#(not so) fun fact i still don't think this interview was ever posted anywhere which haunts me to this day but at least we got the socks 😅🙏

[mobius-m-mobius]

ooooh do you have a picture of the s2 socks?

I'm here to serve and so is he 🫡🥰

[turnaroundroundround]

Morimyu in Classical reference

So, as for the fact that music in Morimyu Op. 3 resembles classical music in both progression and musical technicality, it's interesting how it's possible to keep coming up with different interpretations after re-watching the musical again and again.

I've made a thread on twitter about this before, but 1) word limitations and thread will never be enough to list all that I have to say lol 2) I'd prefer to have a fuller version noted down, especially one that I can edit and keep coming back over and over again when ever I come up with something new.

Either way, I am still (lol) not a pro in music theory and music history as well. All that is written here are based on my very very basic knowledge on music as well as something that I've picked up (and discussed) with my friends after watching Op. 3.

What's the point of this?

Why is it important? Lol I always need this to keep myself from writing off-topic but anyways. Why do the music sound good (except for the fact that because it does lol), and what do they represent? Surely there must be, and there always are, other things that are implied not only through the lyrics but also the music, and the flow in general.

Apart from the lyrics and the lines, it's also quite interesting to have a close look at the music - melody and harmony itself - to see how they portray the stories.

Most importantly, the continuality. How did Morimyu manage to insert so many songs and still managing to connect them as a whole? And how did they use music to go beyond what's on the pages? That's the most important thing about musicals - beyond the pages. We don't see stage or anime doing so very often, as they mainly focus on what's already there, bringing them to life as close as possible to how we imagine things might happen.

As for musical, they have the music. They have the arias and the songs. At some point, a character starts singing, and other characters followed suit. They have their very unique way of expressing the plot, and they have the orchestra, the arias where characters get their solo song, and the duets between characters with strong relationships, and the ensemble which emphasizes the plot, and so on.

A funny thing about duets in classical opera, they're often meant to show lovers' relationship because of the harmony but can also use opposition and all to show enemies' relationship. And in SherLiam's duet it's just both of them at the same time - thoughts connected while engaging in a chase, a hide and seek game of mystery. We'll go into that later.

Back to the topic. Morimyu follows the main plot strictly, but also uses their advantage with music to add all the side details that wasn't told in the manga to create a "complete" view of the plot. It is always available for musicals to do something unexpected (like how we never expected Lestrade's puppet show to be a whole 5 mins long piece lol). And where they did that they added arias and duets, they allowed moments where characters express and developed their emotions as well as going with the plan (yes Albert yessss). Of course there's both a good and bad side to this all the while.

💛 The good thing is they went all the way to show us sides of emotions that we don't see much in the manga or stage, the sides of the story that all of them have kept hidden while focusing on their grand plan. 💛 But then it does get too emotional at some point, especially those who came for the plot and the mind games behind all of it (like me - although I won't deny that I had a lot of fun picking out all the emotions behind the music here lol).

Musicals can always go beyond what we knew. As for Morimyu, their music is heavily influenced by opera and classical music, and it's shown quite clear. There is live music playing (instead of the entire orchestra we have a violin and piano duet), and they have distinctive arias and recitatives throughout.

So thanks to that, it's also possible to use a reference from classical music to interpret their songs.

A Sonata formation - The Narrative Series of SherLiam

Yes, songs arranged and analysed with reference to a Sonata formation, especially in the way they progress through the play.

Some notes before getting into the point

1 - Sonata = a piece of music consisting of several movements - very often 3, sometimes 4. First movement-Allegro: With the quick tempo, introducing the theme of the entire Sonata Second movement-Adagio/Largo: Slow tempo, can be emotional sometimes, as well as leading more towards the final movement Third movement-Rondo Vivace: The ending, quick-paced and vigorous, leading the Sonata to a close. A Sonata always has a general theme, a topic. The theme that I chose to write about is Mystery - the Hide and Seek game between the Detective and Lord of Crime

2 - Aria and Recitative = different types of songs used in an opera Recitative: Lines within a song that happens like a real conversation, as the characters sing they are also talking to each other Aria: A solo section where everything else is a freeze frame, while one actor remains and sing their own song about their thoughts, feelings, etc. In this post we're mainly discussing the arias of Sherlock and Liam, and the duet between them. But there's also some mention of recitatives here and there.

3 - Videos used To make it easier to understand which songs I'm talking about, I also arranged them in piano. And also to have a listen at how they might connect. Just in case the videos beneath don't work (they didn't work on my phone), the three songs discussed are Nazo, Liam's solo, Kokoro no Rondo, all piano arrangements.

All of the songs noted in this section are arias and duets from Op. 3 - the Ghost of the Whitechapel. The additional "series" that Morimyu has added spreading throughout the play, Sherlock and Liam's narratives, which portrays both their emotions and the chase between the detective and the Lord of Crime.

First Movement - Allegro: Nazo(謎) song

Starting from Lestrade's exit after his puppetshow and proceed to the scene, Sherlock's aria introduces the theme of the imaginary hide and seek game that the Lord of Crime has started. The song repeats the word (mystery) over and over again with a continuous rhythm.

Ends with Sherlock just mumbling the word Nazo (mystery) and exiting the stage - no conclusions, just like a mystery that leads into further mysteries with no answer.

♛♛♛ In regards to a Sonata formation, this is the beginning of the entire piece. Quick in tempo, written in 3/4 time and introduces the theme of the entire piece - Mystery.

Uso ka Shinjitsu ka - Lie or Truth song

Starting after Sherlock learns the truth behind Jack the Ripper, wondering if Lord of Crime is a good person after all.

Now I had a really hard time thinking whether this piece should be included or not. For one, it's not an aria. It can be viewed as a Da capo Aria, a development section of the Nazo song, repeating the theme that is introduced, coming and going rather quickly. So, for continuality.

It also does not fit into the series as a whole, being 1) a recitative. The lyrics focus entirely on Sherlock's deduction and whether he should expose the truth or not, etc. so on. 2) The lines in here, unlike the other arias, are taken directly from the manga, so it's not entirely an 'added' element to this chase. 3) Also because if we compare this to a Sonata form, this doesn't really fit anywhere

However, among Sherlock's arias, this song can also be seen as an interesting development as I have mentioned above, so I've decided to have it here, still.

There's another thing about almost all of Sherlock's arias throughout the 2 stages - they never have a conclusive end. The detective's mind is always running, mysteries after mysteries.

Most of the other characters' songs ends with some kind of closing lines, and piano continues to conclude the piece with a strong end, and then goes on to start another piece. All of their problems in the songs are concluded. They made up their minds in some ways.

But Sherlock, his songs always end with him repeating the melody, a capella, and exiting the stage. Piano waits for him to exit, then starts a new song. Or in Op. 2's Mindgame case going straight into the next conversation. We never get to know how Sherlock's songs end, because they didn't really end at those points. There's a hanging sense of waiting for a resolution, a conclusion. Sherlock never seems to have his problems solved within the songs, they just go on and on.

An idea initiates, then something happens and he is once again in the dark. And he spins around within his own mind.

Screenshot from Op. 2. Even if we look back to his aria Mindgames from Op. 2, this song doesn't really have a conclusive ending as well. He just starts singing, the music stops and he starts shooting and going on, resuming the play. It kind of has been a thing for Sherlock's arias?

Second Movement - Adagio/Largo: Liam's solo

♛♛♛ The "second movement" - the 'slower' piece - of the series, Liam's aria lol but actually the piano part of this song isn't slow at all but ok. The other side of this hide and seek game. The "development" section of the sonata series, where we see things in a much more emotional way.

This aria is much richer in harmony and melody. Not only Liam's melody, but also the piano's part which plays a beautiful melody in harmony.

I recall an interview where the stage director mentions how the "orchestra" - piano and violin are representations for Liam and Sherlock. It kind of applies here, where his music is created mostly by piano.

There is modulation, emotions rising and elevating quickly and strongly. But the harmony is beautiful, overflowing and rich with emotions. The song repeats certain lines, emphasizing aspects within Liam's thoughts.

Unlike Sherlock's train of thoughts that circles with no destination, Liam's solo has a definite ending in harmony -> Even with all his emotions in mind, Liam still has a goal already set before him. He has a brief moment of slowing down, pausing and sung about his feeling, before resuming the story.

Leading us to the final stage - Kokoro no Rondo.

Third Movement - Rondo Vivace: Kokoro no Rondo

Rondo formation: Rondo is a type of dance that revolves around a pattern, often ABA, ABACA, or ABACABA - where A is the ritournello ("meguri - kimi ni omou - meguru kokoro no rondo" section) that is repeated over and over with B, C parts in between. Rondo can also be combined with sonata form - this case applies to this song which begins with a key other than the tonic (Fm) before resolving to the tonic key (Fm) to put an end to the entire sonata series. For reference purposes, the last movement of Beethoven's Pathetique or the very typical Fur Elise is also written in a similar format. I also referred to Pathetique quite a lot when brainstorming this post.

♛♛♛ The "final movement" of this Sonata, the final scene of their "Hide and Seek" game. The song's tempo is vibrant and rapid, combining with the dancing sense, all the while strictly following the structure of a Rondo as mentioned above.

This is the stage where Liam and Sherlock's line interacts and reply to each other, as if in a real conversation - just like how the connection between them are now much stronger than what they had before.

In the ritournello, we have Liam and Sherlock's lines intertwining and chasing after one another, emphasizing the "Hide and Seek" element between the two of them.

The song comes to a definite ending, concluding with a strong tonic (Fm) chord. At this stage, there is no more question to be left open, for Sherlock at this point has already made up his mind to take the next step into solving the mysteries regarding the Lord of Crime.

Their imaginary game of Hide and Seek is coming to an end, as Sherlock came to a decision to take the next step - going to Durham.

That's the end of my first draft.

So far that is some of my thoughts noted down right after watching Op. 3 stream a while ago, with some edition made just now.

On the side note, at some point during my discussion with a friend, we also came up with the idea that a Suite may be a better reference. A Suite consists of 4 parts and a prelude, each of them having their specific characteristic. But we didn't go all the way analysing that idea, as 1) we couldn't find a 5th piece that can be added into the series. 2) Even if we did, the Truth or Lie song still would not really fit into the "aria" vibe of this series, as mentioned above.

But then quite interestingly, after a while, I've found another interesting fact that should have been quite obvious but I've missed for (lol) like ages.

The game of Hide and Seek between the detective and the Lord of Crime has begun ever since after Hope's case - that being said, ever since the end of Op. 1

And what is it that we have in Op. 2? "The Mind games of the Lord of Crime". The one where Sherlock went maniac rapping about all the thoughts he has and end up shooting randomly into the wall.

