#christopher and his kind 2011

[kingslionheart]

ALEXANDER DREYMON as CASPAR — CHRISTOPHER AND HIS KIND (2011)

[zanephillips]

Christopher and His Kind (2011)

[shakespearesdaughters]

Movies To Watch In 2025

Black Swan (2010)

The White Crow (2018)

The Dancer (2017)

Mao's Last Dancer (2009)

Girl (2018)

Silk Stockings (1957)

Polina (2016)

Incendies 2010

Berthe Morisot (2012)

Summer in February (2013)

Helene (2020)

Modigliani (2004)

Camille Claudel, 1915 (2013)

Mona Lisa's Smile (2003)

Final Portrait (2017)

Edward Munch (1974)

Goya's Ghosts (2006)

Caravaggio 1986

Frida (2002)

Loving Vincent (2017)

Séraphine (2008)

Girl with a Pearl Earring (2003)

Renoir (2012)

The Eternity's Gate (2018)

Portrait of a Lady on Fire (2019)

Call Me By Your Name (2017)

Kill Your Darlings (2013)

Little Women (2019)

Dead Poets Society (1989)

Good Will Hunting (1997)

Maurice (1987)

Before Sunset (2004)

School Ties (1992)

The Skulls (2000)

The Emperor's Club (2002)

Cracks (2009)

The Riot Club (2014)

Picnic at Hanging Rock (1975)

Doctor X (1932)

Never Let Me Go (2010)

Nocturama (2016)

Mr. Harrigan's Phone (2022)

The Holdovers (2023)

The Handmaiden (2016)

Rope (1948)

Cruel Intentions (1999)

A Beautiful Mind (2001)

Dorian Gray (2009)

Sherlock Holmes (2009)

The Imitation Game (2014)

The Theory of Everything (2014)

Tolkien (2019)

The Dreamers (2003)

Miller’s Girl (2005)

An Education (2009)

Jane Eyre (2011)

A Dangerous Method (2011)

Christopher and His Kind (2011)

Practical Magic (1998)

Knives Out (2019)

The Craft (1996)

Twilight (2008)

The Addams Family (1991)

Atonement (2007)

God's Own Country (2017)

Atlantis (2001)

Hugo (2011)

Stardust (2007)

A Series of Unfortunate Events (2004)

The Mummy (1999)

Rushmore (1998)

Wicked (Upcoming, no set release year yet)

Return to Oz (1985)

Pan’s Labyrinth (2006)

The Secret of NIMH (1982)

Crimson Peak (2015)

[hotmusketeerspoll]

Magnificent Musketeer Tournament

Rochefort Semi-Final - Poll 1

Rochefort - Christopher Lee The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989

Christopher Lee may not have been the most book faithful depiction, but he did provide a landmark performance. It is because of his depiction that all the other Rochefort's wear eye patches. He has few lines, but he delivers them with a quiet authority and implied menace. His costumes are rich and full, his moustache elegant, and his bearing threatening. He acts as a kind of straightman in this sometimes comical film, but the gravitas he brings still manages to live up to the camp. He also has to fight a duel with a dark lantern in the first movie, and on ice in the second!

Rochefort - Mads Mikkelsen The Three Musketeers 2011

that eyepatch, good god.... i'd chase him across france too

The complete list of entrants can be found here.

Additional Propaganda under the cut

Christopher Lee:

HE IS THE BLUEPRINT FOR EVERY ROCHEFORT THAT CAME AFTER HIM

Link to gifset:

Mads Mikkelsen:

[wewerealwaysthere]

Are you a fan of the movie musical “Cabaret” (1972) starring Liza Minnelli? I decided to rewatch it on Amazon, and I’m also watching a more recent TV movie based on the same material.

Christopher Isherwood was a gay British writer. At the encouragement of a friend, he went to live in Berlin in the early 1930s. The public reason was so he could write. But he went just as much to have sex with the German men there. Berlin in the 1930s was a gay hotspot like San Francisco in the 1970s. He wrote his experiences that were later combined as “The Berlin Stories” (1939). The character of Sally Bowles was a real person named Jean Ross. Isherwood himself was a character in the stories but he did not reveal he was gay.

In 1951, several of the stories were adapted into a play called “I Am a Camera,” which refers to Isherwood trying to write what he saw without interjecting himself. Julie Harris played Sally. In 1955, it was made into a movie. Harris starred with Lawrence Harvey playing Isherwood. (Harvey, BTW, was married 3 times but was known to be gay or bisexual.)

I have never seen the film (but I’ve read the play). Apparently, Isherwood hated it, he described it as

“disgusting ooh-la-la, near pornographic trash – a shameful exhibition".

The stories were adapted into the musical “Cabaret,” which opened on Broadway in 1966. Joel Grey played the Emcee and won a Tony. Sally was played by Jill Haworth. And the Isherwood character (now renamed Clifford Bradshaw) was played by Bert Convey (who I know as a game show host in the 1970s and 80s).

