#camille and pavone

[lamarchesacasati]

Giovanni Boldini, La Marchesa Luisa Casati con penne di pavone (Portrait of the Marquise). 1911-1913

Galleria Nazionale d'Arte Moderna e Contemporanea.

"The Marquise Casati had diamond shoes, dyed her hair green, frequented the greatest artists, took every drug possible, organized spectacular balls, loved a boa constrictor, made headlines and lived at the Ritz... An original Italian of the early twentieth century, Luisa Casati squandered her fortune on villas and munificent castles (such as the Palais Rose at Le Vésinet near Paris), eccentric outfits, and portraits. Becoming the woman most represented by the artists of her time: from Van Dongen to Man Ray via Picasso who designed her a ball gown... Dead ruined, she remains a style icon with her iconic red mane inspiring Sonia Rykiel, the Chanel Cruise 2010 or Dior 1998 collections... The young novelist Camille de Peretti is now following in the footsteps of this eccentric and patron of the arts. Comparing in a funny mise en abime the life of the expensive marquise friend of artists and her own experience as a painter's ex-wife without the money. Through seven of his portraits, Camille de Peretti recounts the encounter between the Casati and the artists of his time. (x)

#Giovanni Boldini #painting #portrait #1911 #marchesa luisa casati #boldini #la marcehsa casati #la marchesa luisa casati #luisa casati #luisa amman #Luisa Casati Stampa di Soncino #marquise casati #marquise #marchesa #marchesa casati #Marchesa Casati Stampa #Marchesa Luisa Casati. #the marquise #Marquise luisa casati #art

[insanitysscribblings]

I don't know if you'll answer or not, but Camille's relationship with Pavone was really interesting to me. Will you be expanding that or leave it as be?

No spoilers. ;)

#reyna replies #raymiazaki #miraculous ladybug fanfic #back to us #camille and pavone

[krenenbaker]

Songs I would show the Ghosts

These are all songs from my Spotify likes that I think the ghosts of Button House would enjoy, with 6 songs for each ghost. I made a playlist of the songs here, if you want to listen along! :)

(Also note: this is for the main group of ghosts, so none of the plague ghosts or Jemima are included - I just don't think we know enough about them!

Robin

Robin would listen to music based on ~vibes~, and he would also like songs about things he finds personally important. He would probably like some folk and rock songs, as well as a smattering of other genres if the energy is right.

Bad Moon Rising - Creedence Clearwater Revival

Space is Cool - Markiplier and The Gregory Brothers

Sole Survivor - Blue Öyster Cult

The Joker - Steve Miller Band

Things That Make it Warm - Cavetown

You Make Loving Fun - Fleetwood Mac

Humphrey

Humphrey's taste in music seems as though it would be a little eclectic: he would probably like music that either is good for listening, or good for singing along (which I imagine he would really like doing!). I also think he would like songs that have a longer duration more than some of the others.

Goodbye and Hello - Tim Buckley

Comfortably Numb - Pink Floyd

Pneuma - TOOL

Goodbye Yellow Brick Road - Elton John

Poison and Wine - The Civil Wars

Joy to the World - Three Dog Night

Mary

Mary would like some somewhat weird music, and also songs with lyrics she finds relatable. I don't think she would stick to one specific genre or artist, but I feel that a lot of indie artists would make music Mary would like :)

Viva la Pappa col Pomodoro - Rita Pavone

Locket - Crumb

strawberries - Honeyuck

Green - Kera and the Lesbians

Ready Now - dodie

Dante's Prayer - Lorena McKennitt

Kitty

We've already had a little taste of the music that Kitty likes, but she would LOVE super upbeat pop music, and she would probably adore Taylor Swift's entire discography. She also is canonically a huge musical theatre fan!

space girl - Frances Forever

Girlfriend - Icona Pop

You Can't Stop the Beat - Hairspray soundtrack

My Favourite Things - Julie Andrews

Fearless - Taylor Swift

Love Story - Taylor Swift

Thomas

Like Kitty, we have had a small taste of what Thomas' taste in music is. However, I also think he would really like other dramatic and/or romantic music, including pop punk / emo music.