At first it begins like another recitative, but in the later half, the harmony starts to become more harmonious, written in 3/4 time flowing like a dance.

In that section, the melody of the piano and violin part resembles the one we have in Kokoro no Rondo, the Ritournello section, only that the melody of the violin in Op. 2 and the melody that SherLiam sung in Op. 3 are kind of reversed.

Coincidence much?

So now we have a collection of songs from both Opus, it becomes tricky. How do we connect them? And what's the story?

At this point, all these recitatives, aria and duets all in the theme of the Hide and Seek game. And they all connect to each other through harmony, progressions in harmony.

We know that the Mind games of the Lord of Crime has begun from ever since the end of Op. 1. We know that Sherlock keeps wondering about that in Op. 2, and then he wonders even further after he has been tested by the Lord of Crime. "また俺だけのメッセージなのか?" - Is this a message just for me?, as he wondered in the Truth or Lie song. We knew all of that. But Morimyu didn't let that stop them from emphasizing on this subplot even further.

They didn't let the gap between Op. 2 and Op. 3 stop them from making a smooth flow in plot either.

Correction, they didn't simply create a flow. They established a connection, all the while showing a strong progression of Sherlock's thoughts that goes on from Op. 2 straight onto Op. 3.

Very often, what makes a good plot is how their plots and sub-plots intertwine with each other. Morimyu has a main plot that follows Moriarty gang in the plan of changing society. And they have a smaller plot told from Sherlock's side of things. And they have this sub-plot told by harmony of how Sherlock is connected to Liam, or the Lord of Crime, by an invisible thread. A connection that is only expressed that clearly in Morimyu.

We have so many things going on, so many songs throughout the play. But each of those elements are all connected to something else, creating a sub-plot that enriches the main plot.

There is no loose connections. For everything that connects to the main plot, they're also linked to other elements. Each scene and every song has their own meaning not only in regards to other songs, but also to the plot as a whole.

Also, did I mention how Morimyu feels like a grand piece of music?

Opus -> What classical songs had that basically shows the order in which they are written. Morimyu - a title piece itself - has 3 Opus, 3 different parts with the same theme.

Classical music very often had all the different elements in it -> Morimyu had an overture, the song they sing just before the main theme song, just before introducing the stage. Then arias, ensembles and choruses. All of them are connected by similar harmony.

Classical music always had a big general theme, with each section having a smaller sequence connecting to each other. Subplots within a big plots. A Sonata piece has 3 movements, each having their own "sections" of development - expositions, development, recapitulation. -> Morimyu does the same to their plot and subplots, as discussed above.

Also, Opera reference

While Opus 2 used an opera reference to tell the story, I feel like Opus 3 has become an Opera itself. During Op. 2 the arias were mostly very loyal to the manga, taking their lines from the original work, like the Mind Games song. Their story progresses steadily but logically.

However starting from Op. 3, the aria became more independent. They developed and expressed even further what wasn't said in the manga. For instance, the 3 songs mentioned in the "Sonata" above. And there's also Albert's solo, and Patterson's solo and Milverton, which I haven't got the chance to discuss all.

But either way, they spring out of the original story, adding more emotions and "colours" to the characters. The aria became more original, all the while also much more expressive. We get to see new sides of the characters that we haven't seen anywhere before.

Anyways, it's probably time to go back to the main question: How Morimyu used music to go beyond what's on the pages.

-> Musicals aren't simply about music added to acting. The characters on stage don't just simply starts singing for no reason. All the songs are meant to express something, and while they do they also establish various connections to the plot's progression.

We don't get to see much of the characters' emotions in the manga. And we don't see much of the side story, the finer details behind each arc. Every time, Morimyu adds something original to enrich their plot. They express and develop what's already known to all the viewers, especially regarding the emotional and motivational side of the characters.

-> The manga shows us the entire plot, with details related, back stories that lead to the present, and all. But it doesn't give a lot of hint into how characters might feel. Surely, reading between the lines, it's up to the readers to interpret them.

But Morimyu gives us all of that, and they leave it to us to read between the music.

And even if we didn't, that's fine. Then the purpose of all of them linking together would be to create a performance where everything is connected harmoniously, allowing us to be emerged in the world of Yuumori.

-> The purpose of having a stage, primarily, is to allow the audience to engage in, experience and feel the emotions along with the characters they see on stage. The point of having a live stage, a plot, and the music, are all to let us emphasize with the characters on stage.

In Morimyu, we aren't just watching a plot between our favourite characters happening as we know it from the manga. We see a combination of mysteries unveiling slowly, the stories on the side of each characters as they slowly progress forward, as well as emphasising with their emotions in the story.

That's what I really like about Morimyu.

So, WHAT'S THE POINT OF THIS?

So I had to scroll back to the top (lol) to quote this and make sure I haven't gone too far from the main theme.

Regarding musical Yuumori, there's always so many things I'd like to talk about. And if I start going on about it then it only gets harder to focus on one single topic.

Since the topic here is Morimyu and their music, especially in classical reference, I've tried to keep everything I've discussed relevant. But whenever I start on something, there would always be something that comes to mind. Like how other songs might also have certain connections, or how they used stage directions and lightings, etc. I really want to look more into stage directions in Morimyu as well, but that would have to wait...

Anyways, I tried to keep this as simple as possible. When I sent the first version of this to my friends, I keep having the feeling that I got too technical with all the theories about harmony and structure lol

And once again, this is only some of my own interpretation of the series that I've picked up.

If something else came to mind... well. Either way, for the purpose of engaging in their wonderful music or for the purpose of watching a beautiful stage just for enjoyment, Morimyu definitely is worth watching. And to watch over and over again. I've said this for Op. 2 but I'll say this ten times as much for Op. 3. Truly magnificent.

And, that's pretty much it that I have for today, I guess.

Thanks a lot to all my friends who gave me lots of inspiration and motivation to complete this ヽ(・∀・)ﾉ Lots of love to @rikaaki as well ヽ(・∀・)ﾉ

[book-o-scams]

Ed, Edd n Eddy Series Bible (1996) -Analysis-

You can all finally read/download Ed, Edd n Eddy's official Series Bible right here! Thanks again to Chuckletons for sharing this with me and to Joey/Kongiscool0518 for sharing it in the first place, the Holy Grail of lost Ed, Edd n Eddy trivia!

One of the first posts I made for this blog was the Series Bible page. It was a composite of every source we had ever seen reference the series bible so far-- storyboarders in interviews, CN's old character guides, and the biggest source, an old CN UK posting about the show. Well, I figure now that we have the official source, I better update the old page (so everyone knows it's out of date), and make this new Series Bible post using the official source! Not much new information, but I was intrigued to finally learn the true phrasings of some things we had only heard paraphrased, as well as at least one detail from the movie that I couldn't believe came up this early in conception...

Unfortunately, Tumblr has apparently updated its post system to only let me add 10 images? Gonna try and only use images for what I need since you can read the actual document above, I guess I'll transcribe it too for easier reference and so we don't ever lose some archive of this.

Quickly, let's review what a series bible is:

A series bible is how creators pitch shows to networks. They can be called “pitch bibles” as well. Bibles do not usually get posted publicly, because they are initially under a strict Non-Disclosure Agreement by the network; also the creator may simply not wish to share it because it reflects the earliest stages of development.

The pitch materials typically include early concepts for characters, locations and episodes. Sometimes it exposes secrets, in this case, Ed and Eddy’s home lives, and sometimes the stuff in it is completely abandoned because it’s so early in production, in this case, casual references to school and adults.

Alright, everybody, it's time to gather 'round and read the Ed, Edd n Eddy Bible!

THE YEAR IS 1996.

YOUR NAME IS LINDA SIMENSKY. YOU WORK AT CARTOON NETWORK. A FRIEND OF YOURS, DANNY ANTONUCCI, IS WRAPPING UP A SHOW ON MTV. YOU GET THIS FAX.

Linda Simensky immediately fell in love with this concept because as a child, she was best friends with 2 other Lindas for seemingly no reason other than the shared name.

I love how Danny decided last second to pencil in the correct names over each Ed, since they're arranged out of title-order.

"They're friends because they have the same name."

-the Logline for the series.

Fun fact: one storyboard artist for the movie observed that the movie is essentially all about challenging the series' original notion that the Eds are friends ONLY because of their name.

"A Danny Antonucci Cartuna"

-the label Danny used to use under announcements of new productions.

PAGE 1:

Ed, Edd n Eddy

They're best friends because they have the same name.

A gag laden, beat generated CARTOON bumper car ride of 3 misfit youths on a cul-de-sac in the suburbs of America.

Through summer vacation, part-time jobs, or just hang'n out at the corner mail box, they want to belong....but CAN'T.

From home chores, helping neighbors or eating jaw breakers, they want to fit in...but CAN'T.

Ed is into "B" monster movies, model kits and is quick to break out into rashes.

Lots of luck...

Edd is into chemistry, biology and prone to crushes.

Later...

Eddy is into pranks, is stylish and flaunts himself to the world.

Ya Right...

Ed, Edd n Eddy is a show about confusion and contradiction, that awkward part of youth, pimples, big feet, oily hair and... girls???.

Puberty is unforgiving.

I was fascinated by the lack of art on this page, it makes the pitch feel very focused. AKA logo in the corner, the title logo again up top, then the logline appears again below.

I really love the breakdown of Danny's vision of the show. "Gag-laden, beat-generated, CARTOON bumper ride." Very accurate, and I think "beat-generated" is the phrase that interests me the most. I typically think of "animation beats" as sort of a give-in-- technically all things fit a rhythm, so all stories are essentially just a montage of beats. But this does make me realize how important the strength of the beats and their rhythm are to the pacing of a cartoon and making you feel like "that was a good one." I feel like the "seasonal rot" viewers feel over the course of a show, and the way that perception differs from person to person, depends on the type of beats you want. Even though I am very into the experimental beats of a show in its later seasons, I can definitely see how season 1's beats are more typically appealing to a wide-audience, and how important a focus on that is to the longevity of a show.

I found it really interesting how the scams are initially conceived of here as "summer jobs." It adds to the sense that adults were originally meant to be present. Honestly a little surprised nobody with access to this bible had ever thought to mention that-- scams are not referenced ANYWHERE. Their image in the Series Bible is that they have summer jobs and help neighbors, which is certainly a much cleaner reputation than the Eds ended up with in the show. Makes me realize though, were some of the early scams, like Ed's Hive Bee Gone and their newspaper routes, supposed to be leaning into this early idea of them with almost legit jobs for unseen adults?

I was very amused by the repeated phrase that the Eds simply CAN'T fit in.