The movie musical premiere in 1972. Joel Grey played the Emcee and of course Liza played Sally. Both won Oscars. Michael York played the Isherwood character (renamed Brian Roberts). A major change was that nearly all the songs are done as performances on a stage (which counterpoint other scenes in the film).

Isherwood didn’t like the movie of “I am a Camera” and he didn’t like the movie of “Cabaret” either.

“Brian's homosexual tendency is treated as an indecent but comic weakness to be snickered at, like bed-wetting."

Around the same time Cabaret was released, Michael York starred “Something for Everyone” - it is a very dark, very gay comedy in the same vein as “Saltburn” - York kills or fucks all the other characters! (I recommend you haven’t seen it.)

“Something for Everyone” was directed by Harold Prince who also directed the Broadway production of Cabaret.

In 1976 (just a few years after the release of the film), Christopher Isherwood published “Christopher and His Kind,” a memoir of his time in Berlin. In this retelling, he talks about a young German man he fell in love with and the great lengths he went to prevent him from being drafted into the German army. This is one of my favorite books, and I’ve reread it many times (including once while on a night train from Amsterdam to Berlin).

In 2011, the BBC made a TV movie based on Christopher and His Kind”. It starred Matt Smith as Christopher. (He’s a former Doctor Who.) I saw it back then, and recently found it in a streaming service called BRITBOX. Imogen Poots played Jean Ross. The young men cast as Christopher’s German boyfriends are beautiful. But Matt Smith reminds me too much of Doctor Who.

The musical has been revived many times in London and on Broadway. Most recently in 2021 and 2024. Eddie Redmayne starred as the Emcee in both. I’ve seen photos of him but never any video clips. An actress by the name of Amy Lennox played Sally in London

Liza’s version is so imprinted in my brain that it’s difficult for me to see other versions. In the movie, Liza just belts out the numbers on a stage. But on a theater stage, Sally is expressing her feelings. In the context of the story, the Christopher character is trying to convince Sally to leave Berlin. She refuses. She sings "life is a cabaret, old chum,” deciding to stay and live in ignorance.

Jill Haworth performed at the 1968 Tony Awards. The poor video may explain the quality of her voice.

Amy Lennox performing at the 2022 Olivier Awards. Even though I’m aware of the differences in context, she’s sort of awful!

I’ve heard about Eddie Redmayne’s performance as the Emcee. But I’ve never seen a video clip. I sort of wish now I hadn’t tracked it down. I assume he didn’t want to imitate Joel Grey, so he came up with something different—clownish?!?

Ps. Joel Grey comes across as gay in everything I’ve seen him in. Yet, I forget his daughter is Jennifer Grey, who starred in “Dirty Dancing”. Joel was married for 24 years, divorcing in 1982. He came out to the public in 2015 in a People magazine article. Interestingly, he didn’t call himself bisexual; he said, “if you have to put a label on it, I’m a gay man”. (The article said he had been out to family and friends for some time.)

And here’s Liza singing “maybe This Time” - to wipe out the memory of Jill Haworth & Amy Lennox’s versions!

[mlleclaudine]

Affaire Adèle Haenel : reconnu coupable d'agressions sexuelles, Christophe Ruggia condamné à deux ans de prison ferme

by Pauline Weiss - Marie Claire, February 3, 2025

Six years after actress Adèle Haenel's revelations in “Mediapart”, the trial of director Christophe Ruggia, whom she accused of sexual assault when she was a minor, took place last December.  On February 3, 2025, the Paris Correctional Court sentenced him to four years' imprisonment, two of which will be served under house arrest with an electronic bracelet.

In 2019, actress Adèle Haenel helped launch the #MeToo of French cinema with her powerful statement.  In a lengthy investigation by Mediapart, the Portrait de la jeune fille en feu actress accused director Christophe Ruggia of sexually assaulting her between 2001 and 2004, when she was between 12 and 15 years old.  He denied the allegations.

On December 9 and 10, 2024, the actress confronted the filmmaker, who was on trial at the Paris Criminal Court for aggravated sexual assault.

The public prosecutor's office delivered its verdict at 1:30 pm on Monday, February 3, 2025.   Christophe Ruggia was found guilty of sexual assault and given a four-year sentence, two of them under house arrest with electronic monitoring, as reported by AFP and Le Monde.

In addition, Adèle Haenel will receive €15,000 in compensation and €20,000 for the years of psychological therapy she has undergone.

In December, the public prosecutor had requested five years' imprisonment, including three years' probation, with conditional suspension.  According to Franceinfo, Fanny Colin, Christophe Ruggia's lawyer, has announced that her client intends to appeal his conviction.

Adèle Haenel left the courtroom to applause.  “Thank you all for coming, for advancing human rights.  Your presence, making sure we don't give up.  Thank you very much.  We are together,” she called out to the crowd, reports Brut.

Facing Christophe Ruggia last December, Adèle Haenel appeared determined.  “#MeToo was going to happen in France, and it landed on me,” the 60-year-old said in his defense.  In his testimony, he asserted on the stand that the actress had “an overwhelming sensuality” when she was 12 years old.  Regarding her statement in 2019, he felt that Adèle Haenel had become “radicalized” in recent years, reported Marie Claire, who was present at the event.