There's a Good Reason These Tables are Numbered Honey, You Just Haven't Thought of it Yet - Panic! At the Disco

As the World Caves in - Matt Maltese

Can't Fight This Feeling - REO Speedwagon

I Only Want To Be With You - Dusty Springfield

Heart of Glass - Blondie

Madam, I Love your Crepes Suzette - Danny Kaye

Fanny

Fanny would absolutely bemoan modern music, praising music from her time and before as the only "proper music". However, she would secretly love some pop music, and possibly even riot grrrl punk. She'd also like Dolly Parton, I'm quite certain of that.

Clair de Lune, L. 32 - Claude Debussy

Dance Macabre, Op. 40, R. 171 - Camille Saint-Saëns

Be Yr Mama - Sleater-Kinney

Second Skin - The Gits

Monster - dodie

Dumb Blonde - Dolly Parton

The Captain

The Captain would also claim to be not a fan of music after the time of his death, and I think that would actually be the case for the most part. However, he also canonically likes songs from some musicals, and I think he'd also like songs with lyrics he finds to be relatable. He also seems as though he would enjoy some rather introspective music, like a lot of Hozier's songs.

For Me and My Gal - Judy Garland

Oscar Wilde Gets Out - Elton John

Like Real People Do - Hozier

Wasteland, Baby! - Hozier

They Can't Take That Away From Me - Mel Tormé

Younger Than Springtime - South Pacific (especially the William Tabbert version)

Pat

Pat would probably most like music from around his time of death, and a bit before, though he would also like some upbeat pop music like Kitty, as well as anything that could be a group sing along or has a story. He is another ghost that is shown in the show as liking musicals, so musical theatre songs would also be of interest

Big Yellow Taxi - Joni Mitchell

The Rattlin' Bog - Seamus Kennedy

Any Way You Want It - Journey

Time Warp - Rock Horror Picture Show soundtrack

Brandy (You're a Fine Girl) - Looking Glass

(The Man Who Shot) Liberty Valance - Gene Pitney

Julian

Julian's taste in music would mostly be from around his time of death or prior to it as well, but he would also probably like listening to anything else that was a little bit raucous or naughty. I also think that he may have listened to quite a bit of punk music when he was young for some reason, so I've put that in too.

Cat's in the Cradle - Harry Chapin

One Week - The Barenaked Ladies

Holidays in the Sun - Sex Pistols

Crazy On You - Heart

Holy - King Princess

The Night Pat Murphy Died - Great Big Sea

#bbc ghosts #robin the caveman #humphrey bone #bbc ghosts mary #bbc ghosts kitty #thomas thorne #fanny button #bbc ghosts the captain #pat butcher #julian fawcett #why do we not know some of these people's surnames? #bbc ghosts playlist #krenenbaker's :)

[sancane]

Nicolas Camile Flammarion

(1842 - 1925)

Astronomo e prolifico autore, editore e divulgator scientifico francese

Astuto, sagace, accorto, prosuntuoso

Fuor del comune ironico ed amaro scherzatore

Fu grandissimo savio in molte scienzie

I cui limiti caudevoli sovente meschiava tra loro

E amava agguagliar al misterioso, e al Paranormale

Per confusion di mente, o favellando a burla

Nel 1890 postulò l'esistenza di un Dio alieno i cui messaggi poteva solo lui decifrare, tramite un

“Tubone spaziale”

di 40 piedi di lunghezza, a mo’ di telescopio

Quando l’Ateneo chiese serie, e sode persuasioni a riguardo, ei rispose che

"Era solo uno scherzo"

Nel 1910 gittò il mondo nel panico annunciando che la Cometa di Halley avrebbe distrutto il Pianeta

