of fun nonsense (which fun nonsense is fine but the bway revival clearly-- #--wanted to be taken seriously) then those visual storytelling elements have to be tight asf #jelliclerants

[sophie-st-2002]

Fairy Tale Musicals: The Sound of Music (1965), directed by Robert Wise

Read My Fair Lady: A Voice for Change by Marcie Ray before reading the post to understand the full analysis and references brought up.

Subversion of the Pygmalion Narrative

The romantic relationship between Maria and Georg von Trapp in The Sound of Music has the potential to follow a Pygmalion-esque narrative due to their age, class, and wealth disparities. However, the film subverts this potential by creating a dynamic that appears equal and aspirational. While the real Georg and Maria von Trapp had a significant age gap, the film adaptation lessens this gap, with Christopher Plummer and Julie Andrews portraying characters who are both young-looking and attractive, possibly to make the romance more relatable and appealing to audiences.

The real Maria and Georg von Trapp (left) and the screen version (right).

This adjustment not only mitigates the implications of their differences in status and age but also portrays their relationship as more balanced and mutual. Dreamy dance sequences and romantic songs like "Something Good" further sell the idea of a loving partnership, blurring the lines between employer and employee. Unlike the traditional Pygmalion narrative, Georg is not portrayed as a woman-hating or cold-hearted figure; instead, his facade quickly melts away due to Maria's kindness and warmth.

Something Good

Similarly, Maria is not depicted as a helpless or submissive character. While she may start as a governess, her journey throughout the film reveals her independence, resilience, and agency. She challenges Georg's views and traditions, most dramatically in the Rowboat scene starting at (01:13:04), ultimately becoming his partner in both love and life.

This departure from the traditional Pygmalion narrative reinforces the film's themes of empowerment, self-discovery, and the possibility of love transcending societal barriers.

In what ways does the film mark class through music, lighting, costuming, and performance?

The Sound of Music subtly conveys class distinctions through music, lighting, costuming, and performance. Maria's boyish innocence contrasts with the refined sophistication of higher social classes, symbolizing a clash of worlds.

What differences do you see in how these characters are dressed?

The von Trapp house's elegant design reflects elevated status, while interior scenes reveal internal struggles despite outward wealth. The contrast between vibrant outdoor lighting and dim interiors underscores themes of freedom versus constraint.

Overall, these elements enrich the narrative with depth and complexity, subtly exploring social dynamics.

A little photo gallery of my trip to Salzburg and filming locations for the film

Femininity and Masculinity

The Sound of Music reimagines notions of femininity and masculinity by juxtaposing Maria's experience in the convent, where she has a supportive community of women, against the narratives of Echo and Narcissus, Eliza and Higgins, and Pygmalion, where women lack female support systems. Maria's journey begins in the convent, challenging traditional patriarchal hierarchies and presenting a world where women support each other. This contrasts sharply with the narratives of Echo, Eliza, and Pygmalion, where women are at the mercy of men for validation or advancement, lacking the camaraderie and solidarity found in the convent.

Maria and Georg's relationship further subverts traditional gender dynamics, as it is characterized by mutual respect and understanding rather than power imbalances. Maria's influence softens Georg's authoritarian demeanor, showcasing the transformative power of femininity. However, her eventual marriage to Georg, portrayed as a means of reforming her resistance to authority, suggests a return to conventional gender norms.

Despite Maria's initial independence, the film ultimately presents marriage and motherhood as the epitome of happiness for women. Maria's song to Liesel reinforces this idea, 

“Gone are you old ideas of life. The old ideas grow dim. Lo and behold you’re someone's wife and you belong to him.” (02:26:57)

suggesting that belonging to her husband is preferable to her old, free-spirited ideals. This portrayal can be interpreted as a form of "baby" feminism, where female agency is toyed with but ultimately subordinated to traditional gender roles.

Racial Subtexts within the Film

The film The Sound of Music lacks explicit racial subtexts, as all characters are white and assumed to be of Austrian or German descent. Despite the main antagonist being Nazi Germany, there is no discussion of the persecution faced by Jewish people, Roma people, or other targeted groups. The film focuses on the von Trapp family as victims of Nazism, portraying their escape with little resistance. However, this narrative minimizes the broader reality of the atrocities inflicted on targeted individuals under the Nazi regime.

By centering whiteness as the normative experience within cultural narratives, the film fosters the idea that idyllic stories like those depicted are only available to white characters, reflecting the limitations of representation within the context of the film's setting and time period.

Character Transformations: Then vs. Now

Character transformations in The Sound of Music held significance both during its release in 1964 and for contemporary audiences. The 1960s, characterized by the rise of second-wave feminism and societal upheaval, audiences looked for positive narratives of personal growth as a source of hope and empowerment. Maria's evolution and ability to be both a free-spirited novice to a nurturing mother resonated with viewers seeking optimism and agency during turbulent times. It gave women watching the movie a feeling that they could be outspoken and still have a thriving personal life. 

However, both then and now, the film has faced criticism for its perceived simplicity, overly sweet tone, and adherence to traditional gender roles. While audiences appreciate its charm and musical numbers, some find its romanticized depiction of history and gender dynamics outdated or problematic in light of feminist and contemporary critiques. Maria is still a refreshing, joyful, and quietly rebellious figure to contemporary audiences but her lack of complexity, and honestly it is all characters who lack of moral or personal complexity, leaves something to be desired. The film is still a classic and just as enjoyable to watch again and again.

DISCUSSION QUESTION

1. How do the voices in The Sound of Music shape how we see men and women in the film? Julie Andrews sings her own songs, but Christopher Plummer's singing is dubbed. Think about what we learned from Ray about how voices reflect power in My Fair Lady.

2. In discussing Fairy Tale Musicals, what aspects of The Sound of Music qualify it for this category, especially considering the absence of a Cinderella moment seen in other musicals like My Fair Lady or Anastasia? Can you identify a particular theme, moment, or narrative within The Sound of Music that distinguishes it in this genre?

3. What is the role of fairy tale narratives like The Sound of Music in representing historical events or broader societal issues? How do these stories balance their feel-good simplicity with the responsibility to engage with more complex realities?

4. How does Maria's character development in The Sound of Music, transitioning from a spirited and independent governess to a wife and mother, intersect with feminist ideals and traditional gender roles?

#@theuncannyprofessoro #oxyfilmmusical #panelpresentation #the sound of music #Youtube

[jasminewalkerauthor]

Deep dives into folklore: Portuguese folklore

Portuguese folklore, a mesmerizing mosaic of myths and legends, serves as a profound testament to the cultural heritage of the nation. Woven over centuries, this intricate tapestry reflects the dynamic interplay of historical influences, blending the legacies of Phoenicians, Romans, Moors, Celts, and Christians. Rooted in a diverse historical landscape, Portuguese folklore encapsulates the essence of the country's identity, encapsulating the collective imagination of its people. As we embark on a deep dive into this mystical realm, we unveil the stories, characters, and cultural significance that have endured through the ages, illuminating the captivating spirit of Portugal's folklore.