Interviewed in turn, Adèle Haenel detailed the Saturday afternoons she spent at his house, throughout the shooting of her first film, Les Diables (2002) and then afterward.  Asked why she returned every week, she replied: “He normalized the situation, and I felt obliged to go.  Without him, I'd fall back into a kind of nothingness.  I owed him, I felt indebted.”

After admitting that she had long “thought that the courts would never be interested in [her] story”, she finally showed her annoyance at Christophe Ruggia, who denied the facts up to the end, telling the director to “shut the hell up!”  The director hasn't made a film since Dans la tourmente (2011).

[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist – I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect – there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts – but they do take a lot of work and time.  Thanks for understanding. - C.]

My translation of Mediapart's coverage of day 1 of the trial

And day 2

[flymarlo]

☆˚— click the source link to find #650 gifs [268x150] of matt smith in christopher and his kind ˚2011. all gifs were made by scratch so don’t edit or repost. please like and/or reblog if you found them useful.

☆ commission work: click here to view commission info.

[lgbtqmovierecs]

LGBTQ Movie of the Day:

Christopher and His Kind

Description:

The Berlin cabaret scene is in full swing when a young and wide-eyed Christopher Isherwood arrived in the city to stay with his close friend and occasional lover, the poet WH Auden. To Isherwood’s reserved English sensibility, the city’s thriving gay subculture is thrilling. However Christopher soon finds himself heartbroken after the failure of a hopeless love affair, and so sets out on a process of self-discovery.

Title: Christopher and His Kind

Genre: Romance, Drama

Age Rating: 15

Release Date: 2011

Relationships: MLM (Sub-plot)

Representation: Gay

Running Time: 1h 30m

Country of Origin: United Kingdom

Language: English, German

Box Office: Unknown

Warnings: Nudity, sex, violence, profanity, homophobia, antisemitism, alcohol consumption, smoking, frightening & intense scenes

Starring: Matt Smith, Imogen Poots, Lindsay Duncan, Perry Millward, Toby Jones, Pip Carter, Alexander Dreymon, Faolan Morgan

Submitted by @dandandanny

[lunaspacks]

matt smith gifpack {commission}

click the source link for #801 gifs of MATT SMITH born in 1982, in Christopher and His Kind (2011). All gifs were made by me, 268x150, for RP use only. Please, do not repost in gif hunts, gif packs or any other media without my explicit permission, nor claim as your own.   Like or reblog if you end up using them. comissions are open TW: smoking, drinking, kissing, violence, sex

[kingslionheart]

ALEXANDER DREYMON as CASPAR — CHRISTOPHER AND HIS KIND (2011)

[freddiemercurylegendabovelegends]

Today - March 17th, 1986 - Queen Story!

'A Kind Of Magic' / 'A Dozen Red Roses For My Darling' released in UK

Taken 'A Kind Of Magic' album; Reached No 3 in UK charts

- 'A Kind Of Magic' written by Roger Taylor

Roger Taylor wrote the melody and chords of this song for the Highlander film, then Freddie Mercury wrote a new bass line, added some instrumental spacers, changed the order and produced a new mix with David Richards. Taylor was reportedly very annoyed that Mercury had almost completely re-written the song behind his back (reportedly whilst he was on holiday!), so perhaps that explains why the song was still credited only to Taylor. Roger's version is at the end of the film; Freddie's version is on the album.

When MacLeod (Christopher Lambert) leaves Rachel (Shelia Gish), his parting words are, "Hey, it's a kind of magic." The phrase "A kind of magic" was the starting point to write this song.

(➡️ source: https://www.songfacts.com/facts/queen/a-kind-of-magic)

- 'A Dozen Red Roses For My Darling' written by Roger Taylor

[girlfriendsofthegalaxy]

tuesday again 3/19/2024

boy hope i never run out of zelda games to play or my mental health is going to Tank. there are very vague endgame stuff spoilers (not where zelda is, but some of the time fuckery) but i am going to spoil a bit of the rito sage quest. nothing is rot-13'ed. i feel like that's a fair compromise since this game has been out for about a year? please let me know YOUR opinions on recent game spoilers

listening

Thanks A Lot But No Thanks from the 1955 musical It's Always Fair Weather, sung by Dolores Grey. this was Dolores Grey propaganda in the @hotvintagepoll. i love a sugar baby song and this is sort of an. anti-sugar-baby song? a satitrical sugar baby song? she thanks suitors for increasingly improbable gifts (the state of Maine, et al) before killing them??

the PIPES on this woman!!! the comedic timing!!! she pulls out a gun and shoots suitors dead while thanking them for an autographed picture of john wayne!!! she pulls a big lever and they all fall under the stage!!! ive been having kind of a Time in the depths of unemployment and this made me genuinely laugh (not one short sharp bark of laughter, full on cackling).

thanks for the darling uranium mine indeed

reading

the moonstone by wilkie collins (and philip). this has been my falling asleep reading book. this is decidedly not a cozy mystery but the stakes are not like. so high i have to keep reading through the night to find out what happens. i'm having a good time with it, currently about halfway and still very irritated with rachel, the main character right now. i have not revised my "spoiled brat" opinion and i look forward to seeing if i ever revise it.