Quando l’Accademia pretese chiare e disputate ragioni, dichiarò che

"Era sempre uno scherzo"

Inopportuno, molesto, e catastrofico, più che altro

Fu anco rinomato per eccelsi studj arcani, mischiati a ciance grandi e grossolane

Lucubrate da lui con tanto studio:

La Luna ha i requisiti tecnici per essere la sede dell'Inferno

L'occhio sulla penna del pavone è il malocchio di Satana

I fantasmi possono testimoniare nei processi per omicidio

E’ possibile generare un centauro facendo accoppiare un uomo con una giumenta

E tanti altri incanti, e medicine, e calcoli astronomici, e impiastri senza fine

Cose cominciate per ischerzo, che per febbre di mente, gli cadde nell'animo di seriamente spiegar

Flammarion stesso, incredibile a dirsi, nutriva alcuni dubbi sul suo operato, sul suo ruolo e talvolta sulla Scienza stessa

Ad una signora che, durante una conferenza, gli chiese se ci fosse vita su Marte, l’uomo rispose

«Non lo so»

La donna chiese allor se c’erano prove dell’esistenza di vita su altri pianeti

Flammarion rispose

«Non lo so!»

Alla seguente domanda: «Ma allora a che cosa serve la scienza?»

Il Maestro sentenziò:

«E che ne so»

Onore

[silviascaravaggi]

Agostino Arrivabene. Un italiano all’Opéra di Montecarlo

Camille Saint Saëns, Samson et Dalila, regia Jean Louis Grinda. Costumi di Agostino Arrivabene. Opéra di Montecarlo, 2018

www.artribune.com/arti-performative/teatro-danza/2018/11/intervista-agostino-arrivabene-jean-louis-grinda-opera-montecarlo/

by Silvia Scaravaggi

21 novembre 2018

Parola ad Agostino Arrivabene e a Jean-Louis Grinda, scenografo-costumista e regista del “Samson et Dalil”a di Camille Saint-Saëns, in scena all’Opéra di Montecarlo.

Agostino Arrivabene (Rivolta d’Adda, 1967) è stato scelto dall’Opéra di Montecarlo per progettare scenografie e costumi del Samson et Dalila di Camille Saint-Saëns. La regia è di Jean-Louis Grinda e la direzione musicale di Kazuki Yamada. L’artista cremonese si avvicinò al teatro nel 2004, quando il regista Pier Luigi Pizzi si ispirò interamente ai suoi dipinti per le scenografie dell’opera Hans Heiling di Heinrich Marschner. La collaborazione odierna vede Arrivabene impegnato in un’impresa ben più strutturata: scene e costumi nascono dal suo estro onirico. Samson et Dalila è intrisa di passione, forza, fede: Arrivabene la investe con un’arte misterica, richiamo dell’inconoscibile, e con un’attrazione irrefrenabile verso la dualità di eros e thanatos. Al Grimaldi Forum dell’Opéra di Montecarlo, dopo la prima del 19 novembre in occasione dei festeggiamenti del Principato di Monaco e alla presenza del Principe Alberto, della famiglia e dei suoi ospiti, le rappresentazioni saranno aperte al pubblico il 22 e 25 novembre. Abbiamo intervistato Agostino Arrivabene e Jean-Louis Grinda, chiedendo loro le origini della commissione, il lavoro sugli atti e i rimandi in campo letterario, artistico e musicale, per guardare in modo più profondo un’opera lirica di straordinaria attualità.