Portuguese folklore has deep roots in the country's history, blending influences from various civilizations that have shaped the region over millennia. Phoenician, Roman, Moorish, and Celtic influences, among others, have contributed to the diverse range of myths and legends that make up Portugal's folklore.

One of the earliest influences on Portuguese folklore is the Roman presence in Lusitania. The Romans introduced their own deities and myths, blending with the existing indigenous beliefs. As Christianity took root in the region, a symbiotic relationship developed between pagan and Christian elements, resulting in a unique blend of folklore that reflects Portugal's cultural identity.

The Lusitanian Mythical Heritage:

Before Roman rule, the Lusitanians, an ancient Celtic people, had their own pantheon of deities and mythical beings. The god Bandua, associated with war and protection, and the goddess Ataegina, linked to fertility, are examples of Lusitanian figures that persisted in local folklore.

The Moura Encantada:

The Moura Encantada, or the Enchanted Moorish Maiden, is a prominent figure in Portuguese folklore. These mythical beings are often beautiful women with magical powers, dwelling in hidden places or trapped in enchantments. Stories of love, loss, and magical intervention surround the Moura Encantada, emphasizing themes of fate and destiny.

The Lobo Ibérico (Iberian Wolf):

Wolves hold a significant place in Portuguese folklore, symbolizing both danger and wisdom. The Lobo Ibérico is a recurring motif, representing the untamed wilderness and the struggle for survival. Folk tales often feature wolves as shape-shifters or mystical guardians, embodying the complex relationship between humans and nature.

The Barco da Roda (Wheelbarrow Boat):

Coastal regions of Portugal have tales of the Barco da Roda, a phantom boat that appears during storms. Believed to be a harbinger of doom, this spectral vessel is associated with the souls of the deceased. The folklore surrounding the Barco da Roda reflects the maritime culture and the inherent connection between the Portuguese people and the sea.

Portuguese folklore serves as a mirror reflecting the collective consciousness of the nation. It embodies the struggles, triumphs, and enduring spirit of the Portuguese people. The fusion of pagan and Christian elements in folklore illustrates the adaptive nature of Portugal's cultural identity.

Festivals and celebrations often incorporate folklore, with traditional dances, music, and costumes bringing mythical characters to life. The Feast of São João, celebrated across Portugal, features rituals and customs that trace their roots to ancient solstice celebrations, merging pre-Christian traditions with Christian elements.

In conclusion, Portuguese folklore is a captivating journey through the cultural tapestry of a nation. Its origins in diverse historical influences, the presence of mythical figures like the Moura Encantada and the Lobo Ibérico, and its cultural significance in festivals and celebrations all contribute to the richness of Portugal's folklore. Through the ages, these stories have been passed down, evolving and adapting while preserving the essence of Portugal's enchanting heritage.

Taglist (reply or reblog to be added): @axl-ul @crow-flower @thoughts-fromthevoid @alderwoodbooks @harleyacoincidence @tuberosumtater @sonic-spade @theonlygardenia @holymzogynybatman @nulliel-tres @w0rkah0licz @sylvanthorn @tigertaurus22 @profiterole-reads @mathias-musings @1899adgg1997tbmd @grimmparanormalinvestigations

#writeblr #writers of tumblr #writing #bookish #booklr #fantasy books #creative writing #book blog #ya fantasy books #ya books #deep dives into folklore #deep dives #folklore #mythology #portuguese #portuguese folklore

[imasloid]

SHINY COLORS FASHION ANALYSIS - L’Antica (アンティーカ)

"Turn the Rusted Key of Fate"

This is a project analyzing and taking a look at the fashion design and application in the multimedia series, The IDOLM@STER: Shiny Colors. This section is about the gothic themed unit of the series, L'Antica! If you want to jump to a specific section, go here!

(This is a reprint of my thread on Twitter. I put it on Tumblr for easier reading and for archiving purposes. Enjoy!)

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INTRODUCTION

A revolutionary unit of the New World. The flame smoldering in their hearts become a “Song,” their lonely tears become a “Wish.” Clad in gothic dresses, they sing on for hope.

Members (from left to right):

Yuika Mitsumine (三峰結華)

Mamimi Tanaka (田中摩美々)

Kogane Tsukioka (月岡恋鐘) [center/leader]

Sakuya Shirase (白瀬咲耶)

Kiriko Yukoku (幽谷霧子)

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L’Antica (the Italian feminine form of “antique”) is an elegant & dark vocal unit that specializes in symphonic metal music. Their overall aesthetic & costumes incorporate Gothic and Victorian-era concepts, steampunk, and prominently features of other eras of history.

In Shiny Colors, all units are represented by a color of the rainbow. L’Antica’s color is a deep purple that mirrors their Gothic aesthetic. It’s a color full of mystery, intrigue, darkness, and emotion which perfectly encapsulates their music and overall concept.

Rather than their costumes having heavy symbolism like illumination STARS, L’Antica’s costumes are more clearly defined by their style inspirations. As per their name, their costumes are influenced primarily by 18th-20th century Western artistic movements.

Gothic refers to an artistic movement around the mid-late 1700s inspired by 12th-century architecture, a popular setting for Gothic fiction. It combines the supernatural, macabre & dark aura of Gothic literature with innate symbolism standing for psychological or social conflict.

The Gothic influence can clearly be seen in their costumes, featuring dark color palettes, Gothic lolita elements like ruffled skirts, and mysterious, sublime settings of supernatural or haunting concepts. Their costumes immerse the viewer in different strange worlds every time.

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The Victorian Era refers to the period of British culture under the reign of Queen Victoria (1830s-1900s), a popular historical aesthetic due to its iconic upper-class fashion & culture. It’s also an era of revivalism, related to movements like Neoclassicism & Rococo Revival.

Another revival movement that took place is the Gothic Revival, which brought back Gothic architecture and literature into popular culture mixed with values of sentimentalism. As such, Victorian Gothic art has a preoccupation with tragic beauty and symbology for loss and death.

A handful of L’Antica costumes are very inspired by Victorian-era fashion, culture, and art as well as elements of Gothic Revival; more details will be expanded upon in their individual sections.

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The most notable aesthetic that L’Antica takes inspiration from is steampunk, a genre of science fiction that imagines an alternate future with heavy use of steam engine or spring power and maintaining of Victorian-era visuals.

Other than their main/first unit costumes being heavily steampunk-inspired, it has heavy theming in almost all of their unit costumes; even their logo is a common steampunk element, a key in the shape of a gear.

Perhaps inspired by the Victorian Era being one of revivalism, a handful of L’Antica’s costumes are inspired by other Western/European historical eras. Additionally, eclecticism was a prominent concept during this time, mixing several stylistic influences to make unique designs.

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Symphonic Steam (シンフォニックスチーム)

“Symphonic Steam” is L’Antica’s main unit costume and is the most representative of their concept and aesthetic, featuring heavy Gothic and steampunk motifs. The name references them being a primarily steampunk-themed idol group.