-

watching

The Three Musketeers (2011, dir. Paul W.S. Anderson). thank you mackintosh (this is a discard from my hometown library and no one needs to know where that is thanks). it's pretty widely available on free platforms rn which is how you know it's good. it's not Good is the thing but it is extremely fun. it is straight up the three musketeers but with an airship. milla jovovich jumps off an airship into the channel. milla jovovich does some assassins creed shit. luke evans does some assassins creed shit. there is an airship fight and an airship chase. it is So cheesy and unfortunately never got another sequel. it also inexplicably has some of the finest cinematic swordfighting since the golden age of hollywood.

this was a really successful impromptu movie night pick for a more widely varied gang than usual, including some teens. my bestie also enjoyed it, which i am So pleased by bc she has extremely exacting movie taste. this cast is so stacked for no good reason: orlando bloom, luke evans, christoph waltz, mads mikkelsen, matthew macfayden...

-

playing

i have a post in my head about breath of the wild and tears of the kingdom and their dialogue with each other about loss and grief, but i think that's going to have to wait until i have a little bit more brainpower. perhaps i can talk a little bit about how they make me feel about loss and grief, and how i was upset for zelda and her hundred-year siege in the last one but i am so so so desperately sad for zelda in tears of the kingdom.

i played through breath of the wild with a constant background sense of loss and grief. this is only partially due to the real-life severe depression and joblessness. i think this is a personal brain thing and not a game thing, but i did feel guilty when fucking around in breath of the wild and not actively doing main quests to save zelda. like i would look at the castle off in the distance and feel kind of bad. the champions (and zelda!) telling link as soon as physically possible that it wasn't his fault made me cry in real life every time. i get it's like a month max of in-universe time between games, but it still feels like he has once again missed SO much. i think this is sort of a larger symptom of depression in that i look at [REDACTED] in tears of the kingdom and get a bit hopeless about [REDACTED] and it's like. well i might as well go pick golden apples and not do main quests. time is meaningless.

i am really glad they kept the shrine of resurrection on the plateau in tears of the kingdom. if that hadn't been there i the player would have felt very unmoored. i cannot begin to think how unreal and depersonalized it would have made link feel.

enough of that! the hero's path function is so funny. there are such huge swathes of the map i looked at and said No Thanks! Not Yet!

my depths map is even funnier. eight lightroots so far. no thank you! too scary still! i thought until VERY RECENTLY that all the caves and wells led to the depths and was avoiding them. mistake! cool shit in caves and wells! some horrible boys as well but they are vastly outnumbered by the cool shit.

the rito sage quest fucked SO severely. i had so much fucking fun with that boss fight even though it took me a real life two hours to get up to the arena with the puzzles to unlock the boss fight. i also surprised myself and did not have to look up how to beat any of the puzzles or the boss! just entered a state of flow and looked up and it was three hours later! i know a lot of people are very grumpy about how this was not a totally new game with a totally new map, but i have nothing but praise for the mechanics in this completely new section. knocked my socks off. made me think but wasn't too frustrating. made me use all my powers and all my weapon types. it was simply a great deal of almost frictionless fun! some over the top sick as shit stuff that is the whole point of video games as a medium imo

unlocked all the geoglyphs and i am Upset. i am UPSET.

and now for some horse talk (TM): i kept the very first horse i caught out of nostalgia even though these stats are not very good. i think the naming scheme for this game will be H (the last game was C). the breath of the wild giant ganon horse is so funny. you can't do shit with this horse. you can't change the mane. you can't change the tack. you can't increase his stats. he's just There. Large.

tangential horse talk: why is this lynel in the wetlands. his feathering and fetlocks are going to rot off. he is going to founder

some places ASCEND works where i didn't expect it to: tree. water you can stand in.

i stumbled across the last power completely accidentally while trying to deliver some eyes to a mysterious god and this was so fucking funny. i DID throw this guy down a big pit in the last game and he never came back. i forgot about that.

also people were fucking gaga for rauru but why didn't i see people talking about either of these two last summer on this, the -girl affix site and the scruffy shredded boy site

some other bits and bobs:

i was so annoyed patricia was part of the compendium in the last game i fucking got her this time ok

very hashtag relatable languages moment

unrelated to either of those things, i have done the gerudo sage quest except for the boss battle and i missed two huge swathes of hashtag tunnel gameplay (going to find riju through the tunnels. simply went overland) and getting to the central temple chamber (simply used ascend). whoops

there's a little tower concept art piece in purah's room in the ancient lab! that's a fun little touch i really love, it really helps differentiate the games and show changes in the overworld between games in a very cheap and east way for the devs

bc i play these games like dressup simulators, i also want to note that misko's tents are also really fun, they really feel like they're from a much earlier era and i'm stumbling across an untouched archaeological site

