#carlos Nicholson

[theitalianscribe]

Thinking about how Carlos's wife is named Lucy, which sounds like Luz, which means Light and also I think might have biblical origins, but I need to double check.

And then Wiatt loves Lewis Bright, which is a first name that also starts with L, makes a "Lu" sound and then Bright is another word that could be associated with Light.

Conclusion: the Nicholson boys, much like crows, have poor eyesight and attracted to bright, shiny things.

[diioonysus]

art aesthetics: gothic

[creepynostalgy]

The Shining (1980) - 35mm scan - US cut - Open Matte

[gregorygalloway]

Professione: reporter was released in Italy on 28 February 1975 (it would be released in the US in April with the title The Passenger).

As early as 1966 Michelangelo Antonioni had worked on adapting Italo Calvino's 1958 short story "L'avventura di un fotografo" (translated to "The Adventure of a Photographer"), and by 1972 had a script, shooting locations selected, and Jack Nicholoson and Maria Schneider agreeing to star. After the disappointing box office of Zabriskie Point (1970), however, the project was cancelled.

Producer Carlo Ponti had a low-budget film in production, with a script written by Mark Peploe (who was the brother of Antonioni's business partner) and Peter Wollen, and asked Antonioni if he would direct. Noticing similarities between his cancelled project and the Peploe and Wollen's script, Antonioni accepted and incorporated elements of his own work into the new one.

1 of 4 films released with Jack Nicholson in 1975 (along with Tommy, The Fortune, and One Flew Over the Cuckoo's Nest), The Passenger is probably the best. It has been hailed as a masterpiece, a "triumph of technical invention," and "a major achievement by one of the world's great film-makers." It has been named as one of the best films of all time (Sight & Sound), but when the rights came under the ownership of Nicholson, he kept the film out of distribution (from a legal settlement with the film's US distributor, MGM) for nearly 30 years, re-released in 2005.

[dare-g]

First ten books of the year 📚

[oceanusborealis]

Paradise: Season 1 – TV Review

TL;DR – Cornerstoned by some fantastic performances, we explore a world where things might be perfect, as long as you don’t look any deeper. ⭐⭐⭐⭐ Rating: 4 out of 5. Disclosure – I paid for the Disney+ service that viewed this series. Paradise Review – It might just be the current climate, or the fact that rewatching The West Wing makes me feel a growing sense of naivety. But I have been…

[infraredmag]

SMILE 2

SMILE 2 2h 12m | Psychological Horror | Rated R | 18 October 2024 About to embark on a world tour, global pop sensation Skye Riley begins experiencing increasingly terrifying and inexplicable events. Overwhelmed by the escalating horrors and the pressures of fame, Skye is forced to face her past. Director: Parker FinnWriters: Parker FinnStarring: Kyle Gallner, Naomi Scott, Ray Nicholson, Drew…

[lizzybeestar]

AU idea (free to use)

What if Sara and Wiatt were swapped at birth.

What if Sara was supposed to be Sara Nicholson.

What if Wiatt was supposed to be Wiatt Coventman.

What if Sara was supposed be Carlos’ grandchild and Owen’s child.

What if Wiatt was supposed to be Celio’s ward.

In this AU, when Wiatt and Sara were born, they were accidentally swapped at birth by a medical staff as they were born female and had brown eyes.

[saltyr3mix]

ONE MORE FOR THE ROAD: Winnie HCs?

BITES YOU BITES YOU BITES YOU

Ok- so ok- I'm excited I'm gona go off prompt a bit because he's my second favorite character in the show and it's wonderful.

One thing I'd like to state for the record, in most of my aus he's actually a good guy. Or a good man in a bad situation. There are a few exceptions. Yluid Winnie is definitely not a protagonist and he's probably committed a lot of violence in the hero au- and you know what!

Because my Winnie head cannons change depending on the au I'm just going to talk about all my different versions of him!

To learn from the tragedies: what? He's in that au!? Yes<3. Not until book two but he comes into play. Sara basically has to build this like full out summoning circle and bam! They have Carlos back on their side. But not fully. I haven't decided where he lies in terms of memories yet but I know he's going to be a pain to everyone no matter who's side he's on.

Shattered dreams: SD LORE IN 2024!??! yes. Sd!Winnie is so special to me guys he commits unethical sciences, he falls from the celling, he tears out peoples worst insecurities, he hates him self, he has the largest ego, he's just a guy, he's the biggest threat these guys have ever faced, he'll try to be nice to one set of kids but the second they get out of hand give up trying. He's so- just imperfect. If I were to have finished the fic he would have eventually been swayed over, likely for a silly and dumb reason but ends being a super valuable ally in the final battle and what not.

Swap au: NOT the shuffle au, the skating in silence one. It's never mentioned but in that au Carlos takes the place of alison. I find this to be the funny thing known to man. Imagine, your savior, your light as your dying,the one who's guarding and protecting souls with an incomprehensible power. AND ITS CARLOS NICHOLSON. even funnier if wiatts the main protagonist and nearly died only to have his grandfather next to him like "get up kid! We still have work to do! I didn't raise you to die you idiot! Are you going to save your Twink or not?!!" Idk I find it just- harious I'm sorry -

I will make them create my world: he's uh- he's the Brights royal advisor of War. (Did I do this just so I could make Owen a general......no- shut up- don't look at my other hyper fixation)

Buried masks: ohhhh this one's fun. Uhm. You'll see him around. He's a doctor in this au. Really good friends with Litho, they like go golfing together. Knows the main cast pretty well. Buddies with Eric, teases founder trio and wiatt, gives the kids 15 dollar gift cards on their birthdays and has the best Halloween candy, he always gets full sized candy bars. Uhmmm yep. And he doesn't do anything morally wrong or questionable at all ever. Nope why would you say that about him. Accusing him of horrifically preforming inhumane procedures on kids in order to save his grandson?!? Pfff- what- ha! Never...... Don't ask where the supplies keeps going.

Superhero au: haven't fully developed him yet, he's a retired villain. Rich and has beef with Damien. (Everyone has beef with Damien in this au.) Probably the owner of whatever company Wiatt works for and is sort of in the background that people go to for funding or just to reference past villains. i think his powers had something to do with cameras. haven't entirely decided because it hasn't come up yet.