The animation features the five girls inside and outside of a clocktower. The clocktower shares many features with real life Gothic Revival architecture, including steep roofs, pointed arches, ornate & lacey trims, and overall picturesque design.

The key points of “Symphonic Steam” are related to its major style inspirations, namely steampunk, Victorian Gothic, and Gothic lolita detailing. As this is their main costume, it greatly encapsulates their main influences and overall dark and esoteric feel of their music.

As with many idol costumes, “Symphonic Steam” uses the “similar look” concept to make L’Antica look cohesive & thematically the same while bringing out each of the members’ individuality. This graphics shows some key differences between them, revealing a bit of their character.

Just like their costumes, the animation also shows them in different places or doing different action in/on the clocktower to show off their personalities.

Kgane is center of the clocktower (center/leader), Mamimi is lounging inside (lazy, coy), Sakuya is posing outside (serious, model-like), Mitsumine is on top throwing her pocketwatch (smart, eccentric), and Kiriko is caged, riding to the top (fantastical, dream-like).

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Faith of Treasure (フェイスオブトレジャー)

“Faith of Treasure” is L’Antica’s second unit costume. Like “Symphonic Steam,” this costume has very heavy steampunk theming. As such, the idols are acting as treasure hunters in an anachronistic Victorian city with steam technology.

Comparing “Symphonic Steam” to “Faith of Treasure,” both costume sport heavy steampunk theming. However, “Face of Treasure” is much lighter and fun in nature, leaning more science fiction/Victorian, while “Symphonic Steam” is dark and moodier, leaning more Gothic.

The key points of “Faith of Treasure” are its strong steampunk and Victorian stylistic influence as seen in the graphic. Additionally, the costumes suit their role as treasure hunters with the accessories and accents seen all over their bodies.

Along with the costumes, their animations point to each of the members being in a specialized role in their treasure hunter team.

Mamimi is a thief, having clothes with easy mobility, a gas mask for protection, and running with a bag. Sakuya is a fancy aeronaut with her sleek dress providing little resistance as she flies through the air. Yuika is a pilot or mechanic with her goggles & tinkerer’s tools.

Kiriko is just a citizen as her design is doesn’t have as many details as the other girls, having bourgeoisie details like her cravat & simple dress. Kogane has a gun & a larger sack; along with the items seen in the beginning with the map, she’s probably the leader.

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La Rosso Grimm (ラ・ロッソグリム)

Translating from Italian to “The Red Grimm,” “La Rosso Grim” is L’Antica’s third unit costume. Taking a step away from steampunk, this costume set is heavily based on Grimms’ Fairy Tales and Gothic fiction.

The setting for “La Rosso Grimm” takes place in a Gothic castle where “five girls are lost,” with the live stage being a replica of the castle and its yard. Gothic castles were a popular setting for Gothic fiction as well as Grimms’ fairy tales due to its mystery & royal nature.

In fact, all of the animations for these costumes have an opening scene that mimics a fairy-tale passage with the mystery and darkness of Gothic fiction. These passages are also directly based off of Grimms’ fairy tales, like “The Raven,” “Snow White,” and “Cinderella.”

However, the biggest fairy tale influence that “La Rosso Grimm” uses is “Little Red Riding Hood.” Besides the obvious name allusion (“The Red Grimm”), the costumes have a hood, the setting is a castle in the tangled woods, and the members pose with wolves in their album cover.

Key points of this costume include steampunk elements as usual (but moreso as accents), a heavier Gothic and punkish influence, and “Little Red Riding Hood” theming in their construction and details.

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GO HERE FOR PART TWO (i hit picture limit)

#imas #idolmaster #shiny colors #the idolmaster #idolm@ster #fashion #jfashion #l'antica #kogane tsukioka #mamimi tanaka #sakuya shirase #yuika mitsumine #kiriko yukoku #scfa

[dsknsk]

A lot of people feel, including me, like Mabayu doesn't seem to fit within the main Holy Quintet. In this post I'm going to try and explain what I think are the reasons behind that.

I'm putting aside the fact that she was designed later, because that's something that's rather obvious. I'm looking at the stuff under the hood now, and I think the main cause is this:

The Holy Quintet by itself already forms a clear and concise group design-wise.

The Holy Quintet is an expertly designed group, because they still maintain their sense of individuality when viewed alone. Remember, the first instance that had all of these five work together on the big screen was Rebellion, not even the main series. This meant that a lot of the time, we were seeing these five girls on their own, not as a group. And yet their designs also work well when viewed as a group.

Each girl has a certain set theme and a certain color that their costume heavily features. Their designs do a good job of conveying their personality, since it is heavily implied that in this universe, one's own magical outfit is basically what you think you'd look badass in.

Madoka herself incorporates elements of the traditional magical girl and fairy themes, and her main color is pink. Despite that, she also incorporates flowers (i.e red rose on her bow, because deep red roses were often symbolic of the wounds of Christ, and the cherry blossom on her skirt because of her death/rebirth symbolism) in her design in a much more subtle manner. Her weapon being a bow and arrow meanwhile points towards her tendency to see herself as plain (as a bow and arrow tend to be plain weapons) and at the same time, her determination that works behind the scenes. In the end, Madoka's outfit shows her personality that's kind, gentle, but still very determined and knowing what she wants in the end.

Sayaka's outfit balances themes of girly romance, music, and the knight in shining armor, and her main color is blue. Out of everyone in the Quintet, her outfit shows the most skin. I believe that this is on purpose for multiple reasons - one being that her wish was intended to be a step on her journey to receive the love of a boy. That aside, while she has a knight theme (with a heroic cape and all), she's also still very fond of things like love and music, so some sense of stereotypical girliness is also translated into the ruffles and the collar. Her weapon is of course a cutlass, one that wouldn't be out of place within a pirate setting, and one that hints at the stereotype of the hero always being the one with the sword. Sayaka's outfit, when everything comes together, conveys the image of someone with heroic ideals driven by their ideas of love and romance.

Mami's outfit has themes of the German dirndl and the huntress, while also at the same time being her image of a proper lady, and her main color is yellow. It's not the screaming, fluorescent kind of yellow, but the soothing, soft yellow we often associate flowers with. That said, she also has flower themes to encapsulate her 'proper lady' image. (That's also why she has those ojou ringlets - it's what a girl's idea of a fancy lady would look like, and Mami's whole thing is that she's a young teen who has a facade of maturity). Her rifles are typically single-shot and her ribbons bind, tie herself and others to the life of a Puella Magi, something that really has no reward. Also, because ribbons typically wrap gifts, and she thought she was getting a gift when wishing. Mami's outfit displays that sense of maturity she wants others to see, and the effectiveness of a marksman who never misses (hey...).