Silvia Scaravaggi: Il tuo ingaggio per l’Opéra di Montecarlo è una commissione istituzionale a un artista italiano contemporaneo da parte di uno Stato estero. Com’è nata questa collaborazione? Agostino Arrivabene: Il mio manager teatrale conosceva già le mie opere, ma solo dopo averle viste nella Galleria Bonelli a Pietrasanta decise di contattarmi. Così nel 2016 conobbi anche Grinda, futuro regista dell’opera. Il progetto parve arenarsi ma Jean-Louis portò Samson et Dalila all’Opera di Montecarlo, con la coproduzione aggiuntiva del Teatro di Shanghai e del Coregie d’Orange, in Francia. Devo tutto a lui che, con tenacia e stima, ha creduto nel nostro progetto, facendolo proseguire con determinazione. Il light designer Laurent Castaingt ha condensato qui le evocazioni pittoriche del decadentismo europeo: movimento che da sempre nutre la mia poetica. Luci e atmosfere di rara eleganza riportano alle dense ombre dei dipinti fiamminghi del tardo Seicento, alle fumosità delle opere simboliste di Gustave Moreau.

Giuseppe Pennisi: Quando Camille Saint-Saëns compose Samson et Dalila era ancora un ‘wagneriano di ferro’. Si riflette questo aspetto nella produzione al Forum Grimaldi? Jean-Louis Grinda: La musica di Wagner fu certamente fonte di ispirazione per Saint-Saëns, sia per l’orchestrazione che per l’impiego dei lietmotiv. Da un punto di vista drammaturgico questa messa in scena non cerca in alcun modo una relazione con l’opera wagneriana.

G. P.: Il lavoro fu inizialmente concepito come oratorio, anche se l’uso molto curato di una grande orchestra e il trattamento dei temi conduttori lo rendono simile a un’opera lirica. Nella produzione l’accento è più sugli aspetti oratoriali o su quelli di grand opéra? J-L.G. : Quest’ultimo è l’aspetto privilegiato nella nuova produzione. Samson et Dalila non è reso nella forma dell’oratorio poiché la dimensione epica dei cori e l’eroica dei personaggi conducono alla necessità assoluta di una rappresentazione di taglio teatrale.

S. S.: Quali sono i riferimenti culturali da cui hai attinto? A. A.: Ho realizzato l’intera scenografia partendo da pro-genius, un dipinto in monocromo eseguito per la mostra personale Theoin (2012) che raffigura un maestoso portale, ingresso del regno dell’Ade. Ho realizzato una anamorfosi, ispirata alla pittura di François Didier Nomè, artista lorenese del diciassettesimo secolo, conosciuto come Monsù Desiderio. Attraverso un modellino ridotto in tre dimensioni e adattato al boccascena del teatro di Montecarlo, ho ricreato con un lento lavoro, simulando spazi chiaroscurali virtuali, una apparente tridimensionalità. Dopo l’antepiano mi sono reso conto dell’influenza esercitata dal mio amore per Moreau e per le atmosfere rarefatte che contraddistinguono l’acquarello L’apparition (1876), descritte da Huysmans in A rebours. Nel terzo atto, incentrato sull’epilogo di Sansone e dei filistei, mentre il sipario si alza, ho rivisto luci e vibrazioni dell’acquerello di Moreau, come le suggestioni di Salomè dansant devant Hérode (1876). Rimandi a Le carceri di Piranesi sono evidenti sempre nel terzo atto: enormi catene frenano la forza di Sansone e le architetture sono rese più fredde dalle luci che sottolineano nel fondo una ruota ‒ simbolo del divenire del tempo e del destino ‒ finemente decorata, citazione del tempio di Konarak in India.

S. S. e G. P.: Come hai lavorato sui costumi e le scene e in che modo evocano Moreau? Sono contemporanei o atemporali? A. A.: Le atmosfere simboliste di Moreau entrano prepotentemente nel mio immaginario ma sono diluite con citazioni tratte dal cinema muto. Con Grinda ho realizzato una vera proiezione in bianco e nero sulla tenda berbera di Dalila e qui si palesa la sua natura crudele di donna virago. I riferimenti chiari ai codici e ai maestri della storia dell’arte, sia che prendano in considerazione le processioni musive delle chiese bizantine a Ravenna, il cinema muto dei primi del Novecento o le atmosfere eclettiche di Blade Runner, traspongono l’intera opera in una dimensione atemporale dove passato, presente e futuro collimano in un amalgama visionario: luogo impossibile, dove ogni cosa viene risucchiata dal maelström di un’architettura contorta verso un destino comune a tutti gli esseri umani.