Steven Universe au: Hesssssssssss participating in evil experiments again. Hes Saras pearl but also just, actually enjoys the messed-up sciences and doing the test and experiments. he likes being her assistant. he likes the power that comes with it. he just helps her with the smaller finer details on her works and so, Acrimony's and Damien have a lot of trauma form in. He probably played a role in some of the triplet's issues as well just from being mean. but overall he's just sort of a threat to get around.

Super-Secret Oc Au/ Mine and Dangers au: So consider chat, Carlos Nicholson and Carly Gale forming a toxic, slightly dependent relationship after a lot of stuff goes down. Did Winnie kill her loved ones and then....not tell the truth about it? yes. Did he also by accident end up providing her comfort and helped her grieve though it? yes. he tried to help her. she just.....kept asking questions in the wrong direction and now their both upset because Winnie was finally able to have someone not hates him and understand that his hand is being forced here. Anyway, Carly stole his house and now lives in the abandoned arcade building and uses Winnie to help get information on how to handle the dreamworld situation. (The only reason Carly isn't Dead is because Vivian is instead) Winnies relationship with Norman in this au is also fantastic and deserves a shout out, i nearly wrote out a one-shot scene from this au about Norman and Morris and angst between them but it ended up spiraling into Norman and Winnie Nonsense and then i didn't want to write the original idea anymore because they were too silly. AND HIM AND DOT. OH BOY I DONT KNOW IF I WANT TO GET INTO THAT RIGHT NOW BECUASE THATS ITS WHOLE THING AND YEAH. I'll let Theater explain that one if you're curious. You'll live until i die, and other canon typical one shots: i try to follow canon for these but i think i make him ever so slightly meaner, but not in a...like evil way? more in a game host or like a dramatic way. he uses more insults than actions. but is also just not able to be taken seriously at points. One of my favorite times ive ever written him is a scene in YLUID between just him and ben and he has one single piece of information he needs, but physically cannot help himself from being as cryptic and threating as possible to the point it nearly completely backfires and the thing hes trying not reveal gets revealed. the best way i can describe this interaction is Winnie rolling three nat ones in a row while trying to have a conversation and its hilarious. Also in that au he does actually get defeated and beat up! he is so pathetic <3

Anyway, i think that's Winnie. that's my guy! i have a key chain of him and a friend....Void, who was the asker of this wonderful comment. Painted him for me that i have hung up in my room because i think he is one of the funniest failures of all time and he has a special place in my heart for that.

[justforbooks]

Mark Peploe

Screenwriter who won an Oscar for Bertolucci’s The Last Emperor and provided the screenplay for Antonioni’s The Passenger

Mark Peploe, who has died aged 82, enjoyed his greatest success as a screenwriter with an Oscar for The Last Emperor (1987). It was shared with the director, Bernardo Bertolucci, who was also Peploe’s brother-in-law, having married Mark’s elder sister, Clare, in 1978.

The project drew on the memoir of the final emperor of China, Puyi, from the Qing dynasty, who was crowned in 1908 aged just three. He was exiled after the Beijing coup of 1924 and appointed by Japan as puppet emperor of Manchukuo until the end of the second world war; in later years he worked as a gardener in the botanical gardens in Beijing. The challenges for the biopic were twofold: to combine epic sweep with telling interpersonal and psychological detail, and to get the script past the Chinese censors so as to access filming locations within the Forbidden City.

The producer, Jeremy Thomas, recalled how Bertolucci and Peploe’s judicious handiwork made negotiating with the Chinese authorities surprisingly easy: “It was less difficult than working with the western studio system. [The censors] made only minor script notes and references to change some of the names, then the official stamps went on and the door opened, and we came in and set to work.”

The results achieved a rare mix of scale and substance: David Thomson called The Last Emperor “a true epic but with an alertness to feelings as small and humble as a grasshopper”. It won four Golden Globes (including best drama motion picture) and three Bafta awards (including best film) before scooping nine Oscars, including best picture and best director. Collecting his best adapted screenplay award, Peploe joked: “It’s a great honour and hugely encouraging to anybody else who wants to write impossible movies.”

Two similarly ambitious though flawed projects with Bertolucci, the Paul Bowles adaptation The Sheltering Sky (1990) and the Tibetan lama drama Little Buddha (1993), fared less well.

Peploe came highly recommended from an Italian film-maker of an earlier generation, Michelangelo Antonioni – who had a seven-year personal and professional relationship with Clare from the mid-1960s. He had enlisted Mark to write The Passenger (1975), his tale of a jaded journalist (Jack Nicholson) who co-opts a dead arms dealer’s identity. That project had its roots in two earlier Peploe assignments: his short story Fatal Exit, and his screenplay for Technically Sweet, an Amazon-set adaptation of Italo Calvino’s L��Avventura di un Fotografo that Antonioni intended to direct before mounting costs made the producer Carlo Ponti anxious.

With the film theorist Peter Wollen, Antonioni and Peploe radically reworked the thematic core of these projects for The Passenger, planting one foot firmly in the bloody realities of the Chadian civil war of 1965-79 even as they pushed onwards towards rigorous philosophical investigation. “Who we are is the central issue – and it turns out nobody knows who anyone is,” Peploe told Time Out on the film’s release. “[Nicholson’s protagonist] David Locke wants to change, wants to care, but he doesn’t even know who he is trying to become.”

Although Antonioni was frustrated by studio cuts, the finished film hooked viewers searching for meaning amid the moral miasma of the Watergate years; the critic Andrew Sarris suggested that “it may turn out to be the definitive spiritual testament of our times”. Yet after inheriting the rights from MGM on winning an unrelated legal dispute, Nicholson withheld The Passenger from distribution until the mid-2000s. On its 2006 reissue, Peter Bradshaw called it “a classic of a difficult and alienating kind, but one that really does shimmer in the mind like a remembered dream.”

Born in Nairobi, in Kenya, Mark was one of three children of Clotilde (nee Brewster), a painter, and Willy Peploe, a gallerist and son of the Scottish colourist Samuel Peploe. Clare and Mark’s younger sister was Cloe. Relocated first to Florence, later to Belgravia in central London, the siblings had an upbringing that was decidedly classical: Clotilde, the daughter of the painter Elisabeth von Hildebrand, insisted on having no art in the house that postdated Proust. Clare maintained she and her brother gravitated to film because “it was one medium that [her parents] knew nothing about”.