Kyouko's outfit incorporates both pirate-y elements and hints to her religious background, and her main color is red. I mean, the symbol of her father's church is literally what holds her Soul Gem in it. Aside from that, Kyouko's outfit is by far the simplest so to say, but there's clearly gone thought in it. The way it flares out at the bottom allows for both the only ruffles she has to show and prevents the coat from being too long so that she can still move freely in it. Her own weapon being a spear gives her great flexibility (as it allows one to fight while still keeping a distance from your opponent) and her personal magic being confusion (cloning is a good way to confuse others) with some added barriers stems from her wish. The entire package translates to an outlaw image, from someone who does what they want regardless of what others may think, but at the same time also hints to their hidden trauma.

Homura, finally, is a very curious example of a school uniform with dull, mourning colors, a very subtle theme of time and a main color that's purple. Her own outfit isn't all that different from her school uniform, hinting at that school was the only place where she formed a meaningful connection, and its dull colors much reflect the mourning situation she was in when she made her wish. It conveys this sense of cold calmness that surrounds her for much of the main series, including her shield. A shield can be used to protect oneself and or others, and one can say that her main aim is to protect someone else, rendering herself useless when that goal is gone. She has also protected, hidden much of herself away in that entire process.

And then I look at Mabayu.

(edit is in the other post on my blog by the way).

This outfit conveys one thing: movies! What else? Movies! What's her personality? That she's a cinephile, of course!

Color-wise, her outfit's main color is purple, and her Soul Gem and eyes are too (indicating that that's what her main color is supposed to be), but her hair is bright green with a yellowish tint. In my personal opinion, green and purple don't tend to fit well with eachother. I'm not sure what it is, but...it's not good on my eyes. It also happened with the collaboration Senjougahara. I'm not immediately saying that her hair should be purple, as I'm not too fond of the hair's design having to fit within her movie theme either, as I doubt it'd bring a meaningful change, but it being this yellowy green color doesn't work for me. It's just a part of a whole that doesn't exactly click in my head. None of the other five girls had their hair clash with their main color, which is I think one of the reasons Mabayu sticks out.

Fanservice is another element that I want to mention. None of the main five have a cut like this in their skirts, and while Sayaka is the one showing the most skin, I believe that the way her outfit shows skin has a purpose within the whole of it. Mabayu's skirt cuts like this:

Which is. A thing.

That aside...we don't really know much about this girl aside from that she loves movies (golly gee who'd have guessed) yet. The Holy Quintet have established personalities that we've got to know and love for years now. Mabayu is a newcomer from we are supposed to believe that she was somehow the missing puzzle piece. The missing puzzle piece that was never mentioned anywhere in any kind of media work before, never present in any kind of history we've been shown like The Different Story, or anywhere hinted towards even existing. We have to believe that she was somehow cut away from it. The role she originally played in all of this? I don't know. My best guess is that the way she cuts things with her weapon and the way her stupid skirt is cut hints at her being cut out, but that's a weak connection in itself.

Speaking of her weapon...all five girls use traditional, old-fashioned weapons. Mabayu uses a cut-in-half scissor that is normally used to cut movie reels with, repurposed as a weapon. It being cut in half is I think also meant to convey that she was somehow 'cut' from the Holy Quintet. Which I still have a hard time believing. It's like an idea a particularly wannabe fan would come up with, by inserting their own OC into the main gang.

And I'm not quite sold on the idea of her being the OG Witch that became Walpy. Yet. Partially because I think that the OG magical girl behind Walpy deserves a better design.

#magia record

[allhallowsthemepark]

All Hallows - County Drakul

At last we come to All Hallows's final themed area (for now). County Drakul is actually the largest part of the park by area, much of it to accommodate the massive Gothic castle and associated ride at the back. The bulk of the space takes the form of an Old European village in a non-specific time period, with design elements spanning from the Middle Ages all the way up through the Victorian era. The streets are cobbled, the buildings mostly half-timber construction, and once off the main walkway the area seems to consist entirely of narrow, winding dead-end alleys. Sharp-eyed guests may notice strings of garlic hanging in the upper-story windows, holy symbols scratched on the shutters, and other evidences that the townsfolk have something to fear at night.

Besides the castle, prominent locations in County Drakul include a small rundown cathedral, a pub, and the town square with its ornate fountain featuring statuary of angels and demons. The area music loop consists of spooky classical pieces, orchestral music from appropriately Gothic horror film scores, and similar.

Characters

The people of County Drakul are suspicious of outsiders and fearful of the creatures of the night—don't expect to get to know any of them. The only named character of significance is of course The Count himself, who appears in portraits and on posters around the town, and on the Castle Drakul ride in animatronic form, but not as a walkaround character. However, you may encounter some of his courtiers at night. It is unwise to approach them for photos without plenty of witnesses around (and they might not show up in the photos anyway).

Attractions

The Grim Procession: A nightly performance in which black-robed people (monks? specters?) holding candles emerge from the cathedral, slowly march around the town square, take up positions around the fountain, and begin a low chant. They are answered by eerie wails from white-shrouded figures that emerge on the rooftops around the square. The spooky counterpoint continues for a few minutes until the apparent ghosts sink back out of sight, at which point the robed figures march around the square once more and then return to the cathedral. Direct explanations for what just happened are not forthcoming.

2. Danse Macabre: The cathedral is the theatre for this grim but lively show, in which the interior crypts open up and the bones of the dead emerge to dance to the strains of the chapel organ. As the show progresses, the images of the saints—stone statues and stained-glass windows alike—also join in the romp.

3. Into the Catacombs: At the far side of the graveyard attached to the cathedral is a massive mausoleum housing County Drakul's maze attraction: a dismal house of the dead featuring skull-lined passageways, dripping water, shuddering sarcophagi, and other such gruesome sights and sounds.

4. Castle Drakul: The most elaborate ride in the entire park, bar none. It begins as a slow trackless dark ride through the corridors of the castle, but at the halfway point (in the grand ballroom) transitions into a mag-launched roller coaster as guests escape a horde of vampires after inadvertently interrupting their masquerade ball!

5. The Laboratory: A long-form dark ride celebrating the Gothic tradition of mad science. Bubbling beakers, crackling Tesla coils and strange creatures in chains are just some of the things you can expect to see as the ride builds toward its lighting-infused climax!

Shops and Eateries

6. The Wolf's Head: A pub-style restaurant facing onto the town square—low lighting, wood furnishings, and hearty food that doesn't skimp on the garlic.

7. Tomes of Mystery: A hole-in-the-wall bookshop focusing on classic Gothic lit in hardcover, including rare editions. Leather-bound blank journals are also available.

8. La Masquerade: County Drakul's costume shop features archetypes from Gothic literature (and its many film adaptations), elegant period costumes, and religious imagery. Specific examples include: angel, demon/devil, French court, gargoyle, ghost, Grim Reaper, mad scientist, nun, priest, skeleton, steampunk, vampire and Victorian. Individual costume pieces such as masquerade masks, velvet capes, and Goth jewelry are also part of the stock.

9. The Lord's Feast: Situated in a wing of the castle (but not sharing space with any part of the ride), this full table-service restaurant offers a menu of sumptuous food fit for nobility. Reservations for large-group catering can be made in advance.

Other

County Drakul has walkways connecting with both Goblin Woods and Ghoul City.