S. S.: Con chi hai collaborato per la realizzazione dei costumi? A. A.: Le manifatture di questa opera sono quasi interamente italiane: la Casa d’arte CTC di Gio Fiore, le attrezzerie di Rancati, le scenografie di Arianese, le calzature Pompei, le parrucche di Mario Audello: con questi professionisti ho trovato una sinergia perfetta. Le idee progettuali si sono trasformate in abiti sontuosi, parrucche quasi impossibili nella loro struttura gravitazionale in una scenografia estroflessa, in una anamorfosi architettonica. I costumi dell’opera balzano, sulle membra dei personaggi in scena, come se uscissero direttamente dai miei dipinti, citando talvolta stilisti come Alexander McQueen, Rick Owens e gli stereotipi del costume medioevale. L’immagine della dea dei serpenti cretese mi è corsa in aiuto per il costume di Dalila nel terzo atto: il più oscuro e gotico fra i tre che indossa. Nel coro femminile i capi delle coreute si ornano di acconciature assiro-babilonesi e le pieghe degli abiti di Mariano Fortuny donano grazia alla schiera di filistei, santi e martiri di tradizione ravennate-bizantina; così il Gran sacerdote è fermato prima in un abito ieratico, solenne, dai toni lattei, con metalli argentei e innesti di piume di pavone, abbinato a un copricapo che ricorda quelli degli affreschi delle Storie della Vera Croce di Piero della Francesca, poi in un enorme mantello nero che simula un pelo animale sulle forme di un piviale papale. Lo scettro del comando, simbolo della devozione al Dio Dagon, è realizzato interamente in cesello.

‒ Giuseppe Pennisi e Silvia Scaravaggi

www.agostinoarrivabene.it www.opera.mc

[knockinbootscomedy]

Tonight at 8pm @twobootsparkslope! #knockinbootscomedy with these rabble rousers! Lizzie Martinez Sam Rubinoff Merrill Davis Alex Pavone Camille Theobald Anthony Zenhauser http://ift.tt/2lGGNpI

#knockinbootscomedy #christianpolanco #parkslope #brooklyncomedy #parkslopeevents #twobootspizz

[insanitysscribblings]

Back To Us: Reading Map

Someone asked for it AGES ago, so finally, here it is! I tried to minimize spoilers as much as possible just in case new readers happen across this. Hope it helps! <3 (Under a readmore because it’s FUCKIN’ LONG [but who is surprised at this point?])

Chapter One: Prologue

Ladybug and Chat Noir are doing their hero thing when an unforeseen tragedy splits them apart. Marinette struggles with her identity as a hero and Adrien flees the country in the wake of tragedy.

Chapter Two: Seven Years Later...

What it says on the tin. We get a glimpse into an older Marinette as an aspiring fashion student who comes across a grown-up Adrien by chance. As she plots the details of a fashion competition, and laments the state of her internship, an akuma attacks Paris for the first time in seven years. Ladybug appears to deal with the issue, only to discover that Chat Noir has returned as well.

Chapter Three: Strangers pt. 1

Ladybug enlists Chat’s help to take down the akuma, only to discover that his heroic philosophies have skewed over the years. Meanwhile, Marinette seeks to impress Adrien with her fashion prowess, only to be sorely disappointed by his cold response.

Chapter Four: Strangers pt. 2

Ladybug and Chat Noir clash as they deal with an akuma close to home. Adrien makes a date with Ladybug. Later, Ladybug and Chat Noir argue about the past, the present, and the future. (Yes, this is the chapter where @edendaphne​‘s comic comes into play.) Marinette finds the courage to stand up to Adrien and assert her boundaries with him.