Loved to finally see the official phrasing for the confirmation that Peach Creek is in America. Not much different than I was led to believe, but still nice to have the true quote.

Also love Eddy being described as "stylish and flaunting himself to the world." The bold-print reactions to each micro-description is a cute idea too, I truly wonder who we were meant to picture saying those things in reaction. Each Ed? Kevin?

The "corner mail box" is an oddly specific phrase-- the Eds do hang around mailboxes throughout the series, especially seasons 1-3, and I believe the canon map does have a corner mailbox, but the idea that the Eds hang out at one specific mailbox went the way of Bro's supposed secret treehouses.

PAGE 2:

Ed, Edd n Eddy

Show Description

Gag laden. True cartoon style, inventive, non parody, fast paced, stretch and squash

Beat driven. (even when characters stop they hold with a bounce cycle. Adults never bounce. Music can play important part, not just fill.) But not a musical.

Cartoon surrealism. (viewers see the show as Ed, Edd n Eddy would, less important things tend to blend into the background, while objects of Ed, Edd n Eddy's desires are focused. Premise driven.)

The school year's over, (yeah!!!!) and the long HOT summer vacation begins (gulp). What to do?

Stuck on a cul-de-sac in the suburbs of America is the last place you want to spend summer break, especially when you find life confusing and contradicting.

Ed, Edd n Eddy is about friendship, and serves to remind us that they're no "good ole days," just smelly runners.

You can tackle anything, when your with your pals.

Their days are spent, for knowledge, acceptance and some cash for jaw breakers. Armed with pimples, big feet and oily hair the three amigos trek into the unknown.

Ed, Edd n Eddy are dying to be grown-ups, but they're kids, and attack adulthood as only kids would. Simple situations turn into a manic rollercoaster ride. (Don't forget your barf bag).

They just want to belong, and they're willing to pull off any insane stunt to prove it. First they need to figure out what it is they want to belong to.

Found it interesting that on this page, the show's logo is replaced with the title written in a jumbled font. Seems like the font from the show's end credits.

Hehe, the continued reactions to the descriptions. Allow me to be Double D for a moment and point out the increased use of parentheticals on this page, as well as one wrong "your".

I love Danny's insight that season 1 is framed by the context of how hyped everyone still is just to be out of school, but also the sense of pressure to make use of their break.

I really appreciate Danny getting further into the details of his summary of the show's style on the previous page. It only makes sense that he had this much of a vision that early.

A second confirmation of the cul-de-sac being in America! I'm also really into the repeated focus on the Eds finding the world "contradicting." I always loved how EEnE's inexplicable cartoon antics supported that sense that the Eds are highly aware of contradictions in both societal things and the actual characters.

WOW, so I'm fascinated by this dual reveal. Before the wiggling outlines, which Danny usually calls a "boiling line" and describes as a tribute to wiggling inking in early animation, the series bible instead refers to him wanting the characters to do the iconic Fleischer "bounce," which is a much more commonly recognized rubberhose animation technique. Very interesting that Danny decided not to stick to that. Did it feel too out of place? Or was the overseas team not willing to animate a weight-shifting for every single held pose? Haha, guess I can see why boiling was an easier compromise. I wonder if he had any other ideas for how to make it more of a 1930s cartoon.

The other reveal to me here is that the movie's choice, that adults don't always wiggle in the show, was an idea from the very beginning! I guess I can better understand now why it's just too difficult to communicate a stylistic choice like that overseas-- no point making Bro not wiggle, that'd just create confusion.

Also, really disappointed that my wish for a musical is officially squashed in the series bible itself. That's a tragedy. The show's over, ya couldn't let me dream, Danny!? Conversely, I love Danny's forethought to say "non parody," I definitely noticed and appreciated EEnE's avoidance of derivative parody humor.

My spouse had to point out to me that Danny probably means sneakers here, lol. Canadianisms!

The comments about the Eds wanting to grow up but needing to figure out what they want to belong to are so great and relate to the movie so well. I've heard those comments before, but the correct phrasing was cool to see.

PAGE 3:

Ed, Edd n Eddy (image of Ed in right corner)

Character Description

Ed

Attention deficiency syndrome.

He has trouble...

He can't....um...

OK, he draws all day in class.

When Eddy gets a bright idea...Ed's in.

Ed is easily talked into doing Eddy's "hard work". He has great physical strength.

Ed's happiest with his Model kits and B-monster movies. He draws his knowledge from his movies.

Ed smells. Flies are attracted to him.

Ed has sayings for all situations

ED: "you can change your shirt, and Bingo was his name..."

Ed's perpetually a slave to his younger sister's whims and whines.

Ed may have to baby-sit his sister, or let her watch whatever she wants on TV, or let her dress him up in mom's clothes.

Ed breaks out in Rashes. He's allergic to practically everything, especially Guinea Pigs.

Ed's Mom xerox's his sketches and doodles for her therapist.

Ed's Dad hopes to pass on to his son, his knowledge on "pre-owned" auto sales.

Very cute bit wasting the space at the top of the page. Danny seems very invested in Ed's personality already. The old sources we used to have definitely tried to condense these down to simpler blurbs.

Weird how Danny wants to essentially diagnose Ed with ADHD here (phrasing it very poorly, but it was the 90s and... Canada?). I don't know enough on the subject to debate it, but I still gotta point out Ed's canonical cracked skull!

Interested in the comment about Ed being most allergic to Guinea Pigs. I don't think that animal was ever even mentioned in the show. Eddy mentioned an old gerbil once....

Neat to finally have the real phrasing of the official word on Ed's parents! I saw someone comment earlier that this seems to be hinting Ed's Dad is selling stolen cars. I've never thought to question the legality of his apparent second-hand-car dealership (I imagined he works with Eddy's dad, who has received a legitimate award for his salesmanship), but those quotation marks are certainly making Mr. Ed's practices questionable! Best case scenario, Danny meant that more like italics or something, but maybe Ed's dad IS up to no good...

PAGES 4 & 5 (Ed's turn sheet and expression sheet)

PAGE 6:

Ed, Edd n Eddy (image of Edd in right corner)

Character Description

Edd

is really smart.

is really quiet.

Edd is unnaturally-- polite.

Edd hasn't been allowed to take gym ever since the Dodge ball incident. He's been excused to free study time in the library.

Edd doesn't like it when people touch his things.

EDD: "You may enter in my room, but don't touch my Lego robot. Thank you."

Edd's learning to play Peddle steel guitar. (his Mom makes him)

Edd's prone to "crushes". Girls in School, in his neighborhood, TV, anatomy books. He mails "true loves" his socks.

Edd is always ready for action, even though he can calculate the implications.

Edd constantly mumbles.

No one ever sees Edd's parents. They both work nights. They communicate to their son solely through Post-it notes. Edd's not allowed to touch anything in the house while they're gone. Anything.

Interesting how Danny slightly differentiates the barely-used space at the top here from Ed's description, to characterize Edd as more quiet and mumbly, adding an awkward "--" mid-sentence, perhaps to create the impression that Edd halts to choose words carefully.

Everything on this page feels familiar, from the character guides and other old sources. The most interesting thing to me here is that Edd's Mom forcing him to practice Pedal Steel Guitar is established this early, don't think I knew that, but I had noticed that it existed in his room from ep 1.

I love how the explanation in the beginning for why Edd goes along with their dumb schemes even though he's smart is basically just "he's always ready for action." ?!? I guess in a way???

That weirdly phrased Edd quote amuses me because it references Lego, just like the original concept background for his room before somebody nixed the copyright-namedrop.

Edd's prone to crushes thing has been reaffirmed over and over in character bios even though it really doesn't come up outside of the cupid magic in HPH and the pilot-episode heart eyes at Sarah that are barely canon. Still, I've always loved the truly disturbing statement that he mails "his true loves his socks" and how that managed to make it into canon with a comic book example, a cel animation example and a digital era example.

PAGES 7 & 8 (Edd's turn sheet and expression sheet)

PAGE 9:

Ed, Edd n Eddy (image of Eddy in right corner)

Character Description

Eddy

Exhibitionist.

Megalomaniac. (quote from his report card)

Eddy is the unofficial leader of the trio.

He's always got a plan, a stunt or a weird noise.

Eddy's the "class clown". He loves showing off. He loves being the centre of attention-- no matter how stupid the reason is.

Eddy is the only kid in his grade to have been expelled for aw hole week from school. It was his turn to set up the video for science class. He switched "Our Friend Yeast", for a video he "borrowed" from his parent's room.

Before Eddy's brother went....away, he enlightened Eddy with the "legends" of the neighbourhood. Eddy knows where all the abandoned tree houses are, which sewer pipers are safe to spelunk, and the secret recipe for the "El Mongo Stink Bomb" (it's been in the family for years).

He is the one who is most able to pretend that he knows it all... and doesn't care what anyone else thinks about him.

His genes are working the fastest.

Eddy's Dad is constantly concerned that Eddy may grow up to be a ...figure skater.

Eddy's Mom never believes his little darling was involved in such a heinous act.

Funny choice that Eddy's wasted-top-space is just two one-word descriptions, and allegedly lazily swiped from his negative report card.

Wow, we knew the report card quote and the "Our Friend Yeast" story from the UK show guide, but now we also know Ed's page says that Ed draws in class, and now I realize that Ed and Eddy have series bible school blurbs to match Edd's classic dodgeball incident blurb. Anyway, it's great that Eddy's showed his entire school some sort of sex video his parents have.

Very interested that the phrasing for the Bro/El Mongo Stink Bomb blurb even seems to suggest it's a family recipe. Eddy's Dad did have prankster stuff in his closet in JJJ... did Bro learn his prankster ways from Dad?? The neighborhood's secret tree houses have come up in other descriptions (at best, I'd say this could be related to that creepy shack the Eds found in the woods), but I think it's new info that Eddy personally learned the sewer routes from Bro. Interesting...

Thankfully, I had already heard about the Bible's awkward reference to Eddy being the most pubescent as "his genes are working the fastest," lmao.

Once again the Double D in me comes out to point out that the description of Eddy's Mom seems to switch to the Dad's pronouns.

PAGES 10 & 11 (Eddy's turn sheet and expression sheet)

PAGES 12-14 (Sarah, Jimmy, Rolf, Jonny, Nazz, and Kevin lineup of all 6, then 2 zoomed in lineups of the first 3 kids and last 3 kids)

(Funfact: the kids' designs were allegedly freelanced to an outside studio, hence why their refined later-season designs are so different from these lizardy starting places, lmao)

PAGE 15: (images of Sarah and Jimmy next to their blurbs)

SARAH

Ed's baby Sister.

It's her way or the Highway.

She has everything done for her, if NOT she'll "make" them do it.

She can be quick to judge.

Whinney.