#all hallows #all hallows theme park #halloween #county drakul

[alternis]

I finished my Skylark costume design 🥳

this was meant to be for an AU, but with all the tentative post-Robin designs I figured I'd throw my hat in the ring by taking things a very different direction

more design notes under the cut

okay

i know blue is jacking the nightwing swag but Skylark having a sky blue theme just fits. there's more variation in the blues, and white accents to try and differentiate it

I didn't want to pull in too many elements directly from previous costumes. the two main references are: the contrasting soles/toes of his boots, as well as the above-knee accent, come from his current Robin costume; the chest accents and logo placement are from his red robin costumes.

the fingers of the gloves are highlighted white bc they can be used to access his tech and gadgets via gesture recognition/motion tracking. there's computer stuff in his gauntlets that work with them

the costume is a very dark navy rather than true black

the hood is because I was using an Arkham City video essay as background noise when I was drawing, and he has a hood in that game. I will not comment on any other aspect of his design in that game bc... choices were made.

anyway, a hood is useful for stealth and provides extra armour/insulation. realistically the hood lining would be black but I like contrast linings.

more broadly on the skylark persona: the name can invoke happier/more carefree vibes, with the bird symbolism (skylarks were used in music and poetry to represent joy, and escape from hardship)

the blue sky is often used to symbolise freedom whilst 'lark' is word used to mean joking around, which subconciously combines to give off the vibes of a more quippy, less broody persona

the logo is meant to be a stylised inverted sunrise/sunset but, also, looks like a single smiling eye

#tim drake #my art #Skylark au #a name too good to be stuck with a new 52 green arrow villain #the colours look different on my phone than when I was drawing it. but I'm hoping the Vibe comes across at least

[maelstroms-blog]

OK, so here are my thoughts on NATLA....

I'm a long time fan of the OG show, so much so, planning to gwt a tattoo of the element symbols which is why I was so hesitant to watch it

But I did....

SPOILERS UNDER CUT:

Firstly, Katara. They did my girl so dirty. She was the one to break Aang out of the iceberg by being, justifiably, angry at Sokka. She was also the one to bring Aang out of the avatar state at the air temple, with her declaration of friendship and the bond that would grow between them. I just feel like Netflix Katara is more of a background character. Maybe that will change? Who knows.

Next Sokka, one word, BLAND. Sorry netflix boy but u will never be him

But other than that, the characters so far were well casted. Looking at you, uncle Iroh-you dropped this king 👑

The costume design...Loved. its a perfect callback to the cartoon.

Atmosphere? Pretty good. I could definitely feel the unease whenever the fire nation sting played, just like in the original. The music was spot on. Leaves from the vine stabbed my heart everytime.

A lot of times the show had me smiling, I liked the extra moments between aang and gyatso, getting to know aangs sorta father figure, it reminded just how much aang lost at such a young age. And Lu Ten's funeral... crying 😭

Aangs actor does a pretty good job, he captured both Aangs goofiness and his burdens.

Finally, the bending. I have watched the OG show numerous times, pretended to be the avatar on the playground as a child, I have all the art books and watched the behind the scenes

And Netflix, I think you did a pretty good job. The effects do look a bit awkward in places but it was accurate and that was the most important part. Shout out to the battle between aang and zuko, it perfectly captured the goofy action of the OG.(also zuko getting attacked by a woman was show accurate)

Also, Cabbage merchant...need I say more?

Netflix avatar the last airbender I rate it 6.5/7 out of 10

It's miles better than the other adaption that did definitely did not happen. Hopefully it can bring more fans to the original.

[I'm sick of ppl thinking of the stupid blue thing when I say I love avatar]

ALSO, I WILL NOT FORGIVE SOKKA NOT WEARING THE KYOSHI WARRIOR OUTFIT

#avatar the legend of aang #netflix #natla #natla spoilers

[blackr23]

AHN JOOYOUNG

Stray Kids Felix x Louis Vuitton - Innocent charm that provokes

Felix from Stray Kids captivates with his multiple talents as a rapper, singer and dancer. She herself went to the Paris show and was inspired by Louis Vuitton's spring/summer women's collection.

BY HARPER'S BAZAAR JPRELEASE DATE: 02/2024/19

Stray Kids is an 8-member Korean boy group that continues to be active on the world stage and even went on a successful dome tour in Japan. Felix, a Korean-Australian member, has been a Louis Vuitton ambassador since last year. Regarding the shoot, in which she showed a variety of expressions each time she wore various looks, she said, "I was able to express a new self in front of the camera. I was able to express a new self in front of the camera." camera. I remembered the look and aura of the models, as well as how they dressed beautifully at the show." I wanted to match the feeling and photograph wearing the spring/summer collection with Zaho de Sagazan's music playing at the show. "I also wanted to show Nicola how great I looked," he says.

AHN JOOYOUNG

Vintage style codes are expressed in a sophisticated white sleeveless leather jacket. The harsh but soft elements echo Felix's innocent but strong humor. Jacket ¥918,500 (estimated price) Louis Vuitton

"When I saw photos of myself wearing clothes designed by Nicolas Ghesquière, I realized that I could express myself in this way. I was able to take wonderful photos of each outfit, so I love them all. To be honest, each one has a different personality and atmosphere , so it's difficult to choose just one outfit if you clearly like it. I think the appeal of Nicola's creations is that they are tough, but also express confidence. We are on stage. Many of the costumes and expressions that Wear are tough , but I feel like it has a different, cool vibe.”

AHN JOOYOUNG

Louis Vuitton's spring/summer collection combines the essence of Parisian fashion with vintage. The configuration accented with nostalgic jewel buttons invites you on a fashionable trip back in time. Jacket ¥898,700 (estimated price), Pants ¥356,400 (reference price), Shoes Reference product Louis Vuitton Recalling their first meeting, Félix says he felt a special connection with Nicola from the moment he met her.

"When I first met him at the after-party of a pre-fall show in Seoul, I was so happy when he said to me on the spot, 'I definitely want you to come to Isola Bella's next show.'" I always thought he was a cool person. nice, kind-hearted, big and wonderful, and from the moment we agreed to go to the show on the spot, we hit it off even though it was our first time. I look forward to seeing him again in the future. I definitely felt like there were a lot of opportunities

AHN JOOYOUNG

A knitted sweatshirt full of sports essence. A graphically updated initial branding makes a stylish statement on the chest. Top 486,200 yen (estimated price) Louis Vuitton That hunch of trust came true and they have built a mutually inspiring relationship.

"At the Spring/Summer 2024 show held last October, the looks on the runway were very cute and impressive. After the show ended, he was taking pictures with other celebrities and met me. As soon as our eyes met, He said, "Huh? Please come here quickly." I was touched by the way he called me so familiarly and made me realize that he cares about me, cares for me and takes care of me. We were taking pictures together and he said, "I'm happy to that you have come Let's keep wearing different clothes together. You are truly an inspiration to me." However, Nicola inspires me the most. I feel that I am confident wearing her clothes and I would like to express my gratitude to my fans for allowing me to show them my new look."

