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let's talk about Bridgerton tea, my ask is open
todays bird
trying on a metaphor
Not today Justin
Xuebing Du
d e v o n
Keni
Andulka
Sweet Seals For You, Always
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One Nice Bug Per Day
Product Placement
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blake kathryn
ellievsbear
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2025 on Tumblr: Trends That Defined the Year
Kaledo Art
Discoholic 🪩
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@hello-robin-goodfellow
GOOD NEWS
Recovered my old blog that i had lost and made an update to the user name and aesthetics.
Here is the link:
https://fantasia-1998.tumblr.com/
P.S: the main one still will be @ariel-seagull-wings
This link is a side blog.
@ardenrosegarden
@anne-white-star @amalthea9 @mademoiselle-princesse @parxsisburnixg @superkingofpriderock @metropolitan-mutant-of-ark @dci-softy-edgelord @princesssarisa
The road goes on by FeanorFeuergeist
@superkingofpriderock @princesssarisa @amalthea9 @mademoiselle-princesse
Showcase of my favorite non fanart drawings I have done this year
Another David Warner role I made a partner for woops. XD
Here’s here bio/backstory/short story thing.
So in the film(The Island 1980), Michael Caine’s character wakes up tied up, as does his son. His son is taken away to be brainwashed, so that Nau can make him believe that his father is not Caine but Nau. Caine is presented to a woman who says he killed her man in the attack of capturing his son and himself, so she tells Nau and the other men that she’ll take him as a new husband. It’s revealed later that most of the women are inbred and that the pirates look for healthy women to bare children whenever they raid ships.
So in this AU, Captain Nau isn’t the antagonist, but a decent man.
At @cinefantastiquemitho suggestion, I recycled the name of the oc made for Young Captain Hook, Elinor many years ago..
(Credit to @cinefantastiquemitho for her origins)
Elinor is an orphan who grew up on the carribean island, Nevis. While she did befriend the children, she never experienced parental affection from the adults. None were cruel, just distant.
Elinor herself is kind and friendly, but can be emotionally distant because she has not experienced a family life or love. When she was 18, no longer property of the state, Elinor attended community college for clothing designing and got a job as a seamstress. She has always had a knack for art and crafting as she grew up.
In her late 20s, she looks for a new job in California and boards a small plane to make the journey. The plane crashes and she washes ashore the island.
A motherly character called Nadia, and Beth (the woman in the original film that picks Caine) nurse Elinor to health in order to present her to the Captain and to the men. I have written in a separate Tumblr post about how when presented to the village, she’s told to pick a husband.
That can be found here, as well as Nau’s POV of when she picks him and becomes his wife:
https://amalthea9.tumblr.com/post/636730633416245248/asks-answers-for-elinor-nau
The relationship is a slow burn, because, obviously, Elinor lived with 80s technology and now she not only has a husband she doesn’t know, but she has to learn to wash clothes by hand, cook, and other responsibilities of 17th century life. She also resents Nau, and her whole situation. But she does befriend Nadia, Beth, and the other women. Nau doesn’t demand sex, as Elinor expected him to. He doesn’t believe in forcing a woman to have sex, he treats Elinor with respect. He didn’t love her in the beginning either, he accepted her as wife because she liked how her eyes were like the sea.
But one day, about a month in, he sees Elinor sketching a bird on some parchment and charcoal she found. She’s smiling, the first time he’s ever seen her smile. From that point forward, he begins to fall for her. He even tries to please her with a sketchbook and pencils he acquired during the raids. Elinor is surprised by this act of kindness. The acts of kindness from Nau continue. Nau takes her out to sea to see the sunset, little things like that.
During one of the raids, Nau is shot and when he’s brought back to the island, he is delirious with blood loss. Elinor is told to attend him as the doctor works to get the bullet out and stitch him up.
Nadia is called in also as the nurse, instructing Elinor how to keep Nau conscious. She whispers to Elinor as they prepare for the removal of the bullet.
“I know you don’t love him, dear. But put that aside because he needs you right now more than anyone.”
And as though on cue, Nau starts crying out for Elinor in his delirious state.
Elinor comes to his side, and finds herself genuinely caring for him, because she sees his tears and how much pain he’s in. He grabs for her hand, and she takes it. Her words of comfort are genuine, stroking his sweat drenched head.
With the bullet removed, it’s now up to Nau to survive the night. He passes out, and Elinor is left alone with him. Elinor finds herself afraid that he will die, and she tearfully whispers.
“I don’t love you…God…I don’t know what I feel towards you…but…please…John…don’t leave me alone."
