#debbie blane

[king-plutos-typewriter]

This was not meant to be a redraw, but I ended up sorta turning it into one! This is Rohan and Debbie Blane, the grandparents to my beloved OC Jude, at two different ages and art styles. Yup, Rohan has acquired an epic earring and Debbie now has a really cool hat.

Fun Fact: Rohan is a bit of a spotlight character in my little flash fiction story I wrote almost a year ago! It's from Jude's perspective (my sweet chaos child I will write another story for you soon.)

[aubreve-art]

POST-WAR HEADCANONS LET’S GOOOOO

Vancha and Gannen would absolutely be the best dads ever, I see them parenting exactly as you’ve described them! I love your ideas about how fatherhood changes them both too, it’s so sweet to think of Vancha missing his kids and Gannen healing through the experience. I feel like they might also channel their own masters’ teachings into it too, as that’s probably their closest model for parenting children with super-human abilities. I will never not be sad that Paris died before he could become the awesome grand-sire I know he would have been 😫

I also feel like Darius would be a great friend to the twins as they grew up, being a child himself in a similar situation (caught between both clans). I love the idea of other characters getting involved in raising them too; Alice and Vanez could teach them to fight, while Debbie would Not Rest Until These Kids Are Properly Educated, What The Fuck Do You Mean They Can’t Read?! Annie’s the only one there who’s been through childbirth herself, so I think she’d really look after Evanna through the whole pregnancy. Evanna doesn’t actually need any help at all, but Annie is so sweet that she never lets on and even asks her to be there at the birth.

I don’t know why but I see the twins as being a boy and a girl, probably because Evanna and Mr Tall were twins themselves and I think it would echo them nicely.

In my own (very personal) headcanon, the twins unfortunately don’t ever really get to know Evanna. I don’t think Desmond Tiny would take her rebellion lying down, and though he can’t hurt Evanna or the children, I can see him pulling an absolute dick move like sending her off to some far-future dimension for a while so she can’t influence them growing up. Meaning that Vancha and Gannen are left to raise these two kids with powers they aren’t really prepared for, on top of trying to create peace and deal with any other curveballs destiny throws at them out of wounded spite.

In terms of the wider world post-war, I think Steve opened so many cans of highly radioactive worms that Vancha, Gannen, Harkat and their friends would have their work cut out rebuilding the damage alone. There’s no way the vampets and vampirites would just agree to stop fighting straight away - the vampets were promised too much power to give it up, the vampirites believe they are fighting for their very lives against the vampaneze - and that’s before we even get into the conflicts within the clans themselves, between those who want peace and those who still want to claim victory. One day I’ll sit down and work out how it might all be resolved, but I feel by then I’d be qualified to be a UN peace envoy so I’d probably just do that instead 😭

Thanks for the thought-provoking prompt and your lovely headcanons @bootscootboogyin !

My muse is in the toilet so here are some post War of Scars headcanons:

Vancha and Gannen end up being the best dads, and rebuild their relationship because of the children.

Vancha is the fun dad, teaching the kids to howl at the moon and live life to the fullest.

Gannen is the loving yet stern dad, introducing culture and order to their lives.

Evanna has the kids the majority of the time, but once a month, the kids spend seven days with the vampires and seven days with the vampaneze. Every so often, Evanna forces Vancha and Gannen to come to her cave for the weekend to visit the kids together.

Gannen calls his kids “my love” or “my heart”; fatherhood has given him a new confidence and comfort in himself that he never expected.

Fatherhood keeps Vancha from roaming as much; he stays longer at Vampire Mountain and finds himself getting lonely without the kids or his brethren around.

The vampaneze start to create more pack-like groups after the war, finding their nomadic lifestyle less appealing.

Humans (more specifically their technology) will eventually catch on to the vampires and vampaneze (it would be the latter who get noticed first, due to their obvious skin indicator).

The kids will bring together the clans, and together they will all destroy Desmond Tiny.

On that note, let’s hear yours!

[chainslobber]

Thinks about Giulio's pathetically desperate voice cracks when he screams after being crushed.

Thinks about him ripping his clothes lifting his bike just to have a button that lifts it up for him.

Thinks about him hunting down Little Debbie while unconscious like a feral demon out of hell.

Thinks about him setting up a picture just to keep their tea schedule even when Anna is gone.

Thinks about the fact he did EVERYTHING for the princess even when he lost the ability to use his Quirk and blanes himself for not being more.

Thinks about him waking up early every day to do his hair up all nice knowing it'll get loose and fall out of the tie regardless.

Thinks about Giulio. Ouuugh.