A tatrum for every occasion.

More than a handful for Ed...or Edd and Eddy.

Thinks Edd is kinda cute.

Wants Eddy to MOVE...to another planet.

JIMMY

Sarah's best friend

He is always playing with girls, boys are just too tough.

He is accident prone, when ever we see him he has a different affliction, ie: band-aids, patches, casts, lumps...etc.

He is very clean.

The Ed's frighten him, "They're such brutes".

I'm surprised how much of the UK guide was accurate to what was really in the bible for them! Also surprised Danny misspelled "whiney" and "tantrum," one right after the other. Is this how Sarah spells them? ...Sorry, Danny, I yam what I yam.

PAGE 16: (images of Rolf and Jonny next to their blurbs)

ROLF

First generation of a landed immigrant family.

Nationality not important.

He's proud of his heritage.

He has peculiar traditions and/or customs.

He eats "weird" things.

He has hair on his back..... "yuck".

He confuses the Ed's to no end.

He confuses the other kids to no end.

JONNY 2x4

He is a wanderer and very inquisitive

From early morning to supper time, he is always outside playing, with his buddy, "Plank".

"Plank" is a wooden board that Jonny drew a face on with a crayon.

Jonny has wonderful conversations with Plank. ...Plank is a piece of wood.

Jonny makes himself very "accessible" to the Ed's.

Found it interesting that Rolf's bio is less clearly phrased than the UK bio set it up to be-- there they made it sound more like he mixes up who the Eds/kids are, here it's unclear whether it means that or (more likely) just means the obvious statement that everyone finds him confusing. If it's that, what a lame hollow bio Rolf got. This kid's based on you Danny, show some of that personal side!

Always loved Jonny's description, his life sounds so cute. Playing outside literally all day. Interesting to have it confirmed that Jonny drew Plank's face, I preferred to think the Eds drew him and sold him to Jonny, but whatever.

"Accessible" has always been an important vague description of Jonny to me. It really only applies to how chummy they could be with him in season 1, but it still sorta applies to his personality throughout the series as well.

PAGE 17: (images of Nazz and Kevin next to their blurbs)

NAZZ

She's cool, calm and assertive.

She is the most matured of the kids, or so she thinks.

She's into make-up and fashion magazines and Boys.

Sarah thinks she's awesome, wants to be just like her when she grows up.

When she enters a scene, all activity stops... boys freeze, they sweat, their hearts beat faster and faster. They lose their ability to talk. When she leaves, they recover and conclude it was something They ate.

She thinks the Ed's are funny.

KEVIN

He is cynical and sarcastic.

He thinks he knows the "routine". That's because he watches "60 Minutes".

It got a big laugh out of me that Kevin's description is only 2 sentences long. Nazz even has a more detailed character description from inception than Kevin. Love this for them.

Who's the Eds' rival? Well, he's cynical, sarcastic and he watches 60 Minutes, doesn't that tell you enough!?

I love the "mature... or so she thinks" remark about Nazz, a grounded flaw for her to have, being a little overcommitted to being mature like Eddy. It also perhaps suggests naiveté that makes it a little more reasonable that they didn't notice they were dumbing her down at the end of the series, but I do think the movie version of her better reflects the Bible's concept.

PAGE 18:

The Other Neighborhood Kids

Lineup of May, Lee and Marie.

The Kanker Sisters

These gals are tough. They bother, bully, provoke and bewilder everyone.

They live in a motor home park on the other side of the Cul-de-sac. The other kids have never been there.

They are proud of their Tammy Faye Baker memorabilia.

Their project "Cooking with Ketchup" closed down their school for a whole week.

No one likes them, especially the Eds.

They are determined to marry the Eds. They want them to do their dishes.

Amused that the Kankers are essentially being labeled backgrounds characters here, the role they mostly fell into in season 5. "Other" neighborhood kids...

I love that the Kankers have a school blurb to match each of the Eds', and that theirs has similar destructive-intentions to Eddy's video premiere story.

I believe all of this was all known from the UK guide as well, but still, neat stuff!

PAGES 19 & 20 (zoomed in Kanker lineup and their height chart with the Eds)

PAGES 21 & 22 (early promo art that used to be on CN's old Eds webpage, the art of the Eds eating jawbreakers at the end of ep 1 with the overhead text "Ed, Edd n Eddy love JAWBREAKERS!!!", and the art of the Eds all running with overhead text "Ed, Edd n Eddy see something shiny...."Jiggers." That weird "jiggers" statement at the end was normally edited out and I don't know what it means. Looked it up and it seems to be Chinook jargon (like when Ed said he was "skookum at X's and O's") usually said in the same sense as "CHEESE IT!")

PAGES 23+:

The rest of the pages in that bible download are from a 2004 storyboard test. The storyboard sample "It's Raining Eds," which we've seen some submitted samples of before, interpretations with Ed attempting to fly or chew gum and Edd making radioactive gum, I was surprised to find out the outline is just the original outline for the opening sequence to season 3's 'For Your Eds Only', seemingly Jonny was not written into the original outline (or was excised for easier testing purposes) but Kevin's brief cameo was. Now I wonder if they knew this would be used for a test when they wrote it, and if they would've come up with a less random way to include him if weren't forced to be a concise bit for testing's sake. (Your limit is typically 40 storyboard pages in my experience.)

I also noticed that in the included background references, the anonymous adult neighbor house next door to Ed's is officially just referred to as a "generic house."

My analysis ends here, but be sure to download that sometime and enjoy all the raw storyboard sketches at the end of the document!

[turkisherlockian]

The Hat - Request [Benedict Cumberbatch x Reader AU]

Summary: Y/N is a young director who worked with and has a crush on Benedict Cumberbatch. He finds out that she used to write fanfictons about Sherlock and decides to give her a gift.

Word count: 1941

A/N: Happy birthday @shackleschains 🎂🎉❤️ I hope you like it! 😸

-----

''You never worked with Y/N before, have you?''

Benedict smiled and turned to Y/N. They developed a great friendship while working together, Y/N got on well with everyone and they all had so much fun.

''Yeah,'' Benedict said, ''I wish I met her earlier, though. She's a great director, she's energetic, magnetic, amazing...''

''Tell them something they don't know, Ben!'' Y/N nudged him and they all laughed, ''I'm just kidding...''

''No, seriously, that's what everyone thinks about you.'' He smiled.

''Aww... Thank you.''

''Alright, love birds...'' This made them both chuckle, ''So, Benedict, what was it like working with Y/N?''

''I had so much fun, it was great. She was great. She might be young,'' He grinned, teasing Y/N, ''But she has a brilliant mind and she's going to prove that in the film. Not that she needs to.''

The interviewer smiled as Y/N blushed, he turned to her, ''What was it like to work with Benedict?''

''You know, I'm known for my short films and this is my very first time directing a film, so I was really anxious because... Well, he is Benedict Cumberbatch!'' Benedict smiled as she continued, ''He's been very helpful, understanding... He's very clever! Just amazing. It was an honour to work with him, and I hope we can work together in the future, as well.''

''I hope that too, young lady.''

''I'm not that young!''

Benedict grinned, ''Yes you are, and that's great. You're a genius.'' He hugged her with his left arm, pulling her closer as she blushed.

''Well, turned into a complienting competition...'' Y/N grinned, ''Thank you so much. You're so kind.''

Benedict nodded with a smile, then turned to the interviewer who asked a question to Y/N again. ''We've been told that you're a Sherlock Holmes fan and you used to write fanfictions... Is that true?''

Y/N facepalmed as Benedict turned to her with a frown, ''Why didn't I know this?''

She pulled back, her cheeks burning. ''It's embarrassing!''

''No it's not!'' Benedict chuckled, ''It's adorable.''

Y/N rolled her eyes playfully, ''Alright... I was a huge fan. I wrote and read a lot, just like any teenager would do.''

''That's why it's not embarrassing, darling.''

''So...'' The interviewer interrupted them with a smile, ''You started filming things at a very young age, didn't you?''

''Yeah... I started with small things, really. I filmed my toys, my pets, making short clips, you know. Then I started filming nature and went to courses as I couldn't get accepted to a film academy. However, my short films got thousands of views overnight - which was crazy, and now here I am. And I'm so happy to be here.'' She smiled and turned to Benedict, which he replied with a comforting touch on her back.

The interviewer turned to Benedict, ''How would you describe your character, Benedict?''

Y/N couldn't focus on what he said as she watched him, he was beautiful. She could study his features as they were still so close to each other. His lips, eyes, eyelashes, beautiful skin and every single detail on it. She wanted touch him terribly.

''Y/N?''

''Huh? Sorry, I got distracted...''

''You must have been tired... Thank you for the interview, Y/N, Benedict, it's been fun!''

They shook hands as they got escorted outside, a car waiting for them.

Benedict got into the car after her and sighed, ''You're exhausted, aren't you?'' he asked with a smile.

''I am... How about you?''

''I'm shattered... As I'm old...''

Y/N chuckled, ''You're not old!''

Benedict shook his head with a grin, then turned to her. ''You'll get used to it. Interviews, fame, fans... Papparazzi and their cameras that follow you anywhere you go. But I need you to know that, Y/N, you're really good at your job. I didn't get the chance to say it properly earlier, but I really enjoyed working with you. I hope we do it again.''

She teared up quickly, feeling honoured. ''Thank you so much,'' she smiled, ''I feel the same way.''

Benedict nodded and smiled, squeezing her hand gently, ''I didn't say it to make you cry...''

''I know,'' She nodded and wiped her tears with her shirt's sleeves as the car got closer to the hotel. ''So... Are you free tomorrow?''

''Yeah. What for? I mean, doesn't matter why you asked, I just...''

He chuckled as the car stopped and he opened the door before getting out and giving her his hand. She took it with a smile as she sniffled, then got out of the car as well. ''Would you like to... Have dinner with me? In my room?'' He blushed, ''I mean, I have something to show you...''

Y/N nodded and smiled, ''I'd love that...''

They walked into the hotel together and got into the elevator. ''What time should I come?'' Y/N asked.

''I'll be back at around seven. How about seven thirty?''

''Sounds good...''

Silence filled the cabin as Y/N bit her lip, then it stopped and Benedict followed her outside. ''I'll see you tomorrow, then.'' He said with a smile.

''See you... Sleep well.'' Y/N smiled too and nodded, unlocking her room's door.

Y/N couldn't sleep, not at all. She kept thinking of what he was going to show her, what could it be? Also, she tried to avoid the embarrassment of the fact that she did write fanfictions and smut. People still knew even though she deactivated her account. And Benedict found out. He found out!

She was just a teenager, she had no idea that she could meet him one day, let alone work with him!

However, her eyes were aching and she was really tired, so she drifted off to sleel quickly.