-

making

garden update: growing along okay, it has been so so so wet lately and i should have bitten the bullet and bought the big expensive bag of perlite, the drainage is not terrific. i should elevate all the planters and that would help a bit too. tomatoes are bit leggy, i moved them out of the partial shade on the end of the balcony and in front of the window. i am a bit concerned about them getting scorched, but again it's been so wet lately they need all the help they can get. i feel like they're established enough to be pruned a bit to make them bushier but i am Afraid. there are worse things in life than leggy tomatoes

the pic on the left below: these bush beans are looking a bit strange as well. the four shorter ones came up, promptly withered their cotyledons, and i thought they died until they popped out their first true leaves. the larger ones i think may have some kind of mosaic virus but it's a little early to tell. these are bins that haven't been used outside (they stored clothes in for the move) and new dirt from home depot. either the dirt or the seed stock itself may have been infected? very strange. the cucumbers in the bin in the back (hidden by the beans) are also taking forever to get going. at least the sweet peas are doing fine. the spinach i planted in that back bin withered where the stems met the soil and died. i think it was simply to early and too damp for them.

anyway on the right pic above: these normie peas and normie climbing beans seem to be doing fine. that's dill in the gray pot and basil in the bucket, they also seem to be doing fine. just sort of a perplexing corner on the other side of the balcony.

[triptychgrip]

A non-exhaustive list of things Yuuri and Viktor would write fanfiction about

Viktor would write a “fix-it” fic* to make up for his “Oops! Watch the nosebleed!” failure to catch Yuuri at the Chu-Shikoku-Kyushu regionals. He’d do so not only because of his own guilt around prioritizing his designer suit (which he’d throw away in shame), but also b/c Yuuri’s fans would never let him live that moment down, lol. I think Phichit would create a calendar appt set to repeat every September 25th (until the end of time), to remind Viktor of how he heartlessly let Yuuri fall to the floor, complete w/ exaggerated GIFs and memes. Kenjirou would probably join in

Because he is just as extra as his fiance (and feels bad for not remembering it), Yuuri would get Christophe/Yurio/Mila’s help to write a fic in which he DID remember the Sochi banquet. In this iteration, not only does he thrash Yurio in a dance-off and sweep Viktor off of his feet, but he — very shyly and very awkwardly — knocks on Viktor’s hotel room door the next morning, carrying an assortment of Japanese hangover remedies

After about a month goes by with no word from Yuuri post-Sochi, Viktor would take any breaks he can afford when not training for Europeans or Worlds to write the most extremely fanciful fanfic as an outlet for his pining/heartbreak, because…well, duh. Each of these stories would include extremely plausible reasons for why Yuuri just couldn’t contact him (none of which, obviously, involve the fact that he was trashed beyond belief). His favorite one includes the fact that Yuuri is actually a highly trained assassin working for the Japanese govt, who decides not to get in contact with Viktor because he doesn’t want his enemies to put a target on Viktor’s back. Oh, the gallantry!

As Viktor approaches his 30th birthday, Yuuri would note his increasing reluctance to acknowledge the milestone. Taking Georgi’s predictably dramatic advice, he’d surprise Viktor with a time travel fanfic*, one that is admittedly a bit trite in its “I’ll love you no matter what age you are, Vitya” theme, but that delights Viktor, nonetheless…especially when he notes that Yuuri only has eyes for him, even though his younger, 18 year old self is outrageously flirty with his fiancé. (Georgi, failing to note that this isn’t supposed to be an angst fic, would beg Yuuri to up the ante on the crying)

When Viktor tears his meniscus during the 2011 off-season, Yuuri writes a fic in which they meet by way of Viktor being sent to a famed healing/rehabilitation clinic in Fukuoka. In this fic, Yuuri actually would decide to go home to Hasetsu in the off-season, meaning he would not only get to know Viktor, but also reunite with his sweet poodle 😭

Seeing how anxious Yuuri is during the planning of their wedding, Viktor — in a very sweet but misguided way — decides to write him a crack-y fanfic in which just about everything that can go wrong on the day of, does go wrong. This is sort of meant to be a “see, Yuuri?! Even with all of that terrible stuff happening, the day still turned out perfect, because I got to marry you!” kind of thing, and even though Yuuri nearly has a panic attack while reading it, he ultimately does derive comfort from it (and he also triple checks that Otabek as their DJ does not actually intend to play any risqué music at the reception that will send his elderly relatives into states of catatonic shock, as happens in the fic)

Bonus: After losing some kind of drunken bet, Yurio writes a fic that he then forces Yuuri and Viktor to role-play. In it, all of Viktor’s hair falls off the day after Onsen on Ice. Ashamed to be seen like this by Yuuri, Viktor hightails it back to St. Petersburg and grovels at Yurio’s feet for forgiveness

If you’ve read my “fic-ception” series in which Yuuri and Viktor jointly write (and publish) a sappy/smutty friends-to-lovers and role-reversal story starring their fictional selves, you probably aren’t surprised to hear that this very meta concept has completely taken over my brain.

While writing Put It In Reverse For Thirst, I couldn’t help but ideate around the kinds of things Yuuri and Viktor might explore in the wondrous world of fanfiction, both before they got together, and afterwards.