She passes out from exhaustion, by his side on the mat. In the morning, Nau wakes from his fever, and sees Elinor next to him, her hand over his.
"Elinor?” He says, voice hoarse.
Elinor stirs and sees he is awake. She smiles, a genuine smile of relief.
Nau smiles weakly back, “You’re here…my wife…”
“Yes, John,” she whispers back, squeezing his hand. “I’m here.”
The next 2 weeks Nau is recovering, and he becomes bored. Elinor asks if the pirates have any books, and Nau says they have stacks of them stored at Hizzoner’s hut, but they aren’t sorted. He says she can go through them. Elinor goes and looks through the books, and she finds various books, Including Frankenstein and Shakespeare’s The Tempest. She takes the books back to Nau, showing what she got. At this point, Nau confesses that he doesn’t read very well, Elinor deducts that his level of reading might be 9 to 12 years in reading level. He meekly asks if she would read to him. Elinor is slightly annoyed, still conflicted by her feelings for him, but she agrees, his blue eyes looking so sweet as he asks. Nau sees the Tempest in the stack and asks for that one first. Elinor says it’s a play, not a novel, not really something to read aloud.
“Then why did you bring it home?” Nau asks.
Elinor sighs, “Because it is my favorite Shakespeare play.”
“Then I want you to read that one,” Nau states softly. “Please, Elinor…”
Elinor sees the sincerity in his eyes, and it warms her heart. She agrees, and begins reading the play.
As soon as she says it begins on a ship, Nau eagerly interrupts by asking if it’s a pirate ship. Elinor, bemused, says it’s a nobleman ship. When she relates the ship crashes on an island, Nau interrupts again asking if it’s an island with pirates.
“If you interrupt me again, John,” Elinor scolds. “I won’t read the rest!”
But a smile plays on her lips.
Nau apologizes, looking like a kicked pup and says he won’t do it again.
Elinor comes to the part where Prince Ferdinand confesses his love for Miranda. Unknown to her, Nau now sees her as his Miranda, and he is listening intently to Ferdinand’s lines.
That night, in her separate mat, she hears him quietly reading those lines over and over again under candlelight in his mat. But she doesn’t understand why he is memorizing those lines.
Every day after that, Nau asked if Elinor would read more books to him, even helping him improve in his reading. Elinor continues to go through the piles of books, finding other fairy tales and famous novels. Nau loved everything she read to him, because it was her reading it. And Elinor enjoyed it too, enjoying to see his eager smile as she started with a new chapter or book.
Once Nau is healed, another raid is announced, and Elinor finds herself being worried about him. He is, at this point, at least a dear friend to her. Nau sees her worry and kisses her forehead assuring her he will return unharmed.
That day, Elinor finds herself going to the beach and just watching the sea for him. Nau is at the front of the boat when they see Elinor on the shore, her strawberry blonde hair loose and flowing in the ocean wind.
“Do I see a siren of Greek myths on the shore?!” Hizzoner inquires.
But Nau beams as he replies, “No Hizzoner! No siren, but a sea goddess. My wife!"
And to the crew’s laughter and cheering, Nau jumps into the ocean to swim to her.
Nau runs to Elinor and wraps her up in his arms, Elinor letting out a cry of surprise.
Elinor laughs as she complains that he is soaking wet, and Nau apologizes as he releases her.
But he is all smiles as he says, “To see you on the shore greeting me, my sea goddess. I couldn’t help myself.”
Elinor feels her chest tighten, hearing the adoration in his voice. She smiles sweetly at him as he takes her hand, and he tells her of all that was accumulated from the raid.
It is shortly after these events that Elinor and Nau have sexual encounters.
The first time was when they had been caught in a thunderstorm and ran to their hut.
Desire for each other had been building seemed to release as the clouds did release the rain. No words are spoken during, and Elinor is still not giving herself to Nau in love. She states this is not ‘love’ but that she desires him. Nau, though fully in love with her at this point, doesn’t force his love upon her.
"Then I shall love for us both,” he replies, kissing her forehead.
Every time they have sex when Nau asks her to stay, Elinor quickly leaves the mat. Saying things like, “Chores to be done early.” or “Not yet.”
(Credit to @cinefantastiquemitho for having this idea)
In the weeks following these events, Elinor has been visiting the shoreline at night. Nau has been sending men to watch her in the shadows, making sure she isn’t building a raft to escape or anything like that. Elinor knows this, and she comes to a point of confronting Nau about it in their hut. Nau doesn’t know how to address the issue, his fear of losing her has become very strong. But Elinor breaks her calm composure and lets her anger through.
“To have the CHOICE, Nau!!!” she cries. “To be given a CHOICE is all I ask of you!”