-----

Y/N woke up to the sound of her phone, it was vibrating violently.

She sat up in horror and took it, unlocking it quickly. Y/N checked WhatsApp first to see what's going on.

Her friends texted her asking if Benedict and her were dating, the interview was posted on YouTube - that was surprisingly fast, and a photo of her looking at Benedict in love, was everywhere.

Y/N took a deep breath, everyone thought they were dating! Did Benedict know about it? If he did, how did he react? Would he be angry at her? No - she's done nothing wrong. Except for having a crush on him and looking at him like that...

She bit her lip and replied to her friends' messages, but didn't post anything online. She didn't know what to do, she didn't even have an agent or someone she could ask what to do. Maybe I could ask Benedict, she thought, but she was too embarrassed by the way she looked at him. What would he think? Did she ruin his reputation? Did he have a partner already? Y/N sighed and got out of the bed.

She put her phone away and turned it off.

Y/N had the whole day for herself until dinner if Benedict wasn't going to cancel it. She knew he wouldn't do such rude thing, but... She felt exposed. It was embarrassing. However, she wanted to look nice for him, so she spent an hour deciding on what she was going to wear. Y/N did her best to spend time, but there were still a few hours until dinner, so she turned her phone on and started reading what people think.

''I'll kill myself if they're not dating!!!''

''He's too good for her.''

''She looks so in love! I mean, who wouldn't?''

There were a few memes too, she was grinning and sending them to her friends before an unknown number called her. With hesitation, she picked up.

It was Benedict's PR team, asking her to not make a comment about the situation yet.

If his team knew, Benedict would know it too.

Thankfully, it was 6 PM and she could start getting ready. Y/N chose a white, puff sleeve and square neck summer dress and combined it with a chain necklace. She put on some makeup after getting her hair done, then checked her phone to see what time it was.

7 PM.

Time passed quickly as she tidied her room, and she put on her perfume before leaving her room right at 7:30.

Taking a deep breath, Y/N knocked on his door and smiled when he opened it.

Benedict couldn't take his eyes off her for a while, ''Hi, umm... Come in...''

''You look lovely...'' He said as he gestured her to take a seat.

''Thank you... So do you... Handsome, I mean. You look handsome. Not just right now, you always do, Oh God, please never compliment me again...'' Y/N blushed and covered her face with her hands as she sat down. Benedict chuckled, ''Thank you darling.'' He sat down in front of her, ''What would you like for dinner?''

Y/N hummed and shrugged, ''I don't know... You decide.''

''How about pizza? You love pizza.''

This made her smile. ''Sounds great.''

He got up to call for room service, then ordered her favourite. Y/N was fiddling with her fingers as Benedict came back, ''What's wrong?''

''Nothing... I mean, you heard about the rumors, didn't you?''

Benedict smiled, ''Do you really care about them? People always make assumptions.''

Y/N smiled too, Assumptions, she thought, but I do like you.

She sighed as he offered his hand. Y/N looked up at him in confusion. ''I'll show you something.'' Benedict said with a smile, then led her to the bedroom when she held his hand.

Y/N's heart was beating fast as she saw a gift box on the bed. Benedict picked it up and turned to her, ''This is for you.''

She was surprised, ''I... Why? I mean, it's not my birthday...'' Y/N chuckled mervously. ''You receive gifts only on your birthday? What a shame. Well, it'll change, darling. Now, open it.'' He said excitedly.

Y/N smiled and bit her lip, opening it. She looked up at him in shock, ''No.''

''Yes.''

She chuckled, can't believe her eyes. It was a deerstalker. The deerstalker that Benedict used, actually.

Tears welled up in Y/N's eyes as she put the box on the bed and took the famous hat out of it, touching it. She couldn't help but smiled as he spoke, ''I wanted to keep it after filming the last season.''

''This is the best gift I have ever received! Thank you!'' Y/N exclaimed as she hugged his neck on tiptoes, earning a chuckle from him and a warm hug back. ''You're welcome, sweetheart. I'm glad you liked it.''

Y/N pulled back but her arms were still on his shoulders, and she felt her cheeks burn as he looked into her eyes and then, at her lips. Y/N closed her eyes as she felt his soft lips on hers, feeling like she ran out of oxygen in a second. Benedict pulled back quickly for her liking, so she kissed him lovingly. ''I like you.'' she whispered, and then regretted it immediately. What if he told her he did not? It would break her heart.

However, Benedict grinned. ''I like you too.''

They kissed again and Y/N pulled back as someone knocked on the door. He let out a low groan, which made her wet, and then pecked her lips. ''It must be room service.''

Y/N nodded with a smile and followed him, the hat still in her hands. Benedict turned around with the tray to see her wearing it with a grin.

-----

After dinner, Y/N posted a selfie of them, her wearing the hat. Then they started reading comments together.

"He made her wear the hat!'' Someone commented, making a reference to Janine's words in the newspaper.

And in the end of the night, he did make her wear the hat.

---

Feedbacks are always appreciated! Thanks for reading, I hope you enjoyed it. ❤️😸 And you can turn on notifications if you want to know when I post a fic!

[ladyhistorypod]

Episode 4: Let’s Ms. Behave

Sources:

Charlotte Corday

The British Museum

Brooklyn Museum

Find A Grave

History Channel

UCL Art Museum

Encyclopedia Womannica (Podcast)

The Blonding of Charlotte Corday

Giulia Tofana

Wut. (Podcast)

History Collection

Historical Post

Medium

Mike Dash

Virginia Hill

The Mob Museum

Encyclopedia of Chicago

Alabama

Further reading/watching: The Damned Don’t Cry (1950 film), Bugsy's Baby: The Secret Life of Mob Queen Virginia Hill (eye roll from Alana), Virginia Hill (1974 film)

Click below for a full transcript of the episode!

Lexi: A brief warning about the following episode of Lady History: this episode contains sensitive topics, such as suicide and murder. If you or someone you know needs help, please contact the National Suicide Prevention Hotline. To learn more, visit suicidepreventionhotline.org 

Alana: I think my therapist is listening to our podcast.

Haley: Wait what really?

Alana: Yeah. Because I was looking at like our dem– like our listenership and it said a bunch of people in Arlington and I don't know that many people in Arlington. I know like my mom's... my parents’ like family friend from… my dad like went to high school with them and then they introduced my parents and we call her my Arlington mom and so I was like oh maybe it's her but that's too many people to just be her and I think my therapist lives in Arlington and I told her about this so shout out Dr. Sterman.

Haley: I would love–

Alana: If you’re listening.

Haley: –Your next session she's like ‘by the way I don't listen to your podcast’ even though... and just like out herself from… not super listening but also listening we just had… 

Alana: I might bring it up. I'm seeing her on Tuesday, virtually obviously, but I’m seeing  her on Tuesday.

Haley: ‘Just wondering, do you listen to my podcast?’

Alana: Well I'm going to talk about how like ‘oh I started my podcast and it's doing this this and this for my mental health’ and then be like… just see if she says she’s listening.

Haley: I feel like she wouldn’t though. I feel like she wouldn’t just to…

Alana: I don’t know if she would.

Lexi: Does that cross the like professional boundary?

Haley: Yeah…

Alana: Is that a HIPAA violation?

Lexi: Is it though? It’s only a podcast

Haley: Well none of us are in the medical field.

Lexi: No. We are not.

Alana: Let us know.

Haley: So we can’t have a definitive answer. But I can see someone–

Lexi: Hey if you're in the medical field or are a certified therapist please email us at ladyhistorypod@gmail.com and let us know if listening to your patient’s podcast violates HIPAA.

(Alana laughing)

Lexi: Thank you. You can also email other stuff there. Don't, don't– you don't have to be a doctor to email us.

Alana: No. I also I have a– because you can do asks on Tumblr, and I have our ask page for the Tumblr– Lady History pod dot tumblr dot com– I have… you can suggest a lady.

Lexi: Please, suggest ladies.

Haley: I would love that.

Lexi: Please suggest ladies to us at Lady History pod dot tumblr dot com.

Alana: You can also DM us, and as previously mentioned if you DM the Instagram that's Lexi and if you DM the Twitter that's me and they're both at LadyHistoryPod. We're gonna plug that again at the end so it's just a constant cycle.

Haley: No one can slide into my DMs. I'll just use one of… if you want to slide into my DMs, use like, the Twitter and just be like this is for Sprinklebear McPuss-n-Boots and they’ll know it’s for me.

Lexi: Okay if you DM or email any of the accounts, if you need the message to go to Haley, please use that name only. Any messages directed to Haley will not be given to her.

Alana: We’ll be like ‘who’s Haley?’

Lexi: So go back–

Haley: I don’t even know what I said. I forgot.

Lexi: No, so go back–

Alana: Sprinklebear McPuss-n-Boots and I will never forget it.

Lexi: Just go back, listen to that however many times you need to to get it in your brain, and then use that when you address Haley in any of your communication to our general inbox.

Alana: Hang on, my light went away because I have to go change Haley’s contact info in my phone.

(Lexi and Alana laughing)

Haley: I really hate if like I am interviewed for a job and they’re like… ‘so…  Twinklebear McPuss-n-Boots… 

(Lexi laughing)

Alana: It was Sprinklebear

Lexi: You didn’t even get it right. She can’t even–

Alana: Sprinkle… Sprinklebear… 

(Lexi laughing)

Haley: I used to have a crush on Puss-n-Boots when Shrek first came out.

[INTRO MUSIC]

Alana: Hello and welcome to Lady History, the good, the bad, and the ugly ladies you missed in history class. I’m the next best thing to being in the same room as Lexi. Lexi, what's the name of your favorite plant? 

Lexi: My favorite plant is probably a pothos. Just really cute, a cute plant, a good plant, grows well, grows well in my climate, has not failed me, has not died, so that is why I love the pothos.

Alana: And also in the virtual studio is Haley. Haley, how’s the weather?

Haley: It's quite gloomy. I am in San Francisco so we're still dealing with the wildfires. But I think it's just Karl the fog today.

Alana: Karl the fog?

Haley: Yeah the San Francisco like fog that just like looms over this bay area is called Karl. He even has a Twitter, a whole kids’ picture book. Karl the fog.

Alana: That's giving me An Absolutely Remarkable Thing by Hank Green vibes.

Haley: And also, oh, the SF MOMA… the new building of it is Karl the fog. It doesn't– it looks kind of like a… like an old time steam iron, like on an ironing board. But it's like meant to be Karl the fog. Or like blend in. Karl just mushes his way through San Francisco.

Alana: Oh my god that's incredible.

Haley: Yes.

Alana: And I'm Alana and I theme my canvas tote bags based on event.

Lexi Nice. Solid.