Above are just a few of the ideas that came to mind…I’ll probably make a part 2! What else do you think they’d write fanfic about? I think the possibilities are endless.

*these are ideas I have in the works for potential stories. My WIPs folder is a disaster

[snowviolettwhite]

Spent today working on the mood-board for my upcoming 9-1-1 Alternative Universe Fan-Fiction Set In 2011. Making moodboard and doing interested boards help inspire me and get ideas flowing. So I want to share it. Look how adorable teenage Buck, Eddie and Shannon are. They look so young, little cutie pies.

It will be called "don't have to be sorry for leaving and growing up." It is from Harry Style's Matilda.

Below is what I have written so far, it is still in the works. You can also check out my 9-1-1: Lone Star Fan-Fiction.

---

Set in the early 2010s with barely eighteen and barely out of high school Buck and Eddie running away from home to California and joining the fire academy and eventually joining the 118. Eddie would bring baby Christopher with him. Eddie's parent did not think he was mature and adult enough to take care of Chris as a 20-something year old, so is would be even worse for teenagers, people who are transiting from childhood/teenage-hood to young adulthood and still being treated like kids.

---

It is June of 2011. The schools wide across the nation are all out for summer vacation from Hershey, Pennsylvania to El Paso, Texas.

Evan Buckley is the blonde, blue eye rascal who is always getting hurt and in trouble. He is the baby of the family but the only person who has ever paid attention to him is his big sister Maddie.

Edmundo Diaz is the young teen dad who got his best friend and girlfriend pregnant. He is the middle child and was the sane one compared to sisters until now.

They say if you want to be treated like an adult act like an adult. How are supposed to act like an adult at eighteen years old, haven’t been out of high school even a month, being dragged home by the cops and being scolded at the front door or being yelled in your childhood bedroom. Sometimes this makes you want to run away.     

----

It is June of 2011.

The city of El Paso, Texas school district has let for summer break and held graduation for this year’s high school seniors, they are no longer twelfth graders.

They are adults or as much as one can feel like an adult at eighteen years old, and silently sobbing in your childhood bedroom, hugging your worn-out stuffed animal dog with your back pressed against the door, trying not to wake your napping infant son who in his crib as your mother is yelling at you.

“Edmundo Diaz, you are in so much trouble young man. Open this door right now! You live under in my house. You live by my rules and aren’t too old to be put over my knees. Just wait until your father gets home. I can’t do deal with you.”

Edmundo Diaz or Eddie as he prefers being called was a good catholic boy. He never misbehaved or caused trouble but a little too soft, that was until Shannon showed up. They met in the eighth grade. They became best friends and were inseparable until they lose touch but found their way back to each other. She introduced herself being all sweet and friendly. She was sunshine. His family hated Shannon. They said she was a bad influence on him and he started acting different after meeting her. She was his first kiss, his first girlfriend, this first time. Good catholic boys wait until marriage, she is his first and only.

Shannon will back soon, she is visiting colleges in California. When she comes back they will make a plan for themselves and for their beautiful baby boy, Christopher. For now, he has been having never ending fights with his parents. It is about how stupid he was getting a girl pregnant while still in high school and a teenager or how he needs to toughen up or grow up. It is kind of hard to grow up when nobody goes around hiring eighteen-year-old and your parents are still treating you like a child.

“Edmundo, how could you let this happen? You and Shannon are still kids. You are barely able to take care of yourselves. How are you supposed to take care of a baby?”

---

Inspired By This Photo:

[mlleclaudine]

Plainte d’Adèle Haenel : cinq ans requis contre Christophe Ruggia, pour « remettre le monde à l’endroit »

by Sophie Boutboul - Mediapart, December 10, 2024

Photo from France Dernières Nouvelles,France Actualités

[NB: My translation of the coverage of the first day of the trial can be found here.]

On the second day of the director's trial, the prosecutor called for him to be sentenced to five years' imprisonment, including two years for sexual assault of a minor, so that justice can be a tool in the «fight against silence» when confronting sexual violence against children.

«Shut the hell up!»  Tense and exhausted, Adèle Haenel finally exploded with anger in the courtroom on Tuesday December 10, the second day of director Christophe Ruggia's trial.  Since Monday, the director has been on trial for sexual assault of a minor, committed between 2001 and 2004, with the aggravating circumstance of having been a person in authority over her.  Adèle Haenel was between 12 and 14 years old.

In the middle of the proceedings, the actress rose and briefly left the courtroom of the Paris Criminal Court, followed by her lawyers.  The woman who had chosen to withdraw from the cinema could not bear to listen to the man against whom she had brought suit as he rambled in his defense.  At the stand, the director said he had suggested that Adèle Haenel change her last name «to protect her», saying «Adèle H reminded me of Truffaut.»  Adèle H  is the title of a film by Truffaut, released in 1975.  A film about a woman consumed by a passionate love affair.

Shortly prior to this, Adèle Haenel had explained at the stand: «Who was there to tell this child: “It's not your fault”?  Everyone says I should feel sorry for Mr. Ruggia’s plight, but there are consequences for sexually abusing children.»

