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#about duchess
munsonsduchess · 1 year
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Hi I’m duchess I’m 33 and I don’t have a fucking clue what’s going on. In general. Ever.
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raphaerolo · 4 months
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They <3
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mercysong-tardis · 6 months
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Deleted TCW scene. You KNOW Satine would visit Corosaunt during the summer for the view.
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koldusek · 2 months
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The Duchess of the North
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capn-twitchery · 3 months
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oh my god. was looking through the Dog Documents to find a name for grace's retired bloodhound
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duchess of ripple
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autumnwoodsdreamer · 6 months
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Boba Fett 🤝 Sabine Wren 🤝 Din Djarin
Going through an unbelievably traumatic past, losing your family, getting cast out, throwing yourself into bounty hunting, but ultimately finding a new family and choosing to be good and kind despite everything
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princesscatherineblog · 9 months
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HRH Catherine, Princess of Wales
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rxnefairs · 9 months
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Eve Best in Theatre x Polaroid Movie Posters
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emry-stars-art · 10 months
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I hate drake so much i hope he dies a painful death in your royal AU 😡
Fairly certain this is gonna be a common agreement yes
Honestly in one version of events I just imagine Drake making a stupid mistake in a battle or border dispute and getting himself killed like a coward or an idiot because he is both of those things
In ANOTHER version I was talking about with @jtl-fics and @paradoxolotl we can make it as dramatic as we want ✨
And honestly I’ve been meaning to write it! I even started writing it, but as I went I realized it has the potential to get wayyy out of hand by way of scenes (in that it would become several scenes bc there’s so much to cover) so instead of waiting to be fully finished, I am going to give us all an early sparknotes or summary of events
What I DID write all the way was what might happen when Abram and the prince run into Spear at a ball/event: here.
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(⬆️POV you are a very stupid baron and you’ve just made your very last mistake)
Find the royal au writing masterpost here 💕
After all that (the snippet) goes down, Spear is probably very angry. How dare the prince act so ungrateful to his family, how dare he be threatened by the Evermore mutt, and how dare he be publicly embarrassed like that. He’s too proud to even go fume about it on his own. He’s always had people and things to take his anger out on. So he reverts back to what he knows.
No one in the castle stops him on his search of the halls. They all recognize the Spear family - of course the Spears visited often, at least before, and often enough to send their prince to live with them. The twins and anyone else in the know about the prince’s time there are extremely private about it. The staff that see Spear have no reason to think anything of his presence at all.
But Abram is still standing watch at Andrew’s door, and he doesn’t seem about to leave. Spear likely thinks it doesn’t matter much - the brat is small and unassuming except for those nasty scars. Abram even gets distracted by a small crash coming from the direction of the stairs, wandering a little way down to see.
It should have been obvious not to underestimate an official royal bodyguard. Spear hasn’t even touched the door before Abram is there, pinning an arm behind his back as something sharp again presses to Spear’s jacket. The surprise knocks Spear against the prince’s door before Abram pulls him up and back a few steps.
Andrew does answer. Likely he thought it was Abram knocking, but as soon as he sees Spear he freezes. Spear doesn’t even have time to revel in the fear he caused - Abram uses all his weight to swing Spear around and shove him hard against the far wall. What Spear vainly thought was an empty threat before feels suddenly much more real, the way Abram doesn’t try to be at all gentle or careful. The blade is biting into Spear’s clothes.
And Spear is angry. The Evermore filth on him, the gall to treat Spear like this when Spear should be allowed to trample this brat under his horse. The brat thinking he had any say over the Palmetto prince.
He snarls, “Andrew, control your dog!”
And he doesn’t see it, but that snaps a little of Andrew’s panic. The only thing more potent than Andrew’s memories is his white hot anger at Abram’s, and even though Abram doesn’t react, Andrew absolutely refuses to let that slide.
Spear hears, “Dont let him touch you,” and then he’s released. Finally, he can get a little justice for this treatment. He turns and raises a hand to strike Abram.
Abram takes off his hand as he swings.
Andrew gets full oversight on Spear’s punishment. They have him convicted of untoward behavior, trespassing, and then Andrew allows ‘attempted destruction or harm of royal property’ only when he’s told it adds heavy consequence.
Really, it doesn’t matter all that much. Everyone in that room for the proceedings knows why he’s really there, and maybe those three charges wouldn’t always add up to a death sentence, but Aaron has been waiting for this chance. He adds ‘intention of treason’ to the trespassing charge and tells Andrew to do what he will.