[the-actual-loch-ness-monster8]

so i made like a ridiculous amount of these charts and I WILL MAKE MORE

THIS IS A THREAT

[koganphrancis]

(gif credit: jackorowan)

Ian Dips His Toe Into A Redemption Arc

(Or: My thoughts on S10 Episode 3)

First thing first-I am guessing that the scene this gif is from was cut-Wells probably said it looked too much like men having sex with each other ;P  I bet this fight led to the-by the time the episode starts-established divided cell that Ian has to be a little bitch to Mickey about not seeing the clock since he can’t go to “Mickey’s side” of the cell.  WTF is this, The Brady Bunch?  Pretty sure the boys pulled that about their bedroom in one of the episodes, but I digress.  I would have liked to see Mickey jumping Ian, sigh.

On to what they did show-I have to say, I’m okay with it in the sense that I think almost everything they had Mickey and Ian say and do was very much in character.  However, since the show has had these characters for 10 seasons, I would’ve really liked to see evidence of more growth and evolution for Ian.  Mickey did two major acts of wonderful, selfless love for Ian, whereas Ian blurted out one thing towards the end when everything was pretty much set in stone anyway.  

But it was very in character for Mickey to be the one to give, and Ian to receive, so let me go back to the beginning under the 

The episode starts and obviously they’re still bickering/not getting along.  (Noel’s reading of Mickey’s annoyed “What” packed more meaning and emotion into a single syllable-this show does not deserve him.)  Ian gets the news that he’s got a parole hearing date, and Mickey immediately has a dark cloud of cold, cold rain descend over him-Ian’s pretty oblivious to that, and probably thinks Mickey’s just continuing their arguing since Mickey walks out of the cell as soon as the lock’s released.  Gotta give Ian a little credit-he forgets they’re arguing and is asking Mickey questions about his thoughts about what the letter means and didn’t Mickey think, like Ian, he’d be in longer...but those questions were all about “me, me, me” not “us”.  Which, in character, but, grow a little, Ian, damn it!

Ian goes and talks to two inmates that we’re not quite clear if both of them are gay or just “prison gay” (one has a boyfriend on the outside, but they have an arrangement to screw other people while they’re apart as long as there’s no mouth kissing).  They tell Ian he and “his boy” need a clear understanding, or feelings will be hurt.  Ian looks across the room to Mickey, and maybe for the first time is thinking about Mickey hurting because of him.

Or maybe he’s not-because the next scene is obviously taking place at 8:15, and Mickey is sitting on the toilet.  This scene, again, was in character for Ian, but it pissed me off because he’s bringing up something major-something that could easily blow up into a fight-when Mickey is literally at his most open and vulnerable-pants down and his body in no position to choose either fight or flight.  Plus, Ian doesn’t broach the subject with, “Even if I get out, I will wait for you, I’ll be faithful.”  No, he’s still 17 year old Ian saying, “Will we bang other people?”  Plus he throws in “kids?  Retirement?” so Mickey truly doesn’t have the first clue what Ian’s asking.  (And, btw, Shameless, they HAD a kid that you’ve oh so conveniently made disappear.)  

Ian states it as clearly as he can (I guess, for him): “Do you or do you not want to be in a long distance relationship when I’m out?”  This is so not fair to put on Mickey.  Mickey plainly told Ian what he wanted way back when he was first put into prison and, yes, Ian was on his meds and so low and whatever, but Mickey  knew the answer he gave then was a lie and probably would’ve been the same even if Ian was 100% adjusted to his meds.  Also, Mickey knows for a fact: Ian cheats.  He’s cheated on Mickey and he’s cheated with Mickey, and Ian’s certainly not saying here he’ll even try to be true.  From Mickey’s point of view he could easily take it as Ian wanting him to give him the loophole to not be faithful.   