AHN JOOYOUNG

A fantastic all-in-one with a striped print and houndstooth ruffles, it is a symbol of this season, which has seen many soft materials and shapes. Felix's flexible way of dressing brings a new charm. Louis Vuitton all-in-one reference product Even when he steps off the stage and returns to his natural 23-year-old self, he says he still wears Louis Vuitton items.

"When I spend time casually, like when I go to dance practice, I like to wear a slightly thicker and more colorful parka in the winter. Lately, I like loose and baggy pants. Hop style fashion "Pairing it with a Louis Vuitton bag gives A very modern and modern look, and it is a fashion that suits the MZ generation. "I feel like I can complete my own natural style."

AHN JOOYOUNG

The presence of monograms attracts people in a timeless way. Arrange this iconic motif into a sleek top with a flowy silhouette to create a sleek new look. Add a fun monogram pattern to bucket-shaped bags and bulky sneakers. Both the top and the pants are reference products, bag ¥372,900 (reference price), belt ¥198,000, sneakers ¥204,600 (reference color) Louis Vuitton

Félix's translucent androgynous gaze that makes you feel even fragility, and his cavernous voice that makes the songs more addictive are essential accents for this group. There is no doubt that Stray Kids, who continue to increase STAY (fan name) with their rare self-production ability, will continue to make great strides around the world this year.

“Stray Kids would like to show our fans as many stages and performances as possible, as well as new looks, images, music, etc. Right now, we are preparing a lot, so we hope to have many STAYS. I would like to tell everyone that they are looking forward to it. Personally I have some goals. If it's something simple, I would like to continue making sweets that I started making again last November. Banana cake. It was the first time I tried it. , I gave it to many friends and they told me it was delicious, so I want to keep trying it. It was originally a hobby, but I'm looking forward to making delicious treats for the first time in a long time. "I want to send my warm heart to the people around me."

AHN JOOYOUNG

What would happen if Parisians took to the streets? A casual take on Parisian chic with jeans and a pop cap. A monogrammed shoulder bag is the perfect finishing touch to your street style. Top 468,600 yen, pants 225,500 yen (both expected prices), hat 81,400 yen, bag 621,500 yen Louis Vuitton

He says volunteer work is his goal, not only for this year, but for the future. In the past, Felix has provided regular support to the international aid organization Save the Children. As an idol with great influence, he is also known as a kind-hearted young man who focuses on charity works.

"I donated 100 million won to children in Laos, which is something I really wanted to do. I had many opportunities to do volunteer work in the past, but I was very busy. I didn't have much time. The first thing I could do was donate , but if I had time, I would like to volunteer and help children and people who really need help. I want to help people around me. I have received a lot of warm love from my fans, so I want to return that love. And "I want more people, not just those around me, to be loved and happy. Through volunteer work I hope to help those who need help and love."

Felix

He was born on September 15, 2000 in Australia. He made his debut as a member of Stray Kids in March 2018 with the mini album "I am NOT" and debuted in Japan in 2020. He will serve as an ambassador for Louis Vuitton starting in August 2023. Japan's first video work, “Stray Kids 2nd World Tour “MANIAC” ENCORE in JAPAN” is now on sale on Blu-ray.

Model: FELIX from STRAY KIDS Photos: AHN JOOYOUNG Styling: KWON HYEMI, SONG HYUNSOO Hair: TAK SEON A in LULU Makeup: KIM MOON HEE in LULU Production: LIKESTUDIO Text: MIKA HOSOYA

#lee felix yongbok #felix #lee yongbok #stray kids #louis vuitton #harspersbazaarkorea

[citrus-cactus]

So, I saw a ballet production of Dracula last weekend (original choreography by Michael Pink) and I HAVE THOUGHTS.

I should caveat that I have never read Dracula before doing Dracula Daily this year, nor have I seen any other adaptations, and these are just the things I remember! I might look up the official recording of the Milwaukee version later if it’s still available, just to see how they compare.

This is really just a summary of this particular production/my impressions, but it got really long. Also contains spoilers (for the ballet: definitely, for the end of the book: maybe?? I’m keeping that part vague on purpose!)

Overall though I thought it was really good, really MOVING, with high production value. Great sets and costumes, including smoke/pyrotechnics, lots of story, as well as great staging and choreography. Music was very modern: dissonant and amelodic, and contributed hugely to the discomfort and horror. I am SO GLAD that I was familiar with the story and characters beforehand though, it made it so much easier to understand and (I think) that much more enjoyable.

I am also going to state up front here that the final scene (Act 3, Scene 3) included an explosion effect that was extremely loud, bright, and sudden. We were warned that it would occur before the ballet started, but as it comes so late and is meant to be an interruption to the action on stage, it was still a rather unpleasant surprise when it happened. According to someone in my party who has seen this version before, “it’s always that loud,” so try to keep that in mind if you ever end up seeing it in person, because it was honestly not the best effect to unleash in a dark theater!

I also generally would not recommend this ballet for young kids (aka as fun seasonal theatrical experience akin to The Nutcracker). Obviously everyone is different, but Dracula is a horror story with some intense and mature imagery that just keeps escalating, so if you are thinking about bringing a child, please consider if this is something they would enjoy very carefully! I would personally rate it T for Teens.

Ok, thanks for making it through my disclaimers, now on with the show:

It starts with a prologue. Jonathan having a very foreshadowy nightmare that includes many of the elements we’re about to see. He and Mina (in a wedding veil!) weave in and out of some increasingly unsettling stuff. It gets worse and worse and he wakes up SCREAMING MINA’S NAME and she rushes in to comfort him. Our good friend Jonathan is having a mental breakdown before he even leaves on his very bad business trip, and in this version, we can’t even blame it on paprika hendl! JONATHAN T^T

ACT I

Act 1, Scene 1: Jonathan departs for Transylvania. It is established that the Harkers know Van Helsing at this point. Renfield is also there. Right before Jonathan leaves, Mina wraps a red scarf around his neck. I AM OBSESSED WITH THIS AS A COSTUME CHOICE. The foreshadowing! The symbolism!! JONATHAN!!!!! T^T

Scene 2 shows Jonathan arriving at the village as the villagers are conducting a protection ritual. Sticks are knocked together and laid on the ground in a cross shape. A dead wolf is brought in and paraded around on pikes. Jonathan watches passively; I can practically hear his thought processes at this point. He is given a cross to wear around his neck. He is brought to the castle by an imposing coachman. The Count appears wearing a very cool blood-red coat. They enter.

Act 1 Scene 3: Jonathan is shown to his room. He takes off his cross (Jonathan NOOOOO!) and is immediately visited by the Weird Sisters. This is actually a very cool bit of staging (one of them appears from INSIDE HIS BED!!). Drac intervenes when things start getting Too Sexy(/he’s about to lose his midnight snack) and distracts the ladies by throwing them a thing in a bloody bag.

And then. 

AND THEN!!!! 