Andrew doesn’t let Abram near it when they carry out the sentence. He does go through with some of his plans for Drake - he won’t ever make Drake pay 1:1 for what he’s done, but the magnitude would have been similar, had they gotten that far. They don’t, though. Andrew is doing just fine watching the proceedings, letting it pass through his eyes and ears and only be remembered when he really wanted. He had been sure he wanted this, he’d been sure it would be satisfying and cathartic. But he wasn’t feeling those things as much as he should have been.
Part of the punishment for treason is flogging. Andrew sees the strikes fall and it looks vaguely familiar. He’s seen those wounds and scars before. And suddenly it comes to him all at once; he doesn’t want to be here. He doesn’t want to watch this. He just wants Drake dead. He wants Abram.
So he moves for the first time in several minutes.
“Enough. I’m finished.”
Aaron gives him a look but gestures to the soldiers or whoever else. Andrew stands and goes to leave and there’s a scuffle behind him, yells and pounding feet. Something unsheathed and then a heavy, sickening thud. Maybe even a cut off scream.
Even then he doesn’t turn around. He can’t make himself. Spear had charged him, he understands distantly. He doesn’t know who was just struck, but the only person that should have been so close to him was his brother.
He whispers, “…Aaron?”
“Go, Andrew,” Aaron says quietly, and Andrew finally breathes again. “Abram is waiting.”
So Andrew does go, and he spends a long time holding Abram, assuring himself that Abram is there in one piece and isn’t being harmed, Drake is no longer there and can’t harm anyone else. Maybe this is far enough in that Andrew can even let himself be held, too. So he does find the catharsis and satisfaction, but not in watching Drake suffer. Just in the fact that Abram allows him close enough to hold, to play with his hair, to fall asleep there curled up in the middle of his bed. Unused mattress to every side and no space between them.
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ahaura · 10 months
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Seth Dickinson The Monster Baru Cormorant
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harry-sussex · 1 month
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It is unbelievably bizarre to do a faux royal tour to a Commonwealth country 4 years after leaving the royal family while all this time claiming that you were not interested in participating in the institution. You live, breathe, and die by the notion that you want to never be associated with the institution again while simultaneously replicating the work you would have been doing regardless - where you would have had 100000x the resources, publicity, reach, and impact at your disposal if you hadn’t left. People don’t care what you’re doing anymore because you gave up your relevance and ability to draw attention to your causes globally the second you walked out the door. Imagine how impactful that tour would have been if you were still royals, with The Princess of Wales on indefinite critical medical leave and the King just returning. You couldn’t procure a hundredth of that impact now, no matter how hard you tried. Your causes deserve the world’s attention but you can’t grant them that benefit anymore, plain and simple. I’m sure you have wonderful intentions and hope to have the largest impact possible but the reality is that you won’t because you threw that away. I hope it’s a success but this is so unrealistic at nobody’s fault but your own. It’s in or out, you can’t do it halfway - and you should have learned that the second you were told that there is no middle ground more than 4 years ago. If you miss it, fine, but that’s your cross to bear. It’s so clear that you still think about coming home and going back in time sometimes. There used to be an open door for you to come home, Henry Charles, but it’s all but closed and you have nobody to blame but yourself. It didn’t have to be this way - you made it this way. Nobody - not even my Harry - could convince me otherwise. Never should’ve left and I will stand by that until the day I die. Breaks my heart into pieces whenever I think about it - I hate it so much. It never had to be this way - it’s ruined forever and you have only yourselves to blame.
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anghraine · 2 months
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dontstandmedown replied to this post:
re:tags could you share the playwright you're talking about? :0
No problem! For others, the tags in question are this:
#thinking about this partly because the softer & gentler versions of fanfic discourse keep crossing my dash #and partly because i've written like 30 pages about a playwright i adore who was just not very good at 'original fiction' as we'd define it #both his major works are ... glorified rpf in our context but splendid tragedies in his #and the idea of categorizing /anything/ in that era by originality of conception rather than comedy/tragedy/etc would be buckwild
I am always delighted to share the good news of John Webster! If you're not familiar with him, he was an early seventeenth-century English playwright known for being a slow, painstaking, but reliable writer. He did various collaborations with other playwrights (and acknowledges a bunch of his peers in an author's note to The White Devil, including Jonson and Shakespeare) and wrote some middling plays in various genres that could be more or less termed "original fiction," but he's remembered for two brilliant, bloody tragedies.
The basic premises/plots of both of these were essentially ripped from the headlines of the previous century, and Webster makes zero attempt to conceal that fact.
I couldn't shut up about my guy so more under a cut!