Mickey, again, is the realist-”You’re out there you’re going to be fucking other people, so will I.”  (Plus, just last week, Ian was requesting a “new roommate”-pretty sure Mickey feels like Ian would be fucking other people inside, given the chance.)  Ian belatedly (far too late) says, “Can’t we just like, wait for each other?”  Then Mickey says something very true indeed.  “Look, it would be one thing if you felt differently about leaving, but you don’t.”  Ian asks what that means and Mickey reluctantly tells him that maybe if there was a part of Ian that wanted to throw his parole hearing so he could stay in there with Mickey since Mickey threw his life away to be with Ian then at least they’d be having a different conversation.  Ian immediately gets defensive with “I didn’t ask you to.”  No, you didn’t Ian, but you’ve never seemed to appreciate that Mickey did it either-or any of the many other sacrifices and acts of love Mickey’s done for you over the years.  Ian incredulously asks if Mickey’s asking him to tank his hearing to "be stuck” in prison with him.  Again it seems like Ian is 100% missing the point that Mickey chose to be with him because he wanted to be, and Ian’s acting like being with Mickey is part of-maybe the worst part of-his prison sentence.  Mickey says, “I ain’t asking you for shit, Gallagher.”  Ian cranks up the defensiveness, “You want me to choose to do it without you asking.”  YES, that’s exactly what he wants, Ian.  For you to choose him, for once in your life!  Mickey says his already famous, “I want you to want to do what you want.”  Ian gets extremely whiny and says, “Buuuut, if I choose it, you would be happy.”  Well, not anymore-you’ve ruined it.  He keeps getting in Mickey’s face, “I just want to know, yes or no, would you be fucking happy!?!?”  You honestly don’t know, Ian?  You’re the one that’s been having all the problems being locked up-Mickey, in the little bit we saw last week, was resigned and ready to serve out his sentence till you kept after him, putting a lot of blame on him for prison not being “fun” anymore.  Mickey finally says, “Yes” and Ian’s all, “Then I’ll fucking do it-I’ll fuck up my hearing so that I stay with you.”  He’s totally yelling by this point.   Mickey says, “If that’s what you want, fine.”  But you can tell he doesn’t think it’s what Ian wants.  Ian retreats back up to the top bunk after they exchange “fines” and “goods”.  Neither one of them is happy.  

And Ian’s not all that committed to his supposed decision-the next scene he’s in, he’s on the prison phone trying to get a hold of Lip-he needs some advice-which is a crock of shit to begin with-when has Lip ever told him that Mickey is the right choice?  Ian already knows what Lip would tell him to do.  

Mickey gets back to the cell after Ian learns from Debbie that Lip and Tami had the baby, and Mickey right away knows something’s bothering Ian.  Hey, Ian, when would any member of your family notice something like that?

Next Mickey scene-he goes to visit one of Terry’s old buddies for gay life advice.  Um, sure, Shameless.  I’m sorry that they felt the need to shortcut Mickey finding out what he already knows in his heart by stretching suspension of disbelief far beyond its breaking point.  (Not to mention it completely undercuts any danger we were supposed to believe in when Mickey came out-apparently Terry and his generation of incarcerated neo-nazis are completely tolerant of alternative lifestyles-who knew?)  Anyway-one great Noel moment in this scene is the beat he takes to look momentarily surprised that he’s not going to be curb stomped for asking about his partner for pleasure.  

Points lost to Shameless tho, for not making it very clear if, just like the Nazi buddy says to Mickey that Ian will come to resent him for wanting him to stay in prison for him, does Mickey resent Ian for going back in to be with him?  Are we supposed to think there’s a difference just because Ian didn’t ask/encourage Mickey to do it?  I also don’t like the implication that Mickey’s somehow in the wrong for wanting to be with Ian-it’s not like Ian has had a great life when Mickey’s not there for him.  

Mickey, as always, is keeping a close eye on Ian, and thwarts his plan to shiv an inmate (and, hey, Shameless, way to work in another fat slur in that scene-you couldn’t have Ian just say, “The big guy?”), and in a scene that I hope was very gratifying to film, Noel, uh, Mickey covers Ian’s entire mouth with his hand and keeps telling him to STFU ;)  Mickey has his cohorts drag Ian back to their cell, and here he makes his first huge sacrifice/love offering: he tells Ian he’s not throwing his fucking parole for him, they need to get him out of this shithole.  So it’s only then, when it’s obvious Mickey’s not going to hold him to anything he’s said and not going to try to make him say, that Ian finally says what he should’ve been saying from the start: “I wanna be with you.”  Mickey says, “You don’t get to be.”  And Cameron finally gives us a good line reading and says with an actual hitch in his voice and some real emotion, “I wanna be where you are, Mickey.”  And Mickey has to be all Rick Blane from Casablanca and say, “You don’t belong in here” and “go get a job and be an uncle to Lip’s kid” and “I shouldn’t have asked you to stay.”  Yeah, you should’ve!  You have the right to ask him to, Mickey-and especially to want him to want to!  You shouldn’t force him to stay, but asking him is okay!   