TWO-MAN PAS DE DEUX. This is an incredible bit of ballet. Paraphrasing someone else’s description, it is an absolutely AMAZING distillation of what Jonathan goes through at the castle. And just as the Count is about to bite… the scene shifts, and Jonathan is home, as if waking up from another terrible nightmare, once again screaming for Mina. THIS IS THE END OF ACT ONE.

ACT TWO

Act 2 is all about Lucy!! Scene 1 shows us a party at the Grand Hotel in Whitby. Unfortunately, this was one of the weaker scenes from a clarity perspective. There were LOTS of people on stage, mostly couples, and since it’s a different occasion, everyone is wearing different clothes. The program said that Jonathan and Mina would both be there, and I kept wondering “is that them??” until they ACTUALLY appeared, and the only real “tell” from where I was sitting was that they were interacting with Van Helsing (though I think Jonathan briefly had a cane? I might be mistaken, but AAH T^T). Before that, I had been hoping the Harkers were the couple dressed all in black—that would have been another amazing costuming choice, but I suppose they don't have that much to mourn (yet…).

Lucy was also really hard to spot, and as someone in my party pointed out, Lucy and Mina probably should have had different hair colors to make them more visually distinct (it’s not like wigs were off the table; Dracula’s danseur was wearing one). Basically, it was VERY hard to tell who the main characters were in this scene unless you were already familiar with the book!

It is also worth noting at this point that there is no Dr. Seward in this version. They seem to have combined his character with Van Helsing’s, which is also a bit unfortunate, because I was looking forward to Lucy dancing with her three guys.

BUT!!!!! Lucy still had Arthur and Quincey, which is fantastic (an adaptation that actually has Quincey!!! He had fringe on his jacket and BRIEFLY wore a cowboy hat, but he left it at the coat-check and never got it back XD). Their relationship dynamic was obvious, and very true to the book. Lucy got to dance with each of them, and also BOTH AT THE SAME TIME (Pas De Trois… what a queen!). And all of the Drac attack pack are friends. I am LIVING!!!

…and then the Count shows up. Boo! His presence goes unnoticed by almost everyone at this party. Jonathan has a bit of a relapse (:C), and while most of the main cast is looking after him, time seems to slow down for everyone but Lucy and the Count. He enthralls her for a bit, and then bites her—IN PUBLIC WHILE NO ONE IS WATCHING—before leaving. And she tries to carry on and dance like nothing is wrong, but she collapses. LUCY!!!!!!!! T^T

Scene 2 summarizes Lucy’s “illness” and turning. Everyone is concerned about her. I should mention we have moved to the sanatorium at this point (which I guess is Van Helsing’s?), and there is a very cool two-level set with Renfield doing some amazing pantomime in his cell up top, and Lucy’s room on the bottom. Mina gets to be there with the one she loves with all the moods and tenses of the verb, and that is SO IMPORTANT.

Van Helsing lays garlic around Lucy’s neck and bed, and everyone leaves to let her rest. Then the night nurse enters and is so offended by the smell she removes the garlic (nooooooo!). And then the Count comes again. First to Renfield, and then we DO get a little lizard fashion(/bat fashion) as he slithers down the set to Lucy’s bed (this was an amazing bit of athleticism, but there were stairs RIGHT THERE Drac, why do you have to be so extra?? XD). They dance some more, he bites her again, and then disappears, crawling backwards into the mist and shadows. 

Everyone comes back, wondering what happened, but now Lucy is dying. She says her goodbyes to everyone (including Mina!!!!) and goes still. And then we get to see her ballerina execute an INCREDIBLE change in character as she becomes undead. And the Bloofer Lady escapes, crawling backwards into the shadows, in the exact same manner as the Count (lizard fashion Lucy!!). END OF ACT 2.

ACT THREE

Act 3 focuses on Mina. It starts with her in the Harkers’ bedroom at the sanatorium. She’s writing by herself, then falls asleep, and has a dream about Lucy (yes, really!). It’s more of a vision than a dream, in which she sees vampire!Lucy in her (now blood-stained) dress lure a child away into the night. It’s so good and creepy!! And then Mina wakes up. VH is there briefly, and then Renfield starts acting up. He escapes from his cell and attacks VH (miming licking VH's blood off the floor in a VERY recognizable moment!), and some orderlies subdue him and put him in a straightjacket. After VH leaves, Mina is sympathetic towards him, and they actually dance a pas de deux together (!!), which is both amazing and tragic because Renfield’s arms are bound :(

Scene 2 sees “the men” coming back, getting ready to hunt some vampires. If I remember correctly, VH tells Quincey to put his gun away, and gives him a cross instead (tragically, Drac is not shot at by a cowboy nor stabbed by a solicitor in this version). The Suitor Squad and VH leave for the evening.

Jonathan is exhausted. He takes all the pillows for himself (no offense to the ballet, but Jonathan Harker from my emails WOULD NEVER in the bed he shares with his wife!!) and crashes for the night. And then it’s Count Time again. Mina tries to shake her husband awake several times, but it’s to no avail (T^T). Van Helsing et al. burst into the Harkers’ room just as Mina is being forced to drink the Count’s blood, and he steals her and flees into the night.

Scene 3 is the hunt, and since that’s where we are in the book, I won’t go into too much detail (though I’m quite sure the ballet is taking some massive liberties at this point). Here’s what I will say about it: It takes place in the ruins of Carfax Abbey. There is a SURPRISE CHOIR IN THE ORCHESTRA PIT. Renfield dies by the Count’s hand. The Count dies by the polycule’s hand (I don’t think it’s a spoiler to say that!!). But also, a character who I will not name dies by the Count’s hand. If this happens in the book, I will be DISTRAUGHT.

Amazingly, the Bloofer Lady is NOT shown to be killed. She just… disappears? Mr. Pink, can we get a sequel about her? Please?? :D

Genuinely, though, the ending was gutting, and I mean that in a good way. It’s the same sort of gutting as the novel has been thus far, showing these characters changed by the horrors they’ve been forced to face and the implication that they will never be the same as a result.

Final takeaway: I really liked it, though it may not be for everyone. The unique partnering in each act (Jonathan/Count, Lucy/Suitors, and Mina/Renfield) were the dance highlights for me, and I absolutely recommend it, if (like me) you’ve been following along with Dracula Daily and/or enjoy seeing the occasional contemporary ballet!

#dracula daily #ballet #dance #centennial state #the cactus speaks

[hanzaikyou]

Picaresque Seven - A Review

So. I ended up watching Picaresque Seven last night (as I had been intending to do for a solid few months now). I was enticed by the lure of one Shogo Suzuki, and found myself an emotional rollercoaster; honestly quite perfect, considering my headspace at the time of watching. 

It was also quite cool to see Hosogai Kei in a stage, something I hadn’t actually seen before now. He’s a captivating actor, and I may need to find out if he was in anything else. 

The costuming was astounding. Every character, everything was over-the-top and eyecatching. The changing costumes of certain characters, the symbolism of the colours, it worked so well. (I also may need to make myself Jack The Ripper’s outfit. She looked awesome). 