From Downside school in Somerset, Mark went to Magdalen College, Oxford, to study philosophy politics and economics. On graduation, he joined the Canadian producer and director Allan King as a researcher, working on films about arts figures for the BBC series Creative Persons (1968), although he grew frustrated with the documentary form: “I thought that if you wrote the script, you would be able to control the movie more than I did.”

He gained his first writing credit alongside Andrew Birkin on Jacques Demy’s atypically realist adaptation of The Pied Piper (1972), featuring the singer Donovan in the title role; he was also a co-writer on the French veteran René Clément’s final film La Babysitter (1975). Neither was a great success, but Peploe soon began directing his own work, earning a Bafta nomination for his 26-minute Samson and Delilah (1985), adapted, with the poet Frederick Siedel, from a DH Lawrence short story.

Other writing included Clare’s artworld romp High Season (1987), set on the Greek island of Rhodes. Yet nothing quite matched the impact of The Last Emperor. Of The Sheltering Sky, Roger Ebert sighed: “I was left with the impression of my fingers closing on air.” Despite cameoing in the film, Bowles dismissed it, saying: “The ending is idiotic and the rest is pretty bad.” The critics were tougher still on Little Buddha, circling around the casting of a kohl-eyed Keanu Reeves, though it fared better commercially.

Peploe’s feature directorial debut came with Afraid of the Dark (1991), an offbeam horror item about an 11-year-old voyeur (Ben Keyworth) peeping out at an adult world beset by a razor-wielding killer; drawing on Alfred Hitchcock and Michael Powell, it featured a memorably nasty scene involving a dog and a knitting needle. Yet his textured Joseph Conrad adaptation Victory (1996), starring Willem Dafoe and Irène Jacob, ran into distribution issues, prompting Trevor Johnston of Time Out to ask: “What’s so terrible about it that it was consigned to three years on the shelf?”

In the new millennium, Peploe served as a script consultant on Clare’s lively Marivaux adaptation The Triumph of Love (2001) and as a mentor for the Guided Light scheme, run for aspiring film-makers by the Brighton-based Lighthouse organisation. Certain scripts remained unfilmed, notably Heaven and Hell, a Bertolucci passion project on the murderous composer Carlo Gesualdo, active around 1600, and action-thriller The Crew, from an Antonioni story. Peploe continued to tour the globe, though now as a guest of international film festivals. Asked at the 2008 event in Estoril, Portugal, where he sourced his best ideas, Peploe ventured: “In cafes, watching the world go by.”

He was married to the costume designer Louise Stjernsward, and their daughter, Lola, made a documentary film, Grandmother’s Footsteps (2023), about Peploe family life, starting from Clotilde. After the marriage ended in separation in 1997, he had a 20-year relationship with Gina Marcou. Cloe died in 2009 and Clare in 2021. He is survived by his partner of the last seven years, the historian Alina Payne, and Lola.

🔔 Mark Alexis More Peploe, screenwriter and director, born 24 February 1943; died 18 June 2025

Daily inspiration. Discover more photos at Just for Books…?

[theitalianscribe]

Heavy lore questions I want to ask Rainbott and/or the Welcome to Dreamworld team:

1. At the point of season 2, ie as recent as Winnie backing out of the room in episode 2, what does Carlos/Winnie think his relation to Wiatt Nicholson is? Does he know he is his grandson? Does he think he is a construct of his grandchild and the "real" Wiatt died before he could transition? (So was he fed/does he believe the same story that Litho fed Owen in Interview 86? (Btw I intend to type up that interview so I can properly unpack everything, so stay tuned for that.))

2. How did Glory's human die?

3. (I'm pretty sure the team is gearing up the answer this in coming episodes) What was the incident at the old arcade that Lewis saw and took therapy for? Was Wiatt there when the incident happened?

4. How many properties do/did the Nicholson family own and where is each located?

5. Is reincarnation a thing in this universe? Is that why "SamSara" was the keyword in one of the arg's puzzles?

I'll probably come up with more, but that is all I've got for now.

[creepynostalgy]

The Shining (1980) Original ending scene, cut and destroyed (as any unused footage of the movie) a few weeks after the firsts screenings. (Pics by Vivian Kubrick)

[thedreamworldlibrary]

Magia Chap.14- The Truth Hurts

OMG! THIS was the HARDEST chapter to work on! So I had an idea for this chapter since I started working on Soul Gem AU, and it jumped around from being removed, to moving to Arc 2, and back to Arc 1. 

However, one calm day at work gave me an idea to put this idea to full use and now it’s here in all its glory. When my job is slow is when my brain starts giving me ideas on what to write and I jot it down in a notebook and put it on my documents for later (even though there are some ideas I haven’t put into documents yet.)

Big thanks to @gigilefache for beta reading!

Enjoy!

While Lewis and Sara were searching for their weapons and testing them, Wiatt watched them from a distance and felt a small pang of jealousy. He was ready to walk back before he felt his phone vibrate in his pocket. Wiatt took the phone out and saw he got a text from an unknown number.

Meet me at the Arcadescape, asap!

Wiatt read the message before typing back:

Who is this?

As Wiatt waited for the reply he wondered if this was Damien or Oliver, and that Lewis possibly gave one of them his number to text him any updates. After waiting a few minutes, he sighed and decided to go up to the Arcadescape and meet with whoever sent him the text.

Once at Arcadescape, Wiatt looked around until he heard metal walking towards him. He gasped as his eyes turned yellow as a shield formed in his hand as a claw tried to strike him down.

“I see you got my message.” Winnie said, an evil smirk showing his fangs.

“What do you want, Winnie?” Wiatt asked, growling at the Pegasus animatronic. He pushed Winnie away, but Winnie came in and tried to claw him.

“What? Can't I say hi to my grandson?��� Winnie asked.

Wiatt’s eyes widened as his shield flickered, giving Winnie the chance to punch the young boy, knocking him to the ground. Wiatt struggled to get up as Winnie loomed over him.