And then we finally get what we’ve been hoping for for years-the mutual ilys, but, still, it wasn’t quite right.  Ian says it, then Mickey says, “I know.”  (Does he though?  All I could see was, “Not really though” right after he said I know.  And maybe for once Shameless is laying out some foreshadowing and Mickey truly still DOESN’T know-there’s going to be a major bump in their future if that guy on the Vespa from the 2nd Chicago week is anything to go by-but even if we are supposed to have that tickle of doubt from that “I know”, that still fucks up them finally saying I love you to each other-why can’t we ever just have them say it?)  Anyway, Mickey does his, “I love you too” and they kiss and it’s a lovely kiss-but that’s all we get.  They finally say ILY to each other and it doesn’t lead to more?  Even Noel live tweeting it indicated it DID lead to what it should have-an actual love scene (although we could do without the “mayonaise”).  But this is Shameless and they’re just never gonna have sex, I guess.  

Their final scene is Ian sleeping blissfully and Mickey in his own bunk, counting money (he also had money to give the guard to be let in to see Terry’s buddy-all that cash and he can’t buy some lube?) and a guard comes to the door and gives Mickey and envelope for the cash, and a now-awake Ian is half sitting up and Mickey gives him the envelope and tells him to “facetime your brother, see the baby” and gives Ian the sweetest look along with this second-of-the-episode love offering, like Mickey’s the one making up for something.  What?  The whole episode he’s been putting Ian’s needs and issues first.  But it is very in character for Mickey to be doing whatever it takes to make Ian happy.  I just want to see it starting to get reciprocated.  I don’t think Ian did a hell of a lot in this episode to show much redemption.  He really only did anything (truly mean it when he said he wanted to stay) once he was getting what he wanted at the start.  

And they never did hammer it out that they’d wait for each other...But with the way they’re being under-utilized this season I’m not too worried about that.  They don’t seem to be in the next episode at all, and it makes me so sad to think about how much better their story would be if the show would just let them have the number of scenes they deserve and the time to let things play out, instead of everything needing to be brought up, flailed over, and resolved all in the span of a few too short scenes.  

[papermoonloveslucy]

HOLLYWOOD WITHOUT MAKE-UP

1963

Produced by Ken Murray

Music by George Stoll

Written by Royal Foster

Ken Murray (Himself, Host) is billed as “the man who makes movies of the people who make movies.” He was born Kenneth Abner Doncourt in 1903 to vaudevillian parents. Murray got his start in show business on the stage in 1920s as a stand-up comedian. He performed his comedy act on the vaudeville circuit. He found success as a stage performer after appearing in Earl Carroll's Vanities on Broadway in 1935. In the 1940s, Murray became famous for his Blackouts, a racy, stage variety show at the El Capitan Theatre in Hollywood. The Blackouts played to standing-room-only audiences for 3,844 performances, ending in 1949. Later that year, the show moved to Broadway and closed after six weeks. He made his film debut in the 1929 romantic drama Half Marriage, followed by a role in Leathernecking in 1930. He was also the host of “The Ken Murray Show,” a weekly music and comedy show on CBS Television that ran from 1950 to 1953. The show was the first to win a Freedom Foundation Award. Over the course of his career, Murray filmed Hollywood celebrities using his 16mm home movie camera. He began filming the footage to send back home to his grandparents in lieu of writing letters. His grandmother saved the footage, which Murray later used in compilation films like Hollywood Without Make-Up. He died in 1988 at age 85.

Features footage of: Eddie Albert, June Allyson, George K. Arthur, Mary Astor, Lew Ayres, Max Baer, Lucille Ball, Richard Barthelmess, Rex Bell, Edgar Bergen, Sally Blane, Humphrey Bogart, John Boles, Pat Boone, Eddie Borden, Hobart Bosworth, Clara Bow, William Boyd, Fanny Brice, Paul Brooks, Joe E. Brown, Johnny Mack Brown, Virginia Bruce, Polly Burson, Rory Calhoun, Leo Carrillo, Charles Chaplin, Lew Cody, William Collier Jr., Russ Columbo, Gary Cooper, Jackie Cooper, Jeanne Crain, Robert Cummings, Linda Darnell, Marion Davies, Joan Davis, Olivia de Havilland, Dolores del Rio, Cecil B. DeMille, Jack Dempsey, Walt Disney, Kirk Douglas, Marie Dressler, Irene Dunne, Josephine Dunn, Stuart Erwin, Ruth Etting, Douglas Fairbanks, Douglas Fairbanks Jr., Charles Farrell, Todd Fisher, Errol Flynn, Joan Fontaine, Glenn Ford, Clark Gable, Greta Garbo, Reginald Gardiner, Cary Grant, Alan Hale, Oliver Hardy, William Randolph Hearst, Jean Hersholt, William Holden, Bob Hope, Hedda Hopper, Walter Huston, Sam Jaffe, Van Johnson, Buck Jones, Hope Lange, Charles Laughton, Stan Laurel, Gertrude Lawrence, Mervyn LeRoy, Charles Lindbergh, Carole Lombard, William Lundigan, Fred MacMurray, Jayne Mansfield, George Marshall, Herbert Marshall, Chico Marx, Groucho Marx, Harpo Marx, Joel McCrea, Victor McLaglen, Adolphe Menjou, Mayo Methot, Marilyn Monroe, Frank Morgan, Wayne Morris, Jean Parker, Louella Parsons, Mary Pickford, Dick Powell, Tyrone Power, George Raft, Gregory Ratoff, Donna Reed, Debbie Reynolds, Buddy Rogers, Charles Ruggles, Albert Schweitzer, George Seaton, Norma Shearer, George Stevens, Lewis Stone, Margaret Sullavan, Robert Taylor, William T. Tilden, George Tobias, Spencer Tracy, Lupe Velez, Jimmy Walker, John Wayne, Johnny Weissmuller, Mae West, Claire Windsor, Robert Woolsey, Jane Wyman, and others. 