Nau stares at her, surprised by her outburst and seeing the distress and pain he has caused her.
Elinor sighs and takes a breath.
“Do you remember the story of The Beauty and the Beast I read to you?”
“Yes, of course,” Nau replies softly.
“What did the Beast do when Belle discovered her father was ill?” Elinor asks.
“He…let her go…,” Nau answers quietly, realizing what Elinor is trying to tell him.
Elinor is silent as she looks to the ground, hoping that Nau will understand what she is getting at. Nau is quiet for a moment, then speaks.
“I promise, Elinor,” Nau begins, his voice solemn. “As the Captain of this island and…as one who loves you. I will not send any men to follow you tonight.”
Elinor, keeping her eyes to the ground, nods and exits the hut quietly. Nau watches her leave, realizing that, as the Beast realized…
If he truly loves her…he will let her go if she wants to.
That evening, Elinor goes to the ocean shore, with her basket to collect seashells. And true to his word, Elinor is alone this time, and she knows it. She stands at the shore, the sea lapping at her feet.
The thought of simply plunging into the sea comes to her mind. She begins to cry quietly, as images of Nau come to her mind. His smile, his expression of agony and fear as the doctor tried to work on his wound. She thought of his sweet words of asking her to read further, although he was exhausted and needed to sleep. The feeling of his arms around her, how he always held her in reverence.
She softly sobbed as she looked out into the sea. She can’t leave him…she can't…
She has guarded her heart for so long, that the thought of finally letting Nau have it scared her. But then again…isn’t that part of love? To be scared to give your heart to someone else?
As Elinor returns at sunset from the beach, she sees Nau in the distance. Her heart skips when she sees his adoring and relieved smile. He runs to her and embraces her and expresses close to tears how he feared she wouldn’t choose to come back.
Elinor gently embraces him in return, her heart filling with all of the love and adoration she has held back come through.
“I…I couldn’t go…John…” she whispers into his shoulder. “I…would leave something precious behind…”
“What would that be, my love?” he asks softly, kissing her hair.
"My heart…” Elinor whispers into his chest, clutching at his vest.
“Elinor?” He asks worriedly as he pulls away enough to see her face.
Elinor shakes her head, tears starting to form in her eyes. She smiles a small smile up at him and takes his hand. Without a word between them, they make their way back to their hut.
When they get inside, Nau is still confused and hurting to see Elinor upset. Elinor releases his hand and turns away from him. After a few seconds, Elinor turns to face Nau. The tears stream down her face, as she nearly whispers.
“You really do love me, don’t you, John…"
She says this as if it’s more for her to hear allowed than a question to him.
Nau’s heart lurches in his chest, pained to see her so upset. But also to see her doubt of his love for her.
Nau takes a few steps closer, and begins to speak softly.
"O heaven, O earth, bear witness to this sound. And crown what I profess with kind event if I speak true! If hollowly, invert what best is boded me to mischief! I beyond all limit of what else i’ th’ world. Do love, prize, honor you.”
Elinor’s heart pounds as she hears Nau quoting Ferdinand’s lines. She realizes that he memorized those lines so that he could say them to her when the right moment came.
New tears form as her steps closes the gap between them, pressing her forehead to his chest.
Nau immediately embraces her, holding her as tight as he can. He begins kissing her hair, and as she lifts her head, he kisses her forehead tenderly. He kisses at her tears, then her lips. Elinor kisses him back passionately, pouring into it all of the love she has kept hidden.
That night is the first night that Elinor does not leave the bed after sex. Nau notices this, as she lays against him, her head on his chest. He doesn’t inquire about the change in her behavior, but he wraps her up in his arms lovingly.
Elinor and Nau have two children, Alexander Ulysses Nau (conceived the night Elinor gave her heart to Nau), and Miranda Ariel Nau four years after Alexander’s birth.
***the necklace featured in this piece is from a time early in their relationship that Nau finds a pearl and presents it to Elinor. Elinor keeps the pearl in a box, appreciating his gesture but still not in love with him. But when she does give her heart to him, she has the pearl set in a necklace.***
@superkingofpriderock @mademoiselle-princesse @lioness--hart
some of my favorite things that i drew in 2020
i guess this was a very red year for me!
@mademoiselle-princesse @superkingofpriderock
Glenda Jackson in The Romantic English Woman.
So I just learned about costume designer James Achaeson and had no idea the same guy who designed this
Designed this
And designed this
And this
And these
And this
And even this
@cinefantastiquemitho @metropolitan-mutant-of-ark
@amalthea9 @mademoiselle-princesse @anne-white-star @thedyingtimelady
I am not familiar with the last one.