“No. Y-You can’t be.” Wiatt struggled to say. “You can’t be Carlos!”

Winnie/Carlos chuckled, circling Wiatt like he was pray for a hungry predator. “Oh but I am, and if you want proof, your father is Owen, if I am not mistaken?”

Wiatt glared, as he launched a shield at Winnie pushing him to the wall. “Anyone could have that info, you're lying to me.” He growled as he got up.

Winnie got up and chuckled, “you think I’m lying.” Wiatt glared as he got another shield ready. “I can tell you everything I know about our family.”

Wiatt growled and threw another shield at Winnie, who missed it with ease.

“Like how your dad left you to follow my footsteps.” Winnie said.

This caused Wiatt to create another shield and threw it at Winnie, who missed the attack once more.

“Or how the reason I left the family was because I wanted to bring back your grandmother, Lucy.”

Wiatt threw shield after shield, but Winnie dodged them with ease as he told the young boy even more stuff about his family. This got Wiatt angry, as he tried to unleash one last shield attack towards the Pegasus animatronic.

“You want more proof huh?” Winnie asked. “Well, where did you find those gems?”

“They were found in my grandfather’s manor.” Wiatt answered.

Winnie chuckled, “and did you question how it got there?”

Wiatt’s shield faded as his eyes went back to brown. “Well no. I don’t know!”

“Well, it was a family heirloom given to my family from my grandfather.” Winnie explained.

Wiatt’s eyes widened realizing Winnie was telling the truth. He didn’t know how the box got there in the first place, but Winnie revealed it, confirming he was indeed Wiatt’s grandfather.

“Y-You really are Carlos Nicholson.” Wiatt whispered.

Winnie nodded, “though I don’t really like being called that name, just call me Winnie… or grandfather.”

Wiatt then unleashed another shield as he glared at the Pegasus animatronic. His eyes were yellow once again, but Winnie saw something was different about it. They weren’t glowing brightly, but looked dull in color.

“Although,” Winnie spoked up causing Wiatt to look up. “There was someone who knew about this.”

“Who?” Wiatt asked.

An evil smirk appeared in Winnie’s face as he ushered the young boy to follow him. Wiatt followed his animatronic grandfather, but got his shield ready incase this was a trap. Winnie led Wiatt to Sara’s office.

“Wait…Sara knew?” Wiatt asked, supprised.

Winnie nodded, “this girl keeps lots of secrets, not just from you, but her friends as well.” He explained, opening Sara’s drawer.

Wiatt’s eyes widened as he looked at all the papers that were in the female’s founder’s desk. From newspaper articles to notes about her plans with Litho.

Three Kids Gone Missing after Forest Fire!

Bodies of Missing Kids Found!

How to Create Immortality?

How to put souls in animatronics?

Wiatt’s eyes scanned through each and every article Sara had in her desk looking in disbelief. “Sara planned on killing someone?” He asked.

“Well it’s not the first time.” Winnie replied.

“What?!” Wiatt exclaimed.

Winnie gasped, “oh right.” He smirked. “Sara never told you or friends she killed three children.”

“She what?!”

“Now it wasn’t recently, it was years ago, but she told me she would never reveal that to anyone. Especially her best friends.”

Wiatt was in disbelief, but knew from the start Sara was not to be trusted. What’s worse, Sara has powers and is potentially putting everyone in danger. Wiatt dropped the papers and marched over to Staract to confront his boyfriend and the murderer.

Once Wiatt arrived at Staract, Lewis and Sara were making their way out, but stopped seeing him, glaring at them.

“Darling, Aae you okay?” Lewis asked.

Wiatt glared, his eyes turning a dark yellow, “why did you lie to me, Sara?” He growled.

Sara took a step back, confused as to what Wiatt meant, “W-What do you mean?”

Wiatt growled and raised his hand, letting out a shield as he threw it at Sara, pushing her into the wall. He then pushed the shield even more, putting pressure on her chest and causing her to not move or breathe.

“W-Wiatt stop!” Lewis yelled.

Wiatt wasn’t listening and kept pushing the shield tighter on Sara. “Why didn’t you tell me about my grandfather being a murderer!” Wiatt yelled.

“Aha! I-I wasn’t trying to-gah!” Sara choked out. She couldn’t breathe with Wiatt’s shield putting pressure on her chest.

“Darling, stop!” Lewis yelled, putting his hands on Wiatt’s shoulder. “Y-You're going to kill her!” Wiatt shoved his boyfriend off, which shocked him. “Wiatt, why are you doing this?!”

“Lewis! Sara’s been keeping secrets from us! I knew she couldn’t be trusted!” Wiatt growled. “My grandfather’s been Winnie this whole time, and she fucking knew it!”

Lewis gasped and turned to Sara. “Is that true, darling?” 

Sara started to turn blue, as she nodded. “I-I didn’t mean to ke-keep it from y-you.” She choked out. “I-I did p-plan on t-telling-ack you.”

Seeing his best friend suffocate he turned to Wiatt. “Darling, please stop! Sara can explain everything to you, there’s no need to suffocate her to get the answers you want!”

Wiatt turned to his boyfriend, then to the girl that was ready to pass out. As much as he wanted to see Sara suffer, he removed the shield and stepped back. Sara took a deep breath and coughed trying to breathe again.

She looked up and saw Wiatt glaring at her. Sara looked down and once she was able to breathe again she was able to talk. “Like I said before, yes I knew Winnie was your grandfather, but I found that out when you arrived.”

“Go on.” Wiatt said, still glaring.

“I didn't believe it at first, but after what Winnie told me about the box. It came to me that you and Winnie were connected!” Sara explained. “It wasn’t until I cut Litho and Winnie off that I ended up looking into it and it clicked!”

Wiatt loosened his glare, “but you still kept secrets from us! Such as you killing children!”

Sara’s eyes widened and looked down. Lewis frowned and turned to Wiatt, wondering if he should say something.

“I had a reason why I did that, I was badly bullied by those kids.” Sara replied.

“That gives you no excuse to kill them!” Wiatt yelled, causing Sara to flinch.

“Darling, she was scared! She didn’t mean for it to happen!” Lewis yelled, before covering his mouth with his hands.

Wiatt stared at his boyfriend with horror that he knew. “Y-You knew?” He whispered.