The show is also available on DVD from Sprocket Flicks  It has been aired on TV on Turner Classic Movies.

In 1963, when this documentary was released, Lucille Ball was starting her second season of “The Lucy Show” on CBS TV.  

In June 1950, one year before “I Love Lucy” premiered, Lucille Ball and Desi Arnaz were guests on “The Ken Murray Show” on CBS TV. Tap dancer Bunny Briggs and 'Little Rascal' Darla Hood were also guests. 

In 1966, Lucy and Murray were both guests on “Bob Hope's Leading Ladies.” Murray played a television executive named Harvey Sarnoff.  Lucy played herself.  Sort of. 

Lucy returned to Sun Valley to film an episode of “The Lucy-Desi Comedy Hour,” using the same locations scene in this documentary.  

Twenty minutes into the documentary, the location turns to Sun Valley, Idaho, where Hollywood stars went for winter sports. June Allyson, Errol Flynn, Martha O'Driscoll, Johnny Weissmuller, Wayne Morris, and Reggie Gardiner have a snowball fight while making a snowman. 

Lounging at the Lodge are Rory Calhoun (center) and Lucille Ball. Sun Valley was one of the Arnaz's favorite vacation spots, accessible by train from Hollywood. Desilu would film “Lucy Goes To Sun Valley” (1958) there. Lucy's good friend Ann Sothern also loved Sun Valley, and is buried nearby.  

Murray says that this is not the only home movies of Lucille Ball that he has. First is a quick clip of Lucy at Chatsworth Ranch with one of her cherished dogs. Lucy and Desi had three dogs at the time.  

This leads to footage of Lucille Ball filming Fancy Pants in 1950 with director George Marshall and co-star Bob Hope. Murray also mentions that Lucy has done quite a few pictures with Hope, including Critic's Choice, which was released in 1963, the same year as this documentary. In 1969, when Lucy wanted to film episodes of “Here's Lucy” on location, including on the Colorado River, she hired Marshall, remembering his expertise with location filming in rough terrain.

Ball also poses with Marshall and her Fancy Pants stunt double, Polly Burson, although Murray does not specifically mention her name. 

Ball is shown doing a stunt where she falls onto a break-away table, not once...

 not twice... 

but three times!

Murray: “Someone once said that Lucille Ball stands alone as the greatest comedienne of our time.  That goes for sitting down, too!”

Lucy Without Make-Up: Literally!  

A movie star, Lucille Ball was rarely scene without full make-up, but when a scene demanded she take a blast of water to the face, she removed her false eyelashes, as she did here in “Never Do Business With Friends” (ILL S2;E31) in 1953.  

[heathypeople]

Men Go Red for women's heart disease - Jackson Sun

Men Go Red for women’s heart disease – Jackson Sun

CLOSE Fourteen men met at Milan City Hall Saturday morning to set out on a 220 mile bike ride to raise awareness for women’s heart disease. BRITTNEY JACKSON/The Jackson Sun Buy Photo Front row, from left: Blane Ballard, Jamie Cantrell, Courtney Bane, Julie ZBozien, Melissa Price, Margaret Livingston, Debbie Ort, Christy Futrell, John Ewing, Erich Ort and Jonathan Ort. Second row, from left:…

[the-goose-ferret]

i made a picture of my ocs lol

This was not meant to be a redraw, but I ended up sorta turning it into one! This is Rohan and Debbie Blane, the grandparents to my beloved OC Jude, at two different ages and art styles. Yup, Rohan has acquired an epic earring and Debbie now has a really cool hat.

Fun Fact: Rohan is a bit of a spotlight character in my little flash fiction story I wrote almost a year ago! It's from Jude's perspective (my sweet chaos child I will write another story for you soon.)