It was really interesting to see how the writers could incorporate so many elements and references, yet still maintain a cohesive (if a little crazy) storyline. Shakespeare is referenced in at least two character groups, those being Macbeth (and the Witches) and King Richard the Third. Alongside them, there are several historical figures, in Oda Nobunaga and Jack the Ripper, and other classic literature characters with Peter Pan (and Captain Hook) and the Phantom of the Opera. It makes for a lively cast of characters, with a lot of big personalities and conflicting character motivations. 

I will continue this in the readmore, as I wish to discuss a few things with spoilers, particularly surrounding Shogo’s Macbeth, so if you’re good with those feel free to read on. If not, you may stop here, but do consider watching it if you’ve the chance; it is so, so worth it. 

If you wish to find it, the video can be found through the lovely furyposting, and subtitles have been made by the amazing aoihono96. I must thank them both profusely for enabling me to watch this absolute treasure of a musical. 

Now on to my ranting. 

Unsurprisingly, Shogo Suzuki’s Macbeth was by far my favourite character. For one thing, this man plays unstable and dangerous very, very well, and this character does a good job of embodying that. (On another more personal level, seeing the man who played William-Shakespeare-Nerd-Moriarty play a Shakespeare character was just a lot of fun.)

But beyond all that, I just really enjoyed his character arcs, seeing him unravel his trauma. Watching him go from this seemingly hard shell with an unshakable resolve and no issues taking down anyone in his way to a broken man having achieved his goal and trying to face what he’d done to get there, from not caring at all about his life to that final damn line, it was a journey and I’m glad I got to watch it. This boy broke my heart twice. 

The arc between Macbeth and Jack, then, was an interesting one to follow. These two aren’t good for each other. They make each other so much worse. Their beginning was... rocky, I think I’ll say (certain heavily implied acts are definitively not consensual), and yeah there’s probably problems with it. But the writing of it was so interesting from a character building perspective, the storyline of two horrendously flawed individuals that ended the only way it could, in tragedy, it was just so damn facinating to follow. Also their final big interaction was just so raw. Like:

“Don’t love me, I’m a scoundrel!”  “I’ll be waiting for you in Hell.”

It just hits so hard. And all of that after such an emotionally charged fight scene between two individuals that... god they were so messed up. I need fics for them. If there are none, I’ll make them. 

And then that ending. God, that ending. 

“It’s frustrating. I wanted to live together with him.”

This from the man who’s been basically wanting to die from the first moment he stepped on the stage, who is facing death for real, who has finally found himself a reason to live. I have no issues admitting that I bawled my damn eyes out. Pretty sure Shogo himself bawled his eyes out when watching it back too, if what I’ve seen of the cast commentary is to be believed. 

Anyway. I loved this thing, I’ll probably be being a menace on the tl about it for the next week or two, feel free to join me. 

Also the AO3 tag for the series will be made in the next couple days, bet. 

#postsofcrime #picaresque seven #musical reviews #suzuki shogo

[witchesoz]

Fashion in Oz: the Good Witches (3)

To end this look into MGM's Glinda and her heritage, we need to stop by the recent "Oz: The Great and Powerful", aka the unofficial MGM sequel done by Disney. An interesting take here because here Disney didn't try to recreate the MGM design as closely as they can while still making it different enough to not be sued (like they did with the Wicked Witch of the West). Here they decided to reinvent the design of Glinda, to have their own thing, very different from the MGM version. Gone is the puffy, pink, shiny princess dress - now we have a simpler, body-fitting, white dress (not a nod to the original Oz books I think, here they just delved into the "white is good while black is bad" dichotomy), more fitting for a "serious" (cough cough) and action-focused (cough cough) story. Its still quite silvery in design though, mixed with the white (the sleeves in particular are very silvery). The hair is now straight and blond - I do believe that they made Glinda blond as a nod to the "Wicked" incarnation of Glinda/Galinda. The crown is still here, but now turned into a regular-size tiara, of a dim golden color - and a very distinct "Art Deco" feeling to it. (It does make sense as in "Oz the Great and Powerful", there is a strong presence of the Roaring Twenties aesthetic in Oz, such as Evanora's outfits which are clearly 1920s party outfit-inspired). Also very interesting is that the linear and angular pattern on the diadem, beyond just being Art Deco, also evokes the idea of light, rays of light - which is one of Glinda's symbolic elements here. No stars here, but feathers - feathers on the... how do you call that? Bodice? *Google checks* Yes bodice. So feathers on the bodice and shoulders (the other dress of Glinda in the movie also has feathers on it, so it is a recurring thing in Glinda's design). The feathers represent two things here - on one side, it does point out how Glinda's magic is tied to "celestial" and "aerial" elements (bubbles, mist, light...), but it also is here to present her as opposed to Evanora, who also has feathers in her design, but black ones. Another interesting detail I noticed - while MGM's Glinda went for a "fairy princess" aesthetic, and subtly introduced a fairy imagery ; here, we actually have an angel subtext. I mean consider it... a blond woman dressed in white, with feathers and a "crown of light"? That's a very "angelic" design right there

I actually forgot one last "MGM-Glinda" incarnation, that must be talked about: the Glinda from the 2011 musical "The Wizard of Oz", adapted from the MGM movie, the Andrew Lloyd Webber musical. I had the chance to find an extremey high-def picture of Glinda's costume for the original incarnation of the musical. As you can see we have another heavy reinvention of Glinda's design. While there is still a large and ample dress, gone are the pink thrills and puffy sleeves - we have a sleeker, shoulder-revealing dress that doesn't have a star pattern on it, but is still covered in littel glistening crystals shining under the light. The great staff is still here, with a stylized star at the top, and now Glinda's color palette is mostly a deep blue - in the show, it makes her match with the almost all-blue environment of the Munchkin (because despite being based on the MGM movie, the show's crew decided to add some elements of the book, including the all-blue Munchkins). We'll probably talk about the "blueness" of the good witches at a later point, with the Wiz. And no crown here, but rather a strange, pointy-beehive of blue hair swirling on its own. A specific hairstyle that, as you note, is also shared by the Wicked Witch of the West - here we have a double symbolism, as the hairstyle is meant to evoke a tornado, while also imitating the idea of a pointy witch hat (similar to for example Mary Sanderson' hairstyle in Hocus Pocus). And in the hair you might notice similar glistening crystals to the one on Glinda's dress. In fact, the "Good Witch of the North" having little shining white crystals all over her blue or dark-blue outfit seems to clearly evoke a starry night sky. Interesting fact: You can find behind-the-scenes videos of Emily Tierney (Glinda actress) putting the wig, makeup and cristals to "transform" in Glinda. It is in three parts. Part 1: https://www.youtube.com/watch?v=m55oMUoen2Y Part 2:  https://www.youtube.com/watch?v=wgzXArXaN6o Part 3: https://www.youtube.com/watch?v=sw4tWnD_dK8

#fashion in oz #good witch of the north #wizard of oz #glinda #land of oz #good witch of the south #oz the great and powerful #costume #the mgm musical