At the end of a nine-hour hearing, prosecutor Camille Poch called for five years' imprisonment, including three years’ probation and a restraining order on contacting the actress, as well as an obligation to compensate her.  She specified that the two years' imprisonment could be convertible to house arrest under electronic surveillance.

She also requested a ten-year ban on working with minors, registration with the Fichier judiciaire automatisé des auteurs d'infractions sexuelles (FIJAIS) [Automated criminal record of sex offenders] and a provisional sentence.

Two witnesses on the stand

The day began with the testimony of two witnesses: director Mona Achache, who was in a relationship with Christophe Ruggia for a year around 2010-2011, and his sister Véronique Ruggia.

The former gave precise, detailed testimony.  As she had already done during the investigation, the filmmaker told the court about Ruggia's confidences during their relationship: once, Adèle Haenel was said to have had «her head»on his lap and his hand had «moved up to her breasts».  He then told her that he’d withdrawn his hand when Adèle looked at him with «fright».  «I think it's a laudable little confession that conceals a much more disturbing truth», said Achache.  A testimony that Ruggia disputes.

The director claims that in 2019, when the accusations against Ruggia were revealed in Mediapart, her own daughter told her that he «was very controlling, with a rather heavy-handed way» with her, when she was 11 years old and they were all living under the same roof.

Mona Achache also stated that while «he talked a lot about her talent as an actress, he was also fascinated by her body».  In her own relationship with him, she spoke of «a superior attitude», the fact that he had «a kind of hold» over her as a director who was «more powerful» than she was at the time.

Asked by Anouck Michelin, Adèle Haenel's lawyer along with Yann Le Bras, what had attracted Ruggia to her, she replied: «Obviously my youth [Ed. note: she is twenty-six years younger than he is], an inner fracture, my vulnerability.  And a kind of intelligence, to say something positive.»  She explained that when she became aware of the situation Christophe Ruggia was describing to her with a child, she «kicked him out» after being confronted with the disaster of a new «abuse» in her life.

Véronique Ruggia was also heard as a witness.  The director's sister was Adèle Haenel’s coach on Les Diables, a feature film in which she was also first assistant director.  Several years after the shoot, the actress allegedly told her that he had «tried to grope her», but also that he had «declared his love for her and tried to kiss her».  She told the court that Adèle Haenel had said: «It's horrible, he's old», it's «disgusting».

Véronique Ruggia explained that she was «shattered» when she heard this statement.  She recounted how she confronted her brother a few years later, and that he had «burst into tears».  According to her, he told her: «I've lost Adèle», and told her about an «unfortunate action while he was crying» and a scenario about which she would have been «offended».

The defendant's sister confided her uneasiness: «I see Christophe's downfall, banished from his profession, from Paris, and he blames me for having supported Adèle on the feminist principle of saying that if there are acts of control or power imbalance, we must denounce them.»

Anouck Michelin's closing arguments

Prior to the closing arguments, in a vast courtroom still packed with Adèle Haenel's family and friends and film personalities such as actresses Aïssa Maïga and Noémie Merlant who had come to support her, Anouck Michelin began her statement.

«It's often said that speech is silver while silence is gold.  In this chamber, silence is rarely golden; rather, it's more like death. [...]  To unburden this word, you have to face up to the shame you feel for not having said something sooner», began Ms. Michelin, already bringing tears to her client's face.

She targets the man «who rewrites history» in the 119 pages of his account «Adèle Killed Me», found in his computer and written after our investigation was published in 2019: «M. Ruggia tells us that it's the child who is completely to blame, that she's too sensual, too wild, too dangerous for his sofa.»

Adèle Haenel's lawyer stressed that, while she would only remember «filth» about the director, she described Adèle Haenel as a rough diamond whom Ruggia would have made a «puppet».  «The problem is, a diamond is tough, it’s strong», she said, eliciting a smile from Adèle Haenel, her face closed until then.

The lawyer extended the diamond metaphor to talk about a gemological term for the crack in a diamond called a flaw: «This is what you will always be, Mr. Ruggia, a flaw in a rough diamond.»

Anouck Michelin's last words are not for the director or the actress, but for «little Adele»: «You need to listen to me, you're 12 years old, it wasn't up to you to say no, to not get on the sofa...  None of this is your fault [...].  I know you were alone, but you're not anymore, and you know, Adèle, when you grow up, you'll be a great actress, and it’ll all be thanks to yourself and your talent.  Tonight, Adèle, go home proud because you were able to protect yourself, to free yourself from his stranglehold, his influence; tonight, free yourself for good.»

Her colleague Yann Le Bras followed up with an argument for his client, who «brings the humility of her memory to say: “I'm only denouncing what I'm absolutely sure of”».

He also spoke of a director who introduced a «permissive campaign» with regard to his actress: «He's neither the first nor unfortunately the last.»  Mr. Le Bras enumerated at least 120 Saturdays over three and a half years, excluding holidays.  At a rate of three or four hours per encounter, he arrives at «450 hours» in which «this man and this young child were behind closed doors»: «Fingers, Orangina and wandering hands on the breasts, on the stomach, in the panties of a little girl.»