Chapter Five: Enigma

Marinette decides to start training for akuma attacks. She runs into Adrien (literally) and they jog to a bakery where Marinette’s parents proceed to embarrass her. Marinette seeks hero/boy advice from her old master. Adrien’s date with Ladybug doesn’t go as he hoped.

Chapter Six: Guardian

With Alya’s help, Marinette finds a way to push past recent distractions and start developing ideas for her own fashion line. Marinette’s boss interrupts by sending her to retrieve her wayward assistant Felix. As Marinette goes hunting for him, she comes across a terrifying scene at Master Fu’s. As he recovers, he puts her in charge of very important things. Symone, Marinette’s boss, becomes a hypocrite.

Chapter Seven: Autograph

Marinette struggles with her decision to let her boss plagiarize from her. Eventually, she decides it isn’t worth it. Adrien indirectly makes fun of her for never signing a card years ago.

Chapter Eight: Ruined

Marinette adjusts to life without her internship as well as working without Chat Noir. She and Desiree talk shop, and she becomes suspicious of Felix (not for the first time). During an akuma attack, Marinette gives Chat Noir a piece of her mind, and then shames Paris as Ladybug for being callous towards an akumatized victim. She indirectly pleads for Chat Noir to return to her, but he rejects her.

Chapter Nine: Friends

Adrien and Nino have an unpleasant reunion. This bothers Adrien so much that Marinette has to have a late-night intervention with him that carries into the next morning, when they go to see a familiar face for professional help.

Chapter Ten: Recovery pt. 1

Adrien begins the slow road to recovery. At one point, Nino gives him the business for the way their friendship ended...but leaves the door open to said friendship, just in case. Marinette gets her second jogging gift from Adrien (this is a thing).

Chapter Eleven: Recovery pt. 2

Adrien struggles with his new philosophy on akumatized victims, only for his resolve to crumble when he sees too much of himself in a bruised little girl hiding behind borrowed power. Conflicted, Adrien flees to his therapist and confesses perhaps more than is advised. Nevertheless, Nino welcomes him back into the fold. Marinette gains a clue about a hidden ally. Later, Nino gets a super surprise in the mail.

Chapter Twelve: Surprise! pt. 1

Marinette begins work on her fashion line. Adrien invites her on a not-date. Alya makes a bet with Marinette.

Chapter Thirteen: Surprise! pt. 2

A new hero by the moniker Emerald Shell arrives on the scene to assist Ladybug in her hour of need. Chat Noir pays Marinette a surprise night visit. Marinette shares a secret with Nino. The hidden ally has a name: Pavone.

Chapter Fourteen: Duty

Marinette and Nino seek advice from their aging master. Alya preps Marinette for her not-date. She and Adrien spend time ‘not’ flirting, and Marinette invites him to spend Christmas with her and her folks.

Chapter Fifteen: Mistletoe

The Ball Chapter. Marinette is thrust into a glittering world of the rich and famous, but she finds familiar faces nonetheless in the form of Desiree and Felix. A misunderstanding naturally causes an akuma, and afterwards, Adrien gets closure from Ladybug. Later, he and Marinette stumble under a mistletoe, and after a Christmas gift from Marinette, Adrien realizes he fucked up.

Chapter Sixteen: Trouble

Adrien spends an agonizing session at his therapist’s as he wrestles with newfound feelings. Felix gives Marinette unsolicited advice as she tries to close her parents’ bakery. Later, she stumbles upon Adrien standing in the rain and drags him home to dry off. Goofing off happens...and leads to something more.

Chapter Seventeen: Heat

Tikki and Plagg share a moment. Adrien and Marinette confirm that they are, indeed, attracted to each other. Domestic shit happens. Alya reluctantly wins a bet.