Alana: Thank you.

Haley: So can I tickle your tastebuds with a fun fact?

Lexi: Oh… oh, tickle away.

Alana (whispering): Tickle your tastebuds… 

Speaker 1: This is either going to be like the best thing I've ever created because like– let me just give you a side note: I thought of this joke while taking shower and was cracking up for ten minutes.

(Alana laughing)

Haley: It's either– it's probably gonna flop. But, with this fun fact– it’s kind of setting the mood for our crime theme and it's about the guillotine and the family of the guillotine, Dr. Joseph– I think his name’s like Ignace? It looks like Ignatio, but it’s like Ignace Guillotin– was so horrified that like their family member invented such like a horrible thing, and if you don't know what the guillotine is, it is basically a big sharp knife that comes down from a pulley, will slice your head off, used in many executions– that they appeal to the French government to change the name and the French government just took it to a step higher and was like no we won't change the name but we will make it one of like the official ways of executing people. more s– to the point that the last execution was like in the 1970s. And this is like across Europe and at least for France it was in 1977. So this is where it gets to my cringy joke because I've used this before. If you want a sick burn while your parents are talking about their childhood and they grew up in like the 60s, 70s, you can just go ‘Pft, the land and time of the guillotine. Such heathens.’ And I like this more than the… the burn that goes like ‘when the dinosaurs roamed’ because dinos just like didn't live when humans lived and it always made me so mad where it’s like I learned that the dinosaurs were born millions of years ago but we have this like iconic just… execution machine that was used for so so long and no one realizes that this was just used until the 70s as a humane way of execution, which like I won't even get into that whole argument. There's so much of a rabbit hole of whether the like guillotine was humane or not. But it's just– it's almost funnier because like it did happen this was an ironic like ‘oh you’re so old you’re like a dinosaur’ this is like ‘you were born when the guillotine was used!’

Alana: Because that's like a burn but it's also true.

Lexi: Yeah. That's the worst kind of burn, I– I mean the best kind of burn because it hurts the worst.

Haley: I once said it to my dad because he was like talking about something when he was like younger and I was like the guillotine just looked at me and was like ‘excuse me?’ I was like ‘you lived during the time of the guillotine, heathen.’ And he was like ‘well…”

Alana: It's true!

Haley: Because he was like ‘no that's like the Middle Ages’ and I was like ‘let me school you on some facts. And that actually is a great segue into my first gal.

Alana: Alright, let's go Haley.

Haley: Uh, so my gal, like Artemisia, we have another one with her own movie. It's an unfortunate movie because I couldn't find it anywhere, but who am I talking about… Charlotte Corday. And other names include… side note, I don’t speak French, I speak Spanish. Please don’t come after me, with my horrible horrible French pronunciations, I had my boyfriend, who speaks some French, pronounce them to me… probably didn't remember anything that he said to me. Her other names are Corday d’Armont, Marie-Anne Charlotte, and now her like more modern name is Charlotte Corday the Assassin. So I love Charlotte as a topic, because other podcasts, like crime, history, women's studies, have covered her to an extent. Like I– you'll see in the show notes I like I've even used her– thanks, Encyclopedia Womannica. But on the other hand, not many people know about her. And they don't even know like her influence with the French Revolution because I've been in like many discussions about like history of crime or what like– the world history that we had to take, and I asked like about her and my even like my history teachers like ‘I don't know who that is’ and everyone just gave me that blank face and it's like wait a minute, this is weird, why isn't this covered. So of course, I'm going to cover it. And let's crack this case wide open before we do a deep dive and go over just like some historical background and some of the people be talking about because I don't want you guys to be lost in this whole mumbo jumbo. So Charlotte was a Girondin sympathizer– again, my French is not good– she came from a family of impoverished aristocrats from a little town outside of Paris, France. And as a noble family she was given the opportunity to go to a formal education, but really this formal education came because her mother and one of her sisters died. And her father was just so grief-stricken and also just couldn't handle the now need to raise two daughters, so he sent them to a Roman Catholic convent so they could get a formal education. During this formal education of hers, she learned about French politics, history of France, and was able to mold her own theories and just ideas about the world around her. Thus, she became a French moderate Republican party member during 1791 and 1793 and this is during the French Revolution.

Alana: I'm guessing that moderate Republican back then doesn't mean the same thing that moderate Republican means now.

Haley: No, not at all. I'll explain more. So that's– this is exactly why I wanted to do our whole kind of let's see the players let's name some names and let's go over some history because just looking at her based on just the woman it's very hard to understand why she's one, seen as a hero; two, seen as a murderous assassin which both are correct in a way.

Lexi: I mean, goals. No I’m just kidding. I’m not condoning murder.

Haley: No so that's basically where she's at in the scope of where she grew up and what role she’ll play in the French Revolution, or what side she was on. And she's also mainly known for murdering Jordian Jean-Paul Marat, and he was on the other side he was Jordian so she was very opposed to his ideals. So again like Alana said is this kind of like what our U. S. politics is like? No, this isn't the Republican Party. However we have two extreme sides and people on one extreme, people on another extreme. That is very much similar. And he was an outspoken leader of the French Revolution to the point where he was the founder of a popular journal, deputy of Paris to the convention, opposed legislation that would hurt the other side, empower him and to Charlotte and other Girondan followers. So now that we cover the big picture ideas and we know the players and we know how extreme both these sides are, let's do our deep dive. She was committed to fighting the Girondist side of the revolution, posing the radical Jacobin faction. So this was right before the Reign of Terror, and why I mention this is because all her actions were to stop a civil war; and the Reign of Terror was a part of the French Revolution that kind of like started the first French Republic and culminated in a series of massacres and like many many public executions. So this is what she tried to stop from happening in French society. However, her whole story and what role she played in the revolution actually caused the Reign of Terror. So that's why for me as– in high school was like why aren't we talking about her and now we're gonna talk about her now. So, we come to the point where our victim Marat was continuing his train of like bloodshed, and was responsible for utter catastrophe, and putting a lot of lives in danger of like the French– like the French people were just terrified of him, to an extent. And that’s why Charlotte just hated him. He was seen as definitely one of the leaders of this one extreme side that had to be taken out. So that's exactly what she kind of planned to do. And she was not in Paris, she was still in another city outside of Paris, France. So, Charlotte stabbed him while he was taking a bath; and that's really the punch line of like her whole story. If you do like a quick Google search you'll get a lot of stuff for her and even in some textbooks that I tried to look at it was just like Charlotte Corday assassin… stabbed Marat in the heart. Really, she stabbed him in a planned assassin while he was taking a bath. I'm gonna just go through the accounts of this whole story because they're not really pieced together in one area and I'm going to piece them together now so you can understand why he was like in a bathtub, why she stabbed him, and so on. Because this just sounds so strange and it's really strange to see this as your history. So the planned assassin started because she wanted, like I said, to stop from a civil war happening in France, and she truly believed that to do this you have to kill one of the leaders; and also to an extent make the other side seem strong in that way. Like if you kill one of the leaders, you prove that the other side is just as strong or stronger. So she originally planned to kill him at a Bastille Day parade to make a huge show of it and this was on July 14th 1793. Unfortunately, or fortunately for her plans in a sense the event was just like it either didn't happen or it became apparent that Marat was not going to be at that public event. So she quickly had to say okay what else can I do, how can… what will be the next step to kill him. On July 13th, so the day before this event was supposed to happen, she was able to get a meet and greet with him or just gain access to him by saying and promising to betray her political side and give some insider secrets– like name names, basically become a traitor. And Marat was like cool you're definitely high up in the Girondin side of it, let you like, come into our area, we’ll hold– like we’ll basically keep you hostage, in a sense, like that's the feel I got… like Marat was also like come to our side because if anything happens you'll be on our turf; and she did. She was like cool, great. You don't know I'm gonna kill you, you think I'm gonna come and like give you all my secrets and then you'll protect me in a way. So Marat was having this meeting in the bathtub, but this was a very normal occurrence for him because he had a terrible skin disease or infection that he would just be in the bath all the time, like the water soothed him. So he was just very vulnerable, but that was his normal state– like nothing was wrong with him taking a meeting in the tub… so like she could be alone with him. It would be more weird if they were just walking around in the streets together. And instead of having this whole conversation that Charlotte said she would, she took this knife out of her bodice that she was just like hiding there and stabbed him in the chest.

Haley: He died almost immediately; and she actually waited for the police to come. She did not run away– she waited and confessed, essentially. She was proud of what she did, she wanted this assassination like the public assassin– assassination to still have some sort of effect on the public to show that her side did it to the other side, she is responsible for ma–Marat, and she did it as this political leader, in a sense. So at the trial, she allegedly proclaimed ‘I killed one man to save a hundred thousand’ and she kept reiterating that this was in fact a planned assassination, this wasn't out of passion. She took some thought, even wrote down like accounts and like had this whole… I saw like some people called it a journal or like statement– different written statements basically on her thoughts of an upcoming civil war and what she thought she was doing to help prevent that. She was also able, before the trial she was able to write down like write a letter and write her thoughts, feelings, concerns to her father. So her father was still alive and was able to get this kinda like last testimony of hers. And of course during this trial because she did essentially plead guilty… she was ordered to be executed via guillotine just four days after the murder; so July 17th 1793. And another quote from a lawyer from all this whole trial came from I think this was a man named Vergniaud, but I couldn't find this quote as in from like a reputable source as yes this was him, so could have been just another lawyer and not this guy. However, someone as a witness to this whole trial on this whole ordeal said ‘She is leading us to our death, but she is showing us how to die’ and it was because he, as a lawyer, saw this whole thing, saw her whole plan, and knew okay this is going to become a massive shit show. Like this won't end well. She is not preventing a civil war; she actually just started a whole other battle. However, she is showing us how to die with dignity, and showing how to like own up to the actions and just just die. Essentially die because a lot of people through the Reign of Terror did die. So you thought I'd be done– and I know this is gonna be my longest but this is such a great great story– because now we get into her overall death legacy, and we do know a lot of things, unlike Amelia Earhart where we just don't know what happened to her after death. A lot of this we still have artifacts and evidence of. She overall became this French savior, like the savior of French society in her circle. Months after her death, there are just so many portraits of her in different scenarios; short hair, long hair– like I needed to go back and make sure these were the same Charlotte Corday and if there could have been multiple Charlotte's just to make sure that these images looked so vastly different. And it was because people wanted to show that she was just this holy woman and ladies now weren't the ones who are supposed to be stuck in the kitchen with raising the kids. They had the power to do something in life and in society, but they also had a spin on it, so like– like I said, she was seen as a savior, this holy woman, goddess… like they even used her Christian name so Marie-Anne Charlotte, which she– to my knowledge, and to my research didn't necessarily go by that name. But there are definitely images of that name and her with very fair skin, white, brunette hair, looking very womanly and accentuating her womanly features. So that really pissed off the other side. Like all Marat’s supporters, they were absolutely flabbergasted that she was getting such a reputation. They thought this can't be happening; she just murdered one of our political leaders, and she was executed for it, why is everyone trying to kind of put this holy cap on her. And yes, that worked to an extent, like their outcry, because like yes she did murder someone. But it didn't help enough, and there were women in French society who did try to distance themselves from her and just for ideas of what women should be like. But, Charlotte did such a good job at like the legend of her as a woman, even before she died, that it didn't matter. Like I read an article about whether she had blonde hair or chestnut brown hair from a 2004 academic article; like this is still being discussed. And she had a part of her reputation– like she knew that whether it started a civil war or not she needed to form her own reputation. And there's even accounts that she witnessed the paintings and drawings of her that would be published and printed post-execution, and she gave comments. She was like no no no no, make me look more like a schoolgirl; or like make me more with curly hair. I don't really know the specifics but it was documented that she would give kind of suggestions on how she would look like. So while she did it, she tried so hard to like make herself look like this holy woman, and yes it did work. Marat, when he died, one of his very close friends, Jacques-Louis David painted the classic portrait or classic image, not portrait The Death of Marat, which is capturing the scene of his death and that is still considered like a classic image and the classic picture from– especially from the French Revolution. So I don't– I don't want to go as far as saying either Charlotte's portrayed as this holy one or this heinous, murderous, like scoundrel because both of them have lasted to this point in history that no one can make up their mind whether this was like a good thing that happened or a bad thing that happened. And I don’t even– I don’t even want to put out like in the universe whether we should have the discussion; if we should say like yes or no. I just wanna give you the facts and let you kind of like decide but that is Charlotte Corday.