«The only #MeToo that doesn't have a #MeToo»

For Ruggia's defense, led by lawyers Fanny Colin and Orly Rezlan, the Mediapart articles have been the target of numerous comments since they are, in their words, «a complementary indictment against Christophe Ruggia»

Colin said she understood the «anger and suffering» but that «history» had been «rewritten», since «all the witnesses either took part in [Mediapart's] investigation, or read it».  She spoke of a «contamination effect» among the witnesses.

To justify Christophe Ruggia's words about his love for Adèle Haenel, she talks about his «focus» in his letters, which she says are not love letters, but those «from an admirer to the actress», as he concludes one with: «I miss your friendship terribly.»

She insisted that in her expertise, there was no «abnormal attraction of the pedophilic kind».  And that his association on pornographic sites with the words «nice teen», «college teen with his professor», would be «pop-ups» (windows that are opened on the web page): as the police concluded, there was «no [history of] pedophilic searches», she said.

She also pointed out that her client would be «the only #MeToo that doesn't have a #MeToo» compared to the accusations against others that «are accruing». Since 2019, she assured that «not a single person has come forward to say that Mr. Ruggia has so much as looked the wrong way at a child or a young girl».

Colin's fear: «That the judiciary will have to dispense justice with a gun to its head.»  «By virtue of the principle that the accused must have the benefit of the doubt», she asked the court to acquit, as this principle was in her opinion «not a patriarchal principle designed to protect aggressors, but to protect the innocent».

Five years to «set the world straight»

For her part, prosecutor Camille Poch made a specific indictment for a conviction, to «set the world straight, to remind us of the forbidden, and who was the child, who was the adult».

She pointed out that Adèle Haenel had always been «clear and consistent» in her statements, whether in the Mediapart article or before the police, the examining magistrate or during confrontation.  «Adèle Haenel told us the story of a gradual influence, but just because the hold is subtle and insidious doesn't mean it's any less serious», asserted the prosecutor.

With the actress facing her, the representative of the public prosecutor's office spoke of the «collective abdication of adults, Adèle Haenel's terrible isolation during the time of the events, when Christophe Ruggia became and remained the only adult in her life».

She listed the many witnesses and confidants, including her first boyfriend, then her ex-girlfriend, the director Céline Sciamma, her own brother, and Mona Achache, who was interviewed that very morning.  She also recalled the «feeling of unease» described by Christel Baras, the casting director for the film Les Diables, when she ran into Adèle Haenel on two occasions at the director's home.

The prosecutor also described Ruggia's «modus operandi»: «their respective positions, the changes of location, the attitudes, the panting, the hand in the collar of the T-shirt, on the chest».  She recalled the «trigger» for the actress to speak out: fearing for new victims with the launch of [Ruggia’s] project in 2019 involving teenagers.

Camille Poch also pointed out that the acts denounced «will stop only through the efforts» of the actress.  She underlined the use of a «lexical field of love» that leaves little doubt: «My heart exploded once again in my chest», «Let her know that I loved her».

In asking the court to enter a guilty verdict, the prosecutor also relied on computer expertise, which she said confirms Christophe Ruggia's «sexualized view» of Adèle Haenel, notably through his Google search for «adele haenel hot��, dating from 2011, and his words in one of his texts - «Adèle at 12 years was overflowing with sensuality».

Sexual violence, an «inoculated death»

Sexual violence, said the prosecutor, quoting Gisèle Halimi, is like «an inoculated death», which is reflected here in the «massive psychological repercussions» for Adèle Haenel: the «disruption of the construction of identity markers, a depressive episode after the fact, her desire to die, everything that makes up post-traumatic syndrome».

The representative of the public prosecutor's office criticized Ruggia's «improbable line of defense», which tends to emphasize «revenge on the actress’ part».  She also highlighted Ruggia's «inability» to recognize the «inappropriate nature of these encounters between an adult man and a pre-teen girl twenty-four years his junior».

«Regarding the absence of consent, coercion is characterized», asserted the prosecutor, by Adèle Haenel's age, the age difference [between them], the total absence of acknowledgement of Adèle Haenel's sexuality, the director's hierarchical advantage and the «obvious domination» in relation to an actress, the occurrence of psychological manipulation, the description of her state of «stupefaction» and her attitude of physical refusal.

In asking the court to convict him, she drew on the actress' «particular vulnerability» in facing an adult who «doesn't acknowledge the facts»: «Sentencing means putting guilt back in the right place.»  Camille Poch was also keen to respond to Adèle Haenel's phrase - «Justice ignores us, we ignore justice» - to send a message to her and all other victims seeking this conviction: “Justice must also be the tool of this other enemy which is silence, justice must be there to condemn the act, it must remain as leverage for all those who have no one else.»

[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist – I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect – there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts – but they do take a lot of work and time.  Thanks for understanding. - C.]

h/t to @thexfridax for the article! Thank you, Ros!