Lewis nodded, “Sara told me the night Eric and her were in the house fire, and she asked me not to tell anyone.” He explained.

Wiatt growled as he unleashed a shield in his hand and launched it at Sara again knocking her out.

“Sara!” Lewis yelled. He quickly turned to his boyfriend, “Wiatt, stop!” He then squeaked as Wiatt pointed a shield at his boyfriend’s chest. Lewis stepped back, but Wiatt walked closer at him glaring as his eyes turned darker.

“Your telling me she told you and you didn’t tell me?!” Wiatt yelled.

“I didn’t want to tell you because I know you don’t trust Sara, and I figured Sara would tell you and Oliver when she was ready.” Lewis explained.

Wiatt growled, he was ready to attack Lewis but suddenly a blast of electricity, making his shield disappear. The two turned to see it was Oliver attacking Wiatt, but he seemed anxious to doing so.

“Wiatt, what’s going on?” Oliver asked, looking scared at his friend.

Wiatt growled, ready to attack Oliver, but Lewis held him back before he could attack another of his friends. “No! You're not hurting him!” Lewis yelled.

“Lewis let go!” Wiatt yelled.

“No! I’m not letting you hurt another of our friends!” Lewis shouted back.

Oliver looked horrified, ready to use his powers if needed.

Sara slowly opened her eyes and looked up to see Lewis trying to stop and calm Wiatt. In the other corner of her eye she saw Oliver, as his hands had electricity coming out from them.

Lewis struggled trying to stop Wiatt, and ended up gripping his shoulders tight, causing him to look up. “Why are you acting like this, darling? You’d never act like this, especially towards my friends!”

Wiatt growled, “you know why I’m acting like this?” He asked. “I’m fucking jealous! Okay? Are you happy Lewis!”

The other boy’s eyes widened, loosening his grip on his boyfriend’s shoulder. “J-Jealous?” Lewis didn’t notice, but his eyes turned blue as his hands started to glow.

“I wasn’t jealous back in high school, but after you left it’s like you’ve bonded with your friends so much that I’m just pushed to the side now.” Wiatt said, slowly calming down.

Lewis frowned when Wiatt said that. “I’m sorry, darling.” He then heard his boyfriend sniffle, and looked to see tears falling from his eyes.

“It hurt.” Wiatt said. “It hurt when you left me and I couldn’t go with you. I hoped the phone calls and text we did every week would help, but no it didn’t. It made me miss you more Lewis.” Wiatt wiped the tears from his eyes before continuing. “I-I didn’t want to tell you, because I don’t want you to think I was taking you away from them, they’re your friends Lewis and I respect that, but I just missed you so much to where I feel jealous and it felt wrong!”

Wiatt put his face on Lewis’s chest and started to sob. Lewis rubbed Wiatt’s back. “There, there, darling. It’s alright.” Lewis whispered. “It doesn’t feel wrong, I know I’ve been closer to my friends, but that doesn’t mean I’ll separate from you or forget about you.”

Wiatt lifted his head and wiped the tears from his eyes. Lewis saw his eyes were back to its normal brown color, giving him a small smile. 

“I do love you, darling, and I’m sorry I left you for so long.” Lewis said, his eyes glowing a bright blue.

Wiatt sniffled and wiped the tears from his eyes. “I forgive you.” He replied.

Seeing Wiatt has calmed down, Oliver loosened his powers and went over to check on Sara, who was struggling to get up.

“Are you okay?” Oliver asked.

Sara gave a nod, “I’m fine.” She replied.

Oliver sighed in relief as he helped Sara up. The two went over to Wiatt and Lewis. To their surprise they saw Lewis’s healing powers had activated.

“Uh Lewis.” Oliver whispered, as he pointed to his friend’s hands.

Lewis looked and saw his healing powers activated, surprising him. “But how? I thought I can only heal physical injuries?” 

“I guess your heal and calm someone down if desired.” Sara pointed out.

Lewis looked at his hands shocked he was able to have Wiatt open up his feelings. Had his powers not activated, Wiatt would’ve held it in, and it would be a lot worse then what he just did.

Wiatt sighed and turned to Sara and Oliver, “I’m sorry for being jealous of both of you. You cared for Lewis and I feel awful for being jealous.”

“I forgive you, Wiatt.” Oliver replied.

Wiatt smiled before turning to Sara, who tried to speak. At first she was nervous.

“I’m sorry too.” Sara let out. Wiatt looked up at the female founder, “I should’ve told you the truth when I had the chance.”

“It’s alright.” Wiatt replied with a smile. “I accept your apology.”

“I accept yours too.” Sara replied, smiling back. Seeing the two had buried the hatchet, Sara quickly hugged Wiatt, which surprised him. He looked at Lewis and Oliver, who just smiled.

“This is her way of being friendly, darling, just take it.” Lewis mouthed.

Wiatt nodded and hugged Sara back. At that moment Sara’s eyes turned pink as her powers activated again. “A-Again?” She asked.

Sara was sent back to the past and saw Clara standing at the front entrance of a cave. She had her basket and pickaxe ready to mine for geodes. Before she could enter the cave, footsteps were heard running towards her.

“Clara!” A male’s voice called out.

Clara turned and for the first time, Sara saw her face. Clara’s appearance was similar to her own like how Cyrus looked like Lewis and Arthur looked like Oliver.

“Phillip?” Clara asked.

Phillip arrived and caught his breath before looking up at his friend with a glare. Sara’s eyes widened seeing Phillip looked exactly like Wiatt.

“What are you doing here?” Phillip asked. “Don’t you know your not allowed to be here?”

Carla chuckled, “sorry, but I just can’t help it. Ever since I found the first gemstone, I’ve been looking for more.”

Phillip sighed and crossed his arms, “your going to get in lots of trouble.” He said.

“I know, but you will too.” Carla replied.

“Huh?” Phillip was confused.

“Your going to cover for me, while I find more of these gems.”

Phillip’s eyes widened, “are you out of your mind!?”

“Come on, your my best friend Phillip.” Carla put her hand in his shoulder.

“I know.” Phillip sighed. “I just don’t want to loose you. You know how Mr. Edmund is with… suspicious people.”