The last one is a scene from Monty Python’s the Meaning Of Life: https://youtu.be/UGBZnfB46es
So I just learned about costume designer James Achaeson and had no idea the same guy who designed this
Designed this
And designed this
And this
And these
And this
And even this
@cinefantastiquemitho @metropolitan-mutant-of-ark
@amalthea9 @mademoiselle-princesse @anne-white-star @thedyingtimelady
I am not familiar with the last one.
@cinefantastiquemitho
That is Monty Python’s the Meaning of Life
@superkingofpriderock
Thank you. I still need to watch that movie.
So I just learned about costume designer James Achaeson and had no idea the same guy who designed this
Designed this
And designed this
And this
And these
And this
And even this
@cinefantastiquemitho @metropolitan-mutant-of-ark
@amalthea9 @mademoiselle-princesse @anne-white-star @thedyingtimelady
I am not familiar with the last one.
The duel scene: Michael Redgrave as Laertes and Laurence Olivier as Hamlet
(1937)
During this time of this production, Michael Redgrave’s daughter, the future actress Vanessa Redgrave, was born. The cast received the news, and at the end of the performance, Olivier went to the centre of the stage and anounced:
“Laertes has a daughter”.
That is how Dame Vanessa Redgrave’s life under the public spotighlits started.
This is not a usefull information. But i find it to be a very cute story.
@giuliettaluce @mademoiselle-princesse
@ardenrosegarden @princesssarisa @amalthea9 @parxsisburnixg @suits-of-woe
Was just now talking to @cinefantastiquemitho about how much we both enjoyed Vanessa Redgrave and David Warner's chemistry in both films we have seen them work together in. So then I went to Google to find images of them together and was not disappointed hehe
These are all from Morgan: A Suitable Case for Treatment (1966)
(The kissing ones are my favorites 😍☺ but the last one is so sweet and tender too)
@superkingofpriderock @mysticaltimemachinewench
I don’t think a Shakespeare production needs to be innovative to be good.
A lot of the best stage and film adaptations of Shakespeare’s plays are relatively simple and straightforward. They don’t use flashy tricks or strange setting choices. The directors simply let the text shine. You don’t need to put a new spin on Shakespeare to make it good; all you need are good actors who understand the text.
Of course, I have nothing against creative production choices! I love them when they’re done well. But I think we need to bring back our appreciation for well-done, classical stagings, because they’re absolutely delightful.
@suits-of-woe @ardenrosegarden @giuliettaluce @malvoliowithin @superkingofpriderock @princesssarisa @mademoiselle-princesse
First: Geoffrey Tennant from Slings and Arrows wroted that?
Second: I think it deppends on the cast and crew and production budget. Sometimes, if the cast and the budget are not the greatest strengths in that production, a stylized setting and costume choice can attract the atenction of the audience.
Other times, when the budget is high and the cast is all on its greatest strenghts at acting, so the straightforward, simple, classical period drama staging becomes viable.
I personally like to see productions that fuse thrusting the actors to deliver the shining text on its full strenght, while also aplying some staging innovations, like the Grupo Galpão’s 2012 production of Romeo and Juliet that incorporated elements of Circus and Comedia dell’Arte, or the two BBC televised productions of the Rose Tetralogy i saw (1965 version and 1983 version), the first one where metal was predominant in the setting and mixed medieval and 1960s fashion, and the second one where they went very colorfull, taking inspiration from Books of Hours and Children’s Playground.
For me it mostly hinges on execution and knowing your audience.
In some stagings, a gimmick is sometimes helpful in linking themes in the text to what the audience can relate to. In other cases, it’s really distracting. I wasn’t the biggest fan of the Cymbeline movie, despite liking the play while reading, and I remember seeing a version of King John performed as a farcelike comedy, which I did not like at all.
idk part of it is probably taste, but I do think there is a point where productions can very easily fall into the trap of the costumes and set doing more acting than the actual actors when the focus is on being creative than actually understanding the text and why it appeals to so many people.
Both fantastic additions—thank you, @cinefantastiquemitho and @ardenrosegarden !
I think any Shakespeare production needs to prioritize the text in order to succeed. Flashy or unconventional directorial decisions are only successful when they work in harmony with the text. The Bridge Theatre’s 2019 production of A Midsummer Night’s Dream is a perfect example: they had crazy elaborate immersive staging, period-vague costumes, and a role switch between Oberon and Titania, but they employed all these tactics to amplify the play’s heart as well as its dreamlike surreality. The actors were phenomenal, and the poetry flowed beautifully amidst all the goofy chaos. It was the absolute best Shakespeare production I’d ever seen. And it was all because they let the production compliment the text instead of competing with it.