Chapter Eighteen: Deception

Nino finds himself mediating between his overprotective girlfriend and his helpless best friend. He also teases Marinette about her and Adrien’s not-relationship. Emerald Shell and Ladybug deal with an akuma, and then talk relationships. Alya gets the wrong impression from an overheard conversation between Marinette and Nino.

Chapter Nineteen: Faith

Alya doesn’t appreciate the silent treatment. She gets some unexpected advice from Desiree, and decides to do what she does best and investigate matters on her own. Unfortunately, she and Nino are unable to see eye to eye, which puts their relationship in jeopardy. Later, a frank conversation with Emerald Shell becomes too honest, and Alya accidentally discovers a couple of secrets. She and Nino reconcile, and Nino happens to spy a stray cat watching over a ladybug. Nino and Alya’s relationship is taken to the next level.

Chapter Twenty: Balance

Marinette rejoices in Alya’s engagement. Alya interrogates her about her not-relationship with Adrien. Marinette and Adrien privately agree to be ‘friends who kiss a lot’. Later, Ladybug’s negligence results in a suicide, and the widow becomes akumatized. Ladybug is almost defeated, but at the last minute, Chat Noir appears to save the day, and their partnership is restored.

Chapter Twenty-One: Blind

Emerald Shell is not pleased. (That’s it, that’s the chapter.) Nino expresses concern for one of his best friends. Marinette receives unexpected visitors—the first is unwelcome, as opposed to the second. Marinette flirts a little with Chat Noir, only to learn that he’s seeing someone. Uncomfortable after the night’s events, Marinette decides to bunk with Alya for a few days.

Chapter Twenty-Two: Bonds pt. 1

A press conference announcing Chat Noir’s return to the side of Good is not well-received by the citizens. Ladybug registers the change in dynamic between her and Chat, and is not sure what to make of it. Meanwhile, Alya encourages Marinette to pursue Adrien, but when Marinette shows up unannounced, she finds a woman in a towel in his home.

Chapter Twenty-Three: Bonds pt. 2

Marinette behaves like a fucking adult and allows Adrien to introduce her to his friend/ex-girlfriend, Erika. Through Erika, Marinette discovers Adrien and Felix are cousins. She and Erika start a frank conversation about Adrien, but the subject of said conversation interrupts. Erika goes off for a walk, and a couple minutes later, an akuma appears to terrorize the city. A face stealer transplants Chat’s face onto Emerald Shell’s shield when he jumps in the way to save Ladybug. The face stealer is chased off by a Miraculous wielder by the name of Camille.

Chapter Twenty-Four: Bonds pt. 3

Despite Ladybug not trusting her (and becoming overprotective of Chat Noir), she, Camille, and the rest of Team Miraculous devise a plan to track down the akuma. Ladybug assumes she knows who the akumatized victim is, but then circumstantial evidence points her towards Camille instead. Alya accidentally discovers Chat Noir’s secret. Nino points out an inconvenient truth to Marinette. Before Erika returns to Italy, she confides the existence of a troubling Miraculous wielder to Marinette: Shade.

Chapter Twenty-Five: Coincidence...?

The Valentine’s Day Chapter. Marinette and Nino are advised by Master Fu to bring Chat Noir into their counsel. Adrien asks Alya for another favor. Marinette and Adrien go on a proper date, though they spend much of the night confusing each other. An ill-timed akuma appears, and Ladybug and Chat Noir can’t help but notice each other’s fancy additions. Later, a multitude of clues lead Adrien to the conclusion that Marinette may not be who he thought she was at all.

Chapter Twenty-Six: Suspicions

Marinette comes to the same conclusion Adrien does...but then decides that she doesn’t want to know for sure. Not yet. Plagg dresses down Adrien in front of his therapist. Alya does a collective facepalm upon hearing Marinette (sort of) express her misgivings about Adrien. Alya tags along to an akuma fight, much to Emerald Shell’s chagrin. The Anti-Akuma Taskforce bump heads with a new group identified as the Akumatized Victims Anonymous, and chaos breaks out before Alya tricks them all into clearing off with the sound of a police siren. Afterwards, Marinette entrusts the search for a new Miraculous wielder to Nino.