Clara rolled her eyes, “Yeah…he gives me the creeps, but as long as your here. I’ll be fine, okay?”

Phillip sighed and was about to give his answer before Sara was pulled back from reality.

Sara gasped as her eyes went back to normal and she let go of Wiatt and stared at him in shock. “P-Phillip?” She asked.

“S-Sara. It’s me Wiatt.” He said. It then hit him realizing Sara had another time vision. “I’m guessing a time vision.”

Sara nodded, “I finally saw everyone.” She said. Sara turned to Oliver, “Oliver, the person that looked like you was named Arthur.”

Oliver’s eyes widened in surprised.

Sara then turned back to Wiatt, “and your person was Phillip.”

Wiatt was in shock and awe.

“And I…” Sara paused. Wiatt, Lewis and Oliver turned to face her. “I saw Clara, and she looked like me.”

Lewis put a hand on her shoulder, causing Sara to look up. “I had that feeling for a while, darling.” He said.

Sara smiled, “me too.” She whispered.

“Well now that you saw Clara and her friends, what now?” Wiatt asked.

“Now,” Sara started as she turned to Oliver. The later was confused, until Sara continued, “it’s time I tell you all the truth.”

[venusinbronze]

Rihanna for Interview Mag, Spring 2024

Hair: Yusef Williams using What Wigs by Yusef at The Wall Group. 

Makeup: Yadim Carranza using Fenty Beauty at Art Partner. 

Nails: Kim Truong using Aprés Nail at Star Touch Agency. 

Set Design: Brittany Porter. 

Tailor: M’lynn Hass. 

Digital Operator: George Brooks. 

Fashion Assistants: Lucy Gaston, Nicholson Baird, Charlie Burke, and Hayley Kuniansky. 

Hair Assistant: Naphia White and Christopher Salmon. 

Makeup Assistants: Joseph Rios and Lilly Pollan. 

Nail Assistant: Queenie Doan. 

Set Design Assistant: Sunny Mills. 

Lighting Assistants: David Lopez and Carlos Quinteros. 

Production: The Morrison Group. 

Photography Production: Carlota Ruiz De Velasco, Malcolm Duncan, and Fabien Colas at DMB Represents. 

Production Assistant: Joel Montgomery. 

Music: DJ Inferno. 

Retouching: Kushtrim Kunushevci. 

Special Thanks: L’ermitage Beverly Hills.

[incrediblyfastfilms]

INVASION of the BODY SNATCHERS (1978) written by W.D. Richter (from the novel by Jack Finney) produced by Robert Solo directed by Philip Kaufman starring Donald Sutherland Brooke Adams Leonard Nimoy Jeff Goldblum Veronica Cartwright Art Hindle cinematography by Michael Chapman edited by Douglas Stewart music by Danny Zeitlin

JAWS (1975) written by Carl Gottlieb (from the novel by Peter Benchley) produced by Richard D. Zanuck and David Brown directed by Steven Spielberg starring Roy Scheider Robert Shaw Richard Dreyfus Lorraine Gary Murray Hamilton Carl Gottlieb cinematography by Bill Butler edited by Verna Fields music by John Williams

E r a s e r h e a d (1977) written, directed and produced by David Lynch starring Jack Nance Charlotte Stewart Allen Joseph Jeanne Bates Judith Roberts Laurel Near Jack Fisk cinematography by Frederick Elmes Herbert Caldwell edited by David Lynch sound design by Lynch w/ Alan Splet special effects by Lynch w/ Frederick Elmes

P s y c h o (1960) written by Joseph Stefano (from the novel by Robert Bloch) directed and produced by Alfred Hitchcock starring Anthony Perkins Vera Miles John Gavin Janet Leigh Martin Balsam Simon Oakland cinematography by John L. Russell edited by George Tomasini music by Bernard Hermann

A L I E N (1979) written by Dan O'Bannon (story by Dan O'Bannon and Ronald Sushett) directed by Ridley Scott produced by Gordon Carroll David Giler Walter Hill starring Tom Skerritt Sigourney Weaver Veronica Cartwright John Hurt Harry Dean Stanton Yaphet Kotto Ian Holm cinematography by Derek Vanlint edited by Terry Rawlings music by Jerry Goldsmith

John Carpenter's The THING (1982) written by Bill Lancaster (from the novella "Who Goes There?" by John W. Campbell) directed by John Carpenter produced by David Foster Lawrence Turman Wilbur Stark starring Kurt Russell A. Wilford Briley T.K. Carter David Clennon Keith David Richard Dysart Charles Hallahan Peter Maloney Richard Masur Donald Moffat Joel Polis Thomas Waites cinematography by Dean Cundey edited by Todd Ramsay music by Ennio Morricone

The Exorcist (1973) written by William Peter Blatty (from his novel) directed by William Friedkin produced by William Peter Blatty Noel Marshall David Salven starring Ellen Burstyn Max Von Sydow Jason Miller Lee J. Cobb Jack MacGowran Kitty Winn Mercedes McCambridge Linda Blair cinematography by Owen Roizman edited by Norman Gay Evan Lottman music by Jack Nitzche "Tubular Bells" by Mike Oldfield

R e p u l s i o n (1965) written by Roman Polanski Garard Brach screenplay adaptation by David Stone directed by Roman Polanski produced by Gene Gutowski starring Catherine Deneuve Ian Hendry John Fraser Peter Wymark Yvonne Furneaux cinematography by Gilbert Taylor edited by Alastair McIntyre music by Chico Hamilton

THE SHINING (1980) written by Diane Johnson Stanley Kubrick (from the novel by Stephen King) directed by Stanley Kubrick produced by Stanley Kubrick w/ Jan Harlan starring Jack Nicholson Shelley Duvall Danny Lloyd Scatman Crothers Barry Nelson Philip Stone Joe Turkel cinematography by John Alcott edited by Ray Lovejoy music by Wendy Carlos Rachel Elkind

Night of the Living Dead (1968) written by John Russo George A. Romero directed by George A. Romero produced by Karl Hardman Russell Streiner starring Duane Jones Judith O'Dea Karl Hardman Marilyn Eastman Keith Wayne Kyra Schon Judith Ridley cinematography by George A. Romero (uncr.) edited by George A. Romero (uncr.) Hugh Daly