For a contrasting example: I watched 4 different filmed versions of King Lear for my undergraduate thesis, and I made this post with that in mind. Michael Elliot’s 1983 Lear film (the one with Lawrence Olivier) was very straightforward and true-to-text, and it was phenomenal because the film was just so brilliantly acted. Sure, they had some flashy sword fight sequences and some stunning set design, but they were utilized as part of the story, not something the story had to be wrapped around. Peter Brook’s 1971 film, on the other hand, was weirdly gimmicky (basically, he tried to make Shakespeare into Samuel Beckett, which involved a lot of textual changes and weird direction) and it just...fell flat for me. It was miserable, and the beauty of the text up and vanished. You don’t need to turn Lear into a bleak absurdist drama to capture the anguish because it’s already in the text. The simple production was infinitely better because it didn’t have to force the text to fit the director’s vision.
Basically, work with the text and not against it.
Top 10 indigenous films of all time
Indigenous cinema, at least in its contemporary form, is only 40 years old, and the fact that there are films to be left off a list like this is testament to its rapid development and to the artists who have taken up the camera to tell their stories.
Here are 10 amazing films that are a great starting point for a journey into indigenous cinema history.
1. Atanarjuat: The Fast Runner, 2001 (Canada)
The first Inuktitut language feature is also the most important film in Canadian history, bringing epic film making to a Northern legend. It won Official Selection at the 2001 Cannes International Film Festival, and remains the highest grossing indigenous film in Canadian history.
2. Bastion Point Day 507, 1980 / Incident at Restigouche, 1984 (New Zealand / Canada)
These two activist documentaries were often paired on the festival circuit and are among the most important films in contemporary indigenous cinema. Directors Merata Mita and Alanis Obomsawin seemingly willed indigenous cinema into life with these two endlessly fascinating historical documents.
3. Bedevil, 1993 (Australia)
Tracey Moffat’s dreamscape/ghost story began indigenous cinema’s move away from traditional cinematic narrative structures and remains an under seen masterpiece.
4. The Dead Lands, 2014 (New Zealand)
Toa Fraser’s martial arts epic is bloody and bold, recreating pre-contact New Zealand and featuring remarkable, bone crunching performances. Coming soon to theaters.
5. Four Sheets to the Wind, 2007 (U.S)
Sterlin Harjo’s gripping feature is a descendant of Smoke Signals, portraying contemporary Indigenous life with an unflinching eye and open heart. It won a Special Jury Prize at Sundance for Tamara Podemski’s remarkable performance.
6. Kanehsatake: 270 Years of Resistance, 1993 (Canada)
Alanis Obomsawin’s documentary epic chronicles the Oka Crisis in Quebec and helped shift the dialogue around Indigenous issues in Canada and globally. It was the first documentary to ever win the Best Canadian Feature award at the Toronto International Film Festival.
7. Once Were Warriors, 1994 (New Zealand)
Lee Tamahori’s ferocious and exhilarating portrait of an urban Maori family was the first indigenous feature to have a truly global presence. Among the highest grossing films in New Zealand history.
8. Rhymes for Young Ghouls, 2013 (Canada)
Jeff Barnaby’s debut feature brings the anger to indigenous cinema, a clarion call for both the cinematic community and the indigenous community. A director to watch for years to come.
9. Samson and Delilah, 2009 (Australia)
Warwick Thornton’s Camera D’or winner is a searing depiction of modern life in Australia and a marvel of naturalism and restrained storytelling.
10. Smoke Signals, 1998 (U.S)
Chris Eyre’s road movie based on Sherman Alexie’s screenplay is a touchstone for indigenous cinema, bringing humour to a story of contemporary Indigenous life. Also features the core of young performers such as Adam Beach, Michelle St. John, Irene Bedard and Gary Farmer who would go on to star in numerous other films in the ensuing years.
More films not listed here — Ten Canoes, Charlie’s Country, Patu!, Barking Water, Trudell, Before Tomorrow, Mohawk Girls.
This article was initially published in Muskrat Magazine, edited by Jesse Wente (via cbc.ca).
@johnnyclash87 @jonpertwee @lioness--hart @superkingofpriderock @mademoiselle-princesse
Glenda Jackson and Oliver Reed in “Woman in Love”
(1970)
@amalthea9
Glenda Jackson lifting her head off the pillow in a scene from the film 'Marat/Sade', 1967.
(Photo by United Artists/Getty Images)
Glenda Jackson
(1975)