Lexi: She is very interesting.

Alana: Yeah that's real cool. That's fun. That was a good transition for… from the guillotine to…

Lexi: Yes, good choice.

Alana: Charlotte Corday. I’m glad we let you go first.

Lexi: Alana hit us. Hit us with it. Don't hit us please don't hit me.

Alana: I won’t hit you. Okay so I will be talking about Giulia Tofana. Um.. Ooooh Haley's face, I'm so excited. I feel like– I hope I do this justice. Oh no. She is Giulia but it’s spelled G-I-U because she's Italian. Okay. So. I like to give credit as we've seen in the past like where I have first found out about my stories. And so I first found out about Ms. Tofana– I should I should call her Giulia not Ms. Tofana because there’s another Tofana, her mother’s name is also Tofana. I heard about this for the first time on Wut. W-U-T which is another great edutainment podcast by women. I'm gonna promo them without needing a sponsorship or a collab because women supporting women. So if you like us, go check them out. That was fun. They're not specifically women's history they're just kind of fun facts in general so not as niche as us but still pretty cool. And then I heard about that podcast from my friend Jesse on Twitter… I think we're friends I don't know I think we're friends… so shout out to Jesse. So Giulia Tofana, G-I-U because she's Italian, lived in the seventeenth century. Exact dates are kind of weird because she was a woman and not highborn. Best guess she was born in Palermo in Sicily. Her mother was executed for poisoning her father, possibly because he was abusive. This is a thing– like a running theme that we’ll see it later. Also later, Giulia's husband died mysteriously, probably also poisoned, probably also abusive. So she moved to Rome at some point in the 1630s-ish, probably, as a widow with her daughter to sell cosmetics and be apothecaries and poison people. Dun dun dun… 

Alana: So women in the seventeenth century have so many options. They can be sex workers, they can be essentially auctioned off to almost always abuse of older men and then later if their husbands died become respected widows. Those are your options. So many! So many options! What– how are you going to pick, so many things.

Lexi: The amount of choices is staggering.

Alana: Paralyzed by choice, really. My sources call these women ‘aspiring windows’ as if they are gold diggers and not battered women with no escape. I love– I love that like my running theme is criticizing my sources. That's my thing. Giulia crafted essentially her own poison. Created her own poison, or what by all accounts… she was the one who came up with this. Between like her and her mother and her daughter they came up with this poison called aqua tofana, named after her. It's a combination of arsenic and belladonna and lead, which are things that are already in cosmetics at the time but not quite lethal, still have problems, but not lethal unless they're ingested. And so having these things on a vanity looks totally normal. And so Giulia, as someone who experienced abuse, who had watched her mother get executed for defending herself, essentially… I am not condoning murder, and I know it's never good to say something at the beginning of a sentence like ‘I'm not condoning murder’ and then doing ‘but’... I feel like… there are no options.

Lexi: Self defense.

Alana: Self defense.

Lexi: And it seems very clear– again, we don't know the whole situation but it seems very clear that she was in a bad situation.

Alana: A bad situation. Yeah

Lexi: We are not the judge, jury, or the executioner so we can't say.

Alana: So she, having probably been abused and having watched her mother probably been abused and watched her mother get executed for essentially defending herself… she's going to help these other women get out of their marriages in such a way that it can't be traced. Because this poisoning with this mixture of belladonna and arsenic and lead, it takes really long for someone to die. Really long is like two to three days, but it also looks like natural causes or another illness which always happened in the 1600s. People got sick and died and that was just normal. And it gave these men time to get their affairs in order and to confess their sins and in a very Catholic area at a very Catholic time you like automatically got into heaven as long as you confessed your sins. So since these people had time to confess their sins, our murderess wouldn't have to feel so guilty that she was condemning her husband to hell even though he was probably hurting her. It only takes four to six drops to kill someone, depending on their size and all of that other stuff. And another side fact, side fun fact: Mozart, who nobody knows how Mozart died, Mozart wholeheartedly believed that he was poisoned with aqua tofana, but nobody knows. I feel so good that Haley is just nodding fervently. I feel like I'm doing a good job. Thank you for that.

Haley: I've awkwardly read so much on arsenic poisoning. Just so much so, but yes you are correct. There are probably just so many people who died of arsenic poison in the 1600s because autopsies weren’t like what we have today where you can do a toxicology, so so many people would seem like they were getting ill, because a lot of the times it just looks like a common cold or flu-like symptoms, they just weren't feeling good. But then they would die so now people do toxicology because it's a thirty year old man with no pre-existing conditions. But when you're talking about it in the 1600s it's like ‘oh they got sick we don't have modern medicine to help out.’

Alana: Nobody knows what's happening, essentially. It's like ‘oh no another person got sick.’ So Giulia Tofana sold this with her daughter and some employees at this family business, essentially, which is a weird way to think about it– that the family business is murder. They operated like this for about fifty years, for decades. And… at least the estimated number is something like six hundred plus people died because she sold their wives poison. But she got caught, and legend has it– and there are so many foggy details but this seems way too specific so I think like somebody exaggerated but, one of her clients who had bought the aqua tofana to poison her husband had poisoned a bowl of soup but decided, ‘no, I can’t. I can’t kill someone’ and dramatically knocked it out of his hand. And that's where I am thinking this… somebody exaggerated. Somebody made this up because that's way too specific. But she stopped her husband from eating the soup and confessed her crimes and turned in Giulia Tofana and her daughter and their three employees at the business. And all of them were executed. Under torture, of course, it's the seventeenth century, she turned on a bunch of her clients as well. So a bunch of her clients were also executed. Some of them were not executed, because they claimed that they didn't know that it was poison and it was just ‘oh no, I spilled some of my lotion in my husband’s soup… Oops. Oopsie poopsies I’m only like fourteen I don't know any better.’ I made myself laugh with that one I’m sorry. But those people were spared. So there is something to… was Giulia a hero, was she a murderess, could both of those things be true…

Lexi: Was she an anti-hero?

Alana: She's kind of an anti-hero. I think that's what we’re going for.

Haley: I like that, I like anti-hero.

Alana: I think– I also think like–

Lexi: Like a Robin Hood, but murder.

Alana: Batman, but murder. Does Batman kill people?

Lexi: Robin Hood stole things, he didn't kill anyone. This is like the Robin Hood of murdering people.

Alana: Sure.

Lexi: It's like murder the rich, give to the wife?

Alana: Vigilante!

Lexi: I don't know. Vigilante murder, yeah.

Haley: So far we’re on the track of like ‘our criminals are good, question mark?’

(Alana laughing)

Lexi: Mine was definitely a criminal, but we'll get in that.

Alana: Well, I am done. So, Lexi let’s get into that.

Lexi: What a segue! Okay. So my lady, though definitely also had a lot of background trauma as it seems that a lot of these ladies had definitely did crime. So we'll just jump in. Have you guys ever heard of the queen of the mob?

Haley: Yes. I'm so excited that you're doing this one.

Alana: Maybe. You'll have to tell me her name.

Lexi: Okay.

Haley: This is truly like my favorite episodes so far, and I like hate when people like get really into criminals like some people, like for Jeffrey Dahmer, people love him, think he's like the most beautiful man, same with Ted Bundy, and that's not where my head is at.

Lexi: That’s creepy.

Haley: I have a true fascination with the history of crime, death, medicine, and how our society perceives it now. When I say I love these people or I love these stories that is not where I'm going.

Lexi: You're not doing the whole crime fandom crush thing.

Haley: No.

Alana: I have seen people get like Ted Bundy, Jeffrey Dahmer's signatures tattooed on themselves.

Lexi: That’s creepy.

Haley: Yeah

Lexi: And I don't condone that.

Alana: No we don't like that.

Lexi: But you can be interested in crime especially because as someone who has taken courses in the forensic realm… and who likes bones, and likes that kind of thing, I think you can be interested in the human phenomenon.

Alana: As academics.

Haley: That’s where we’re at for me.

Alana: Not as fanatics.

Lexi: Yes, yes.

Haley: I was listening to like you guys speak and kind of like going back in my head like oh, I seem like such a psycho when I’m like ‘I love Charlotte’ like she is just a fascinating human.

(Alana laughing)

Lexi: Well now we’ve clarified which is good.

Haley: She assassinated someone. And assassinations aren’t swell.

Lexi: But like when you think about like what is interesting on TV, or like what is interesting in our fiction, it's because humans have a general interest. So–

Haley: I wanna write a whole paper on that. Just truly that whole concept.