Chapter Twenty-Seven: Aesthetics

Nino and Marinette try to gather clues on the Butterfly and Shade. Marinette runs into Desiree while shopping, and Desiree brings up some concerning questions before Felix interrupts out of the blue. Marinette’s fashion line is finally revealed in her university’s competition. She and Adrien dance around forbidden knowledge.

Chapter Twenty-Eight: Outfoxed

Nino makes a decision on who should join Team Miraculous, but then falls for the oldest trick in the book. Alya gets acquainted with her new powers.

Chapter Twenty-Nine: Changes

On top of everything else she has to do, Ladybug agrees to be the face of a new unity campaign Deputy Mayor Reine proposes when tension between AVA and AAT only continue to escalate. Meanwhile, Alya decides to use her powers for Good by slipping behind enemy lines in disguise.

Chapter Thirty: Shadow

Marinette and Adrien’s alone time is interrupted by fashion disasters. Still, the fashion show goes off without a hitch...until Shade crashes the party.

Chapter Thirty-One: Anarchy

Team Miraculous comes to the unpleasant conclusion that Shade knows more than she should. Meanwhile, AVA wreaks enough havoc that the mayor feels threatened and does the unthinkable. Emerald Shell spots a familiar Miraculous and leaves to confront the owner. Meanwhile, with AVA’s leadership in shambles, Alya suggests that they take things in another direction. When she returns home, a very angry surprise awaits her.

Chapter Thirty-Two: Tension

Team Miraculous (both in and out of their suits) deal with the aftermath of the last chapter. AVA’s new approach to protesting moves Marinette, and she and Alya stage a makeshift fashion show with AVA wearing Marinette’s designs, a decision that does not thrill Adrien.

Chapter Thirty-Three: Revealed

Everything comes to a head in this chapter. Adrien loses patience with Marinette’s constant promises of ‘later’, and they are cornered at the Eiffel Tower by Shade and the citizens under her thrall. Both heroes nearly meet their doom, only to be assisted at the last minute by Pavone. Where one couple of Team Miraculous reconciles, the other splits.

Chapter Thirty-Four: Squad

Marinette makes moves towards her future, despite her love life being in shambles. Vixen is introduced to Team Miraculous, and they have a pow-wow to share information. After patrol, Vixen splits, and Ladybug forces Emerald Shell and Chat Noir into a reveal of their own. Nino and Adrien return to Adrien’s place for a talk, and Adrien is comforted during a breakdown by his best friend.

Chapter Thirty-Five: Amends

The Wedding Chapter. Marinette and Adrien deal with their broken hearts as best they can while sitting through Ivan and Myléne’s wedding. It takes the combined efforts of their friends and the strength of their own hearts for Marinette and Adrien to reconcile at last.

Chapter Thirty-Six: Finale

The Final Chapter. Everyone who hasn’t been revealed yet is unmasked, including Alya, Camille, and Felix. Team Miraculous splits up to deal with the akuma flooding Paris as well as chasing down Shade, who reveals the motivation behind her actions at last. Past mistakes are almost repeated in the heroes’ pursuit, but all is well that ends well.

Chapter Thirty-Seven: Epilogue

What it says on the tin. Banter is shared, relationships have progressed happily, and things are peaceful. Thus, Longfic the Toothy comes to a quiet close.

#reyna writes #miraculous ladybug fanfic #back to us #btu reading map #GOD THIS TOOK FOREVER #serves me right for writing monster fics I suppose #anyhow hope this helps! #if there's a detail you want to find and you don't see it mentioned here ask me #I'll probably be able to tell you which chapter to look at #probably...