#roy foster

[deebeesknees45]

(Originally posted in TLW community, so you can ignore if you’ve seen it already 😋)

Anyway thought I’d share some of my (still early concept) TLW ocs, hope yall don’t mind 🙏

Dean Fischer (originally Dean Finch but I changed it because I wasn't feeling it as much as I originally was) my first TLW oc, and sorta a self insert that I grew attached to

Roy Foster, the tall quiet one lol, also the oldest of the group

Jason! The classic "I make jokes cause if I don't I'll have a breakdown" character. Realized I accidentally connected him to Olson's character in my head sorta, at least in the sense that Jason would go down a very similar road as Olson during the walk

And last but certainly not least, my beloved Theodore (I love that name so much, idc if it's old fashioned

And of course a little height comparison + outfit concepts because I love them

If you guys have any ideas or headcanons or vibes they give you pls let me know cause I still need to give these guys some more flavor !

On that note I am also very open and welcome to criticism, especially on my non white characters, as l myself am white. Pls pls pls let me know if something is wrong

[heartlandians]

My name is Roy Foster, and I am the only one living, of a family of three boys, who were raised on the Ranch where Heartland is filmed. My Mom and Dad came to the Ranch in 1928, when I was four years old. We raised White Faced Hereford Cattle. The barn and the quonset hut that appears in the movie was built by my brother, Les Foster. The old barns, and the many old corrals that Dad built in those early years have long gone, however I still have pictures of the those old buildings. Our big ranch house stood very close to where the house they show in the movie, and I also have some pictures of the old house. I have many happy memories of the ranch, growing up as a kid in the late 1920's through the 1930's and 40's, until WW11 broke out in Europe, and I left the ranch to join the Royal Canadian Air Force, where I served oversea in Bomber Command. I have been back once to view the old "Home", from the big gate at the top of the hill, which has stood in that location for close to eighty years.

Roy Foster

[hitchell-mope]

I hope that he’s feeling incredibly stupid right now.

[hitchell-mope]

In other words. Up your Austin Powers.

[hitchell-mope]

He’s not impressed.

[hitchell-mope]

How the hell is that Shrek?

[brianjohnspencer]

For Orpen’s life and times, there is an argument that ‘British’ could include and encompass a certain kind of Irishness. ‘Englishness’ is of course different. When Bruce Arnold was researching his Orpen book in the 1970s he received much help from Orpen’s daughter Kit Casey, and in January 1978 she sent him a very firm rebuttal of a comment by her father’s pupil, the painter Sean Keating, that Orpen represented a colonialist strain in Irish history. She emphasised how Irish the family was, how much they loved Ireland, how they all expected to end up living there permanently; though her father ‘admired and loved’ England, he was completely Irish.

That letter echoes the tone of many Irish Protestants from the 19th century on: affection, displacement, a slight bewilderment. At the time of Orpen’s birth in 1878, the Orpen family traditions were certainly Protestant, haut-bourgeois, ‘establishment’; the distant ancestors were 17th-c ‘planters’ (though from a Royalist tradition), and his mother’s family were the aristocratic Charlemont connection; but by the 19th century long-established Protestants like them felt completely Irish, while adhering to the Union with Britain. It is an attitude reflected in many Irish memoirs and other writings, notably from Somerville and Ross. But these records, like Kit Casey’s much later letter, are written in an era when the ‘old Ireland’ that accommodated the easy sense of belonging in both countries (and sustaining a privileged position in both), which Orpen grew up with, was long gone. It went, of course, in the decade of Irish revolution from 1912 to 1922: an era when Orpen was very much alive, and painting dynamically. But that is also the era of the First World War, which was closely connected with the progress and direction of the Irish revolution; and which changed Orpen’s life too. Orpen’s short and dazzling career, and the artistic inheritance he bequeathed, are closely related to ‘Old Ireland’ —as he called it in his random book, Stories of Old Ireland and Myself— but his life spanned the transformation to ‘new Ireland’, and his paintings may be read against these upheavals too —as, perhaps, may his ultimate disillusionment and decline.

Roy Foster

(Here:

https://www.estudiosirlandeses.org/2005/03/old-ireland-and-himself-william-orpen-and-the-conflicts-of-irish-identity/

[brianjohnspencer]

I reserve a special fury for the dimwitted secretary of state for Northern Ireland, the incredibly inadequate Theresa Villiers, who has, purely for opportunistic political reasons I should think, put herself in the front row of the Brexit people when, as everybody knows, this is one of the most divisive issues in Northern Ireland and a Brexit vote would be a disastrous setback for the advances that we have seen in the province and in relations between the Republic and Northern Ireland.

Roy Foster (Here: http://www.irishtimes.com/news/world/uk/brexit-vote-johnson-and-farage-show-worst-of-britain-1.2692389#.V2j09nXNnEc.twitter)