The White Devil is based on the actual murder of Vittoria Accoramboni in the late sixteenth century and the characters in the play are generally given the same or similar names as the real life people in the story as known at the time, so there's no attempt to conceal the play's origins (the anti-heroine/villain???[debatable] is named Vittoria Corombona in the play, for instance).
The original production of The White Devil largely failed, which Webster blamed mainly on bad weather and an audience who just didn't get his ~vision and what he was trying to do. It would not be unsurprising for a contemporary audience to struggle with it given that it's a complicated play in which, among other things, Vittoria is put on trial and rhetorically shreds the underlying misogyny of the entire legal process.
The Duchess of Malfi, generally considered a still greater achievement, is based directly on the murder of Giovanna d'Aragona, Duchess of Amalfi by her brothers (it was presumed, likely correctly). Lope de Vega also wrote a play about this tragedy not long before Webster did, though the plays are very different and it's unlikely that Webster would have had the time or linguistic knowledge necessary to read Lope's version. Probably part of the reason for the differences between Lope's and Webster's takes is that Lope had to be careful about the reception by the Catholic Church given that one of the murderers was a cardinal, while obviously an English Protestant like Webster could say whatever he wanted about eeeeevil cardinals.
Webster takes a lot of artistic license, a normal approach at the time to adapting previously-established narratives, but the source material is very recognizable. One of the commendatory verses at the beginning of the play (blurbs in poetic form from other playwrights) is like "I'm sure the real duchess was cool but she couldn't be as cool as Webster's heroine, wow <3". (One of the other commendations is by another fave of mine, John Ford.)
Bosola, the historically mysterious minion of the Duchess's murderous brothers (=Bozolo in the historical narrative) gets an elaborate quasi-redemption arc in the play. And the play is extremely critical of various characters' obsession with and attempts to control the Duchess's sexual behavior (a fixation that is often extremely normalized in early modern British drama, but which comes off really badly here).
Ultimately this obsessiveness leads to her brothers, the Cardinal (=the historical Cardinal Luigi d'Aragona) and Ferdinand (=Carlo d'Aragona) orchestrating her torment and murder in which she emerges with her sanity and integrity intact and dies with dignity. Meanwhile, the Cardinal is exposed as a remorseless villain (he proceeds to murder his mistress with a Bible) and Ferdinand's already-shaky sanity snaps under the realization of what he's done.
Webster's Duchess is often considered the first real female tragic hero in British drama—the tragic is especially significant because tragedy was typically considered a higher art form than comedy and the truly great female characters from that era of drama are often restricted to comedies or secondary roles in tragedy (a marked trend in Shakespeare, for instance). The Duchess in the play is virtuous, strong-willed, witty, and fairly unabashedly sexual in the context of the time, a concept that several hundred years of critics have struggled with. (My favorite OTT complaint is from Martin Sampson, an early 20th century critic who lamented the conspicuous absence of a "strong active man, following righteous things" in Webster's work, to which I say l m a o.)
Anyway, among scholars of early modern British drama, Webster is often considered second only to Shakespeare as a tragedian, on the basis of those two plays. And the modern obsession w/ originality and novelty makes this kind of fascinating, given that his "original" work (in our sense—again, the original vs fanfic dichotomy was not a thing in that cultural context) is sort of meh but his work with pre-existing sources turns them into these staggering dramatic achievements.
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doctorsiren · 1 year
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Satine looks like Skyler White and that’s all I will say
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moonypears-blog · 2 months
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Cedric: What's going on?
Tilly, sat on the couch knitting knitting needles with yarn: Miranda's working late, the twins are in the ball room, and Sofia's in her room hating the world.
Cedric: What's wrong with Sofia?
Tilly: My guess is a boy, and I hope you like this song because it's in heavy rotation.
Cedric: I'll go talk to her.
Tilly: That's not a good idea.
Cedric: Mm, Sofia and I kind of have a father daughter thing.
Tilly: Maybe you and cute little Sofia but this is pre-teen angry Sofia. You haven't met her yet.
Cedric, walking to Sofia's room: I got this.
Tilly: Dumb and confident. My favourite combination.
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coincasual · 1 year
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when duchess and raven first meet… i can’t help but feel she’s jealous of raven.. even though they both have happily Never afters, at least raven gets to rage.
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world-of-wales · 8 months
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NATIONAL POETRY DAY × CATHERINE ♡
On occasion of National Poetry Day, some Year 8 students of Hymers College composed poems to commemorate The Princess of Wales's visit to the school || 5 OCTOBER 2023
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