Bram Stoker's Dracula (1992) written by James V. Hart (from the novel by Bram Stoker) directed by Francis Ford Coppola produced by Francis Ford Coppola Charles Mulvehill Fred Fuchs Michael Apted Robert O'Conner starring Gary Oldman Winona Ryder Anthony Hopkins Keanu Reeves Cary Elwes Richard E. Grant Billy Campbell Sadie Frost Monica Belluci Tom Waits cinematography by Michael Ballhaus edited by Anne Goursaud Glen Scantlebury Nicholas C. Smith music by Wojciech Kilar

TWIN PEAKS fire walk with me (1992) written by David Lynch Robert Engels (from the television series created by David Lynch and Mark Frost) directed by David Lynch produced by David Lynch Mark Frost Gregg Fienberg Johanna Ray John Wentworth starring Sheryl Lee Ray Wise Moira Kelly Grace Zabriskie Chris Isaak Kiefer Sutherland David Lynch Miguel Ferrer Harry Dean Stanton David Bowie Michael J. Anderson Frank Silva Al Strobel Jurgen Prochnow Dana Ashbrook James Marshall Frances Bay Catherine E. Coulson Kimberly Ann Cole Walter Olkewicz Lenny Von Dohlen Madchen Amick Peggy Lipton Julee Cruise Kyle Machlachlan cinematography by Ron Garcia edited by Mary Sweeney music by Angelo Badalamenti

Let the Right One In (2008) written by John Ajvide Lyndqvist (from his novel) directed by Tomas Alfredson produced by Frida Asp starring Kare Hedbrant Lina Leandersson Per Ragnar Henrik Dahl Ika Nord cinematography by Hoyte Van Hoytema edited by Tomas Alfredson Dino Jonsater music by Johan Soderqvist

W A R of the W O R L D S (2005) written by Josh Friedman David Koepp directed by Steven Spielberg produced by Kathleen Kennedy Damian Collier Paula Wagner Colin Wilson starring Tom Cruise Tim Robbins Dakota Fanning Miranda Otto Justin Chatwin Amy Ryan cinematography by Janusz Kaminski edited by Michael Kahn music by John Williams

Hannibal (2001) written by Steve Zaillian David Mamet directed by Ridley Scott produced by Martha De Laurentiis Dino De Laurentiis Ridley Scott starring Anthony Hopkins Julianne Moore Ray Liotta Gary Oldman Frankie Faison Giancarlo Giannini Francesca Neri Zeljko Ivanek Hazelle Goodman cinematography by John Mathieson editing by Pietro Scalia music by Hans Zimmer

The Hunger (1983) written by Ivan Davis Michael Thomas (from the novel by Whitley Strieber) directed by Tony Scott produced by Richard Shepherd starring Catherine Deneuve Susan Sarandon David Bowie Cliff De Young cinematography by Stephen Goldblatt edited by Pamela Power music by Michel Rubini Denny Jaeger

DON'T LOOK NOW (1973) written by Allan Scott Chris Bryant (based on the novella by Daphne Du Maurier) directed by Nicholas Roeg produced by Peter Katz starring Donald Sutherland Julie Christie Hilary Mason Clelia Matania Renato Scarpa cinematography by Anthony Richmond editing by Graeme Clifford music by Pino Donnagio

Prisoners (2013) written by Aaron Guzikowski directed by Denis Villeneuve produced by Broderick Johnson Kira Davis Andrew A. Kosove Adam Kolbrenner starring Jake Gylenhaal Hugh Jackman Maria Bello Viola Davis Melissa Leo Terrence Howard Paul Dano cinematography by Roger Deakins edited by Joel Cox Gary Roach music by Johann Johannsson

The Company of Wolves (1984) written by Neil Jordan Angela Carter (from the short story in Angela Carter's book "The Bloody Chamber and Other Stories") directed by Neil Jordan produced by Chris Brown Stephen Woolley starring Sarah Patterson David Warner Angela Lansbury Micha Bergese Stephen Rea cinematography by Bryan Loftus edited by Rodney Holland music by George Fenton

A Quiet Place (2018) written by Bryan Woods Scott Beck John Krasinski directed by John Krasinski produced by Michael Bay Andrew Form Brad Fuller starring Emily Blunt John Krasinski Millicent Simmonds Noah Jupe Cade Woodward cinematography by Charlotte Bruus Christensen edited by Christopher Tellefsen music by Marco Beltrami

W O R L D W A R Z (2013) written by Matthew Michael Carnahan Drew Goddard & Damon Lindelof (from the novel novel by Max Brooks) directed by Marc Forster produced by Brad Pitt Dede Gardner Jeremy Kleiner Ian Bryce starring Brad Pitt Mireille Enos Daniella Kertesz James Badge Dale Peter Capaldi Pierfrancesco Favino Ludi Boeken Matthew Fox Fana Mokoena David Morse cinematography by Ben Seresin edited by Roger Barton Matt Chesse music by Marco Beltrami

LOST H i g h w a y (1997) written by David Lynch Barry Gifford directed by David Lynch produced by Mary Sweeney Tom Sternberg Deepak Nayar starring Bill Pullman Patricia Arquette Balthazar Getty Natasha Gregson Wagner Robert Loggia Robert Blake Michael Massee Jack Nance Henry Rollins Gary Busey cinematography by Peter Deming edited by Mary Sweeney music by Angelo Badalamenti

N e a r D a r k (1987) written by Kathryn Bigelow Eric Red directed by Kathryn Bigelow produced by Edward S. Feldman Steven-Charles Jaffe Charles Meeker starring Adrian Pasdar Jenny Wright Lance Henriksen Bill Paxton Jenette Goldstein Tim Thomerson cinematography by Adam Greenberg edited by Howard Smith music by Tangerine Dream

S e c o n d s (1966) written by Lewis John Carlino (from the novel by David Ely) directed by John Frankenheimer produced by John Frankenheimer Edward Lewis starring Rock Hudson Salome Jens John Randolph Will Geer Jeff Corey Murray Hamilton Frances Reid cinemtography by Tak Fujimoto edited by David Newhouse Ferris Webster music by Jerry Goldsmith

Nosferatu The Vampyre (1979) written by Werner Herzog w/ Tom Shachtman Martje Grohmann directed by Werner Herzog produced by Walter Saxer Werner Herzog Michael Gruskoff starring Klaus Kinski Isabelle Adjani Bruno Ganz Roland Topor Walter Landengast Martje Grohmann cinematography by Jorg Schmidt-Reitwein edited by Beate Mainka-Jellinghaus music by Florian Fricke Popol Vuh

30 DAYS of NIGHT (2007) written by Steve Niles Stuart Beattie Brian Nelson (from the graphic novel by Steve Niles Ben Templesmith) directed by David Slade produced by Sam Raimi Robert Tapert starring Josh Hartnett Melissa George Danny Huston Ben Foster Mark Boone Jr. Amber Sainsbury Megan Franich Manu Bennett cinematography by Jo Willems edited by Art Jones music by Brian Reitzell

f r e a k s (1932) written by Willis Goldbleck Leon Gordon (from the short story "Spurs" by Tod Robbins) directed and produced by Tod Browning starring Wallace Ford Leila Hyams Olga Baclanova Roscoe Ates cinematography by Merritt B. Gerstad edited by Basil Wrangell

the M i s t (2007) written and directed by Frank Darabont (from the novella by Stephen King) produced by Frank Darabont Martin Shefer Liz Glotzer starring Thomas Jane Laurie Holden Marcia Gay Hardin Andre Braugher Toby Jones William Sadler Frances Sternhagen Jeffrey DeMunn cinematography by Rohn Schmidt edited by Hunter M. Via music by Mark Isham

Invasion of the BODY SNATCHERS (1956) written by Daniel Mainwaring (from the novel by Jack Finney) directed by Don Siegel produced by Walter Wanger starring Kevin McCarthy Dana Wynter Larry Gates King Donovan Carolyn Jones Jean Willes Ralph Dumke cinematography by Ellsworth Fredericks edited by Robert S. Eisen music by Carmen Dragon

[lesewut]

‘The covenant of love was granted to me on the day when there was no day, in my primal time, before she appeared to conclude the contract. And I obtained my love not by hearing or seeing, not by acquisition and not by an inclination of nature, but I loved her already in the world of divine command, when nothing had appeared, before creation I was drunk.’

Ibn al-Farid was born in 1181 in Cairo, Egypt, during the Ayyubid period. He was a member of a prominent family and received a classical education in Islamic sciences, literature, and poetry. Ibn al-Farid is regarded as one of the greatest mystical poets in Arabic literature. His work has profoundly influenced subsequent generations of poets and Sufis.

The Diwan of Ibn al-Farid is a collection of his poetry, encompassing his famous qasidas (odes) and other forms of Arabic poetry. This compilation showcases his mastery in both poetic form and spiritual depth and reflects themes of divine love, union with God, and the spiritual journey.

Through translations, his mystical odes were known in the European region, first by Viennese court interpreter and friend of Goethe Josef von Hammer-Purgstall (1774 - 1856): The Arabic Song of Love (1854). 1917 the didactic poem ‘Al-Ta'iyyah al-Kubra’ was translated into Italian by Ignazio Di Matteo, critically analysed by Carlo Alfonso Nallino ‘Poema mistico’ and Alleyne Nicholson's work of 1940 'The Odes of Ibnu 'l-Farid' bulding the basis for this edition by Prof. Renate Jacobi.

Love poetry - Ideal of love

Individual relationship of lovers above the norms and demands of society

Frequent motif:

Conflict, experienced as tragic in a world of social change, as a hopeless relationship in which the lovers who cling to it perish; Typical of ‘udhritic poetry (Bedouin tribe of the ’Udhra): By no means platonic, but sexual fulfilment only in marriage, which, however, is denied

‘The poet and his beloved have known each other since childhood, fall in love and want to marry, but the woman is married off to a richer man by her parents. The lovers remain faithful to each other. They meet, but without offending decency, and in the end the poet, and sometimes the lover, die of grief.’

‘Poets of the ‘Udhra tribe from the 7th century sang of their passionate love for a single woman who outlasts death. Before that, the concept of ‘udhrite love (al-hubb al-’udhri) was derived, which plays an important role in classical Arabic literature, in poetry and prose, as well as in profane love theory.’

Famous couples:

> Djamil and Buthaina (Djamil ibn Ma'mar, d. 701, is the most important poet of the ‘udhra tribe; his divan is considered relatively reliable) > Kuthaiyir and ‘Azza (Kuthaiyir, d. 723) > Qais and Lubna (Qais ibn al-Dharih, d. 689, like Kuthaiyir belonging to a different tribe, but attributed to the ‘Udhrite school; from the tribe of “Amir, called al-Madjnun ”the madman’ and his lover Laila; Poeticised by many mystical poets in many Islamic literatures + symbol of absolute love of God; doubts about historicity, attributed verses probably do not date from the 7th century either;) Basic structure resembles ‘udhritic poetry, yet deviations:

‘After Madjnun loses Laila, he falls into madness. He turns away from human society and lives among the animals in the desert until his death, focussing entirely on his love for Laila. His renunciation of the outside world is so total that he is unable to turn his attention to the real Laila when she visits him in the desert. His inner image of her holds him completely captive.’ [p. 161]

(The poet's response to his lover's accusation that he does not pay attention to her:)

‘You fill my heart so much that I cannot look at you.’

[Abbas ibn al-Ahnaf, d. 808)

'Udhritic love in two genres: Poetic (ghazal) and narrative form; complement each other and are placed in a historical context in Arabic tradition

+ Narratives initially oral, records were collected in the 8th century

The concept of ‘udhritic love’ reached Heinrich Heine via Henri Stendhal's treatise ‘De l'amour’ (1822):

The wonderful Sultan’s daughter Every day used to rush, Around the evening hour to the fountain, Where the white waters splash. The young slave stood pale At the fountain, around evening,, Where the white waters wail; And his paleness was increasing. One evening the princess approached him With sudden words, like a whip: I want to know your name, Your home and your kinship! And the slave spoke: My name is Mohammed I come from the Yemen that I cherish, And I stem from the tribe of Asra, From those who, when they love, they perish. [Translation by Joseph Masaad]

My (incomplete) notes in German