Lexi: So the queen of the mob, Virginia Hill. You can learn about her at the Mob Museum, people are really really fascinated with her and her story is really interesting. And she was born on August 26, 1916 in a place called Lipscomb, Alabama. I might have said that wrong, you know general– general reminder I say things wrong sometimes. She was born on her father's horse farm. Her father was abusive and he actually beat her and her siblings when they were children and one day she got really fed up with him attacking her and her little siblings so she hit him with a hot skillet in self defense. At the age of fourteen, Virginia married a man named George and three years later the couple moved to Chicago. When they got there she dumped him because you realize the world is a lot bigger than her hometown in Alabama, and so seventeen year old Virginia wanted to start her life anew. At the time, the 1933 Chicago Century of Progress Exposition, which is a World's Fair style event, and it was conceived to bring hope in the wake of the Great Depression that was happening. So Virginia took a job dancing, like as a shimmy dancer, so she had a really unique–

Alana: What– what does shimmy dancer mean? Like a go-go dancer? Like a str– like what?

Lexi: I think you dance shimmy like you shake back and forth and you wear tassels, I believe.

Alana: Dream job.

Lexi: But someone feel free to correct me.

Haley: Yeah, I was thinking one of those 1920s cigarette girls.

Lexi: Yeah that could probably be it because this is a similar era.

Haley: Like they would have like the thing that went over them holding a plate platter like tray that they would just like walk around, dance around, and you can buy stuff from them.

Lexi: Yeah. It could possibly be akin to that. When the fair ended, Virginia became a waitress at one of Al Capone's old haunts the San Carlo Italian Village, which is a restaurant not a town. I had to Google that. Though Capone was at that time in prison, he went to prison in 1931, the community of criminals that he had built was still thriving, and it was– it was in this role as a waitress serving tables of America’s mobsters that Virginia met the man who would change her life. His name was Joe Epstein. He was an accountant and bookkeeper for Capone's crime family, and he took a liking to Virginia’s style, and that doesn't mean like her physical attractiveness… she had a certain style of a way that she talked to the mobsters, and she seemed to really have like a no-nonsense kind of ability to deal with the mobsters, which is really unique in a girl so young. So he felt he could trust her, and he took her on as a money launderer for his racketeering. She laundered the money by placing large bets on horses in Chicago's racetracks. She later moved into betting scams which is basically when she learned how from Joe to collect bets on fixed boxing matches. So the matches will be predetermined, but she would encourage people to bet the losing side. Virginia didn't just launder money. Joe taught her how to dress and act like a rich woman, and used her to cross state lines with stolen furs, jewels, and other items, because of course no one would suspect a nice, rich lady of stealing things and crossing state lines with them. The craziest part is that this all happened before Virginia even turned twenty. So by the age of twenty she was wearing really wealthy clothes, working really wealthy circles, and basically was a part of the mob. Over time, Hill became a trusted cash carrier, money launderer, and information gatherer for Joe and the rest of Capone's crew. She had many rich boyfriends and often used these relationships to benefit her mob family. In one instance she dated an oil tycoon named Major Riddle. No, you cannot make up this name, and yes, I wrote in my script to pause for insane laughter but no one is laughing. I think his name is hilarious.

Haley: I think that’s the best name ever.

Alana: We're on meat. We're on mute. Lexi that's why we're not laughing you didn't... they won’t be able to see the face that I made.

Lexi: Yeah. That's true. I forgot. Well anyway she dated this oil tycoon Mr. Riddle and she convinced him to give her money for investments that were like completely fake and she took that money back to her boy Joe. And Hill used her womanly charm, and by that I mean she seduced men. And through these methods she was able to obtain valuable information for her mob bros. Joe encourage Virginia to move out east to build connections between Chicago and New York crime syndicates. In New York, she laundered money and met many more men including a Mexican night club dancer named excuse my pronunciation, if this is wrong, Miguelito Valdez. At some point Virginia marriedValdez to help him maintain his residence in the United States. And then Virginia, at the same time as this marriage, had an on and off affair with Benjamin “Bugsy” Siegel who is a really famous leader in organized crime.The pair is well known to have real chemistry so this wasn't just considered to be a case of her seducing someone. They think that she genuinely liked him And unfortunately at the time Bugsy was married to another woman. In 1940, he was sent to jail on a murder charge. While Bugsy was in jail, Virginia tricked Valdez into signing divorce papers. And it was all very “90 day fiance” of her if you ask me. It is unclear if it was through her marriage or not but at some point Virginia had become very fluent in Spanish. She used her newfound language skills to begin trafficking drugs particularly heroin from Mexico to Chicago. In the 1940s, she attempted to start a career acting in Hollywood while transferring cash from New York to Chicago to LA. Meanwhile, Bugsy was setting up his new crime life in Las Vegas which he believed was the new up and coming resort destination for Americans and in hindsight he was probably right. He wanted Virginia to join him and she did but mainly only to spy on his activities and report back to her other mob leaders like Joe. Unfortunately, Bugsy’s biggest dreams were dashed when his resort project the “Flamingo” failed. He had drowned too much money into elabore improvements to the resort and lost cash when lucky winners struck it big in his casino. In a desperate attempt to save the business, he closed the casino and reopened the Flamingo as a hotel only, which sadly was unsuccessful, because we all know how Vegas went. Hill received orders to leave Las Vegas, so she did. 12 days later, someone shot Bugsy dead in their home. In 1950, Virginia went to a ski resort in Idaho, which I didn’t know you could ski in Idaho, but apparently you can. And she fell in love with an instructor named Hans Hauser. Again, very “90 Day Fiance” of her. Though she was still laundering money and Hauser was not a criminal, he still wanted to marry her. The couple eloped and had a son named Peter. Later that year, Virginia was subpoenaed to appear in a trial on organized crime which would be shown on National TV. She arrived like a star, dressed from head to toe in expensive clothing and jewelry. As a witness, she served her crime family well, evading details and giving vague, basic answers to in depth questions. She used creative lies to explain away all the cash she had laundered, explaining how she had bet money on horses to win her initial cash. She also insisted that most of her wealth came from gifts of suitors, or as we would probably call them today her sugar daddies. Now quick side note- this kinda gives me vibes of the musical Chicago and that song about the main character’s testimony, where she basically used her charm and virtue as a woman to get out of murder. “Well I can’t help it sir, I am just so beautiful men flock to me and give me free things.” On the stand, Virinigia denied that her male friends and lovers were racketeers. When the investigators caught her in her lies, she simply denied knowledge of the nature of their work. “But I never knew anything about their business” she would say. She denied her ability to have any financial knowledge, you know, because she was a lady, and ladies don’t do money things.

Alana: Ladies don’t money.

Lexi: Ladies never money.

Alana: Women be shopping but women don’t be money.

Haley: I love the comparison, like this whole story cuz this is so much like Charlotte. Both of these ladies are trying to be like, “Oh women do this, this is how women look, look how beautiful we are.

Lexi: That’s the vibe. That’s the vibe she was going for. The investigators were still suspicious, it did not work. Because, you know, it was about to be the sixties I mean it was the fifties but was about to be the sixties and so women were going to be liberated. As Virginia left the trial, she cursed out the press and she punched a reporter in the face. Then as she got her car she told reporters she hoped an atomic bomb would be dropped on them, which I think is a timely thing to say. This was right after World War II. That- That’s a big insult. That’s really mean.  Virginia and Hans then realized that they needed to leave America so they moved to Europe. The IRS was still on Virginia's tail and she knew she could not return to the States ever again. She met up with her old boyfriends and colleagues while they were in Europe and it was clear she still received money from her life's consistent characters like Joe. In the nineteen sixties Virginia and her family settled in Austria and her mental health rapidly declined.

Viriginia had suffered with her mental health through most of her adult life, getting hooked on sleeping pills and almost dying from a sleeping pill overdose on at least one occasion. Her life was turbulent, her trauma was intense, and she survived at least three separate suicide attempts. On cold, winter’s day,  March 24th, 1966, in Austria, Virginia took her own life. Pedestrians taking a walk along the water found her body, laying in the snow, along with a note stating the reason for her death, “I am tired of life”. Her husband Hans also took his own life, passing in 1974. Their son Peter, who would go on to become an American soldier and veterean of the Vietnam War, died in a car accident 20 years later. The family is buried together, in Salzburg, Austria. To this day, some crime enthusiasts believe Virginia may have been murdered, force fed pills as a method to hide a murder as suicide of someone with a history of mental illness. Though her apparent struggles with her mental health throughout her life really suggest this theory is unlikely. I think Virginia can teach us a lot, for starters I think the importance of mental health help is something her legacy can teach us. Virginia had a horrible childhood and instead of getting help she needed, she was married off and eventually she was convinced to do crime. She spent a lot of her life struggling, and it's possible some for mental health issues stem from that early trauma. I think Virginia can teach us a lot, for starters I think the importance of mental health help is something her legacy can teach us. Virginia had a horrible childhood, and instead of getting the help she needed, she was married off. She spent a lot of her life struggling, and it is possible some of her mental health issues stemmed from that early trauma. I think Virginia also teaches us that it took more than men to make the Mobs of early and mid century America function.  Virginia was often called the mistress of the mob, but that’s not fair- she wasn’t a mistress of the mob, she was a member of the mob. Women, both those whose stories are recorded and those whose stories were forgotten, played central roles in organized crime. So maybe next time you think about famous figures like Al Capone, think of the women like Virginia Hill who supported the crimes too. And that’s why we cover the good, the bad, and the ugly of women’s history, because there are so many stories that go untold.

Alana: That was so beautiful.

Haley: That was mind blowing.

Lexi: Thank you! I am gonna leave in you guys calling it beautiful too!

Alana: That was incredible.

Lexi: I really thought about that really hard.

Alana: Holy shit!

Haley: I truly love that like all our stories had a moral like that the ending for Alana was also just like you have to face that you're a killer that's a no no and like Lexi here with mental health and then me being like it's not all black and white you’re both bad people!

Alana: Nuance and context is like my mantra these days.

Lexi: That’s academics.

Haley: Yes.

Alana: Nuance and context as academics.

Lexi  As people who studied at a university. Oh my.

Alana: I have a bachelor's degree.

Lexi: Mhmm. Is this podcast just proof to your parents that you got a bachelor's degree?

Alana: No, they paid for it.

Lexi: They know.

Alana: They know.

Lexi: They suffered.

(Alana laughing)

Lexi: You can find this podcast on Twitter and Instagram at LadyHistoryPod. Our show notes and a transcript of this episode will be on lady history pod dot tumblr dot com. If you like the show, leave us a review or tell your friends, and if you don’t like the show, keep it to yourself.

Alana: Our logo is by Alexia Ibarra you can find her on Instagram and Twitter at LexiBDraws. Our theme music is by me, Garageband, and Amelia Earhart. Lexi is doing the editing. You will not see us, and we will not see you, but you will hear us, next time on Lady History.

[OUTRO MUSIC]

Haley: Next week on Lady History: we're going to be in the kitchen cooking up some great stories about famous women chefs and cooks alike. 

Alana: WHERE WE BELONG.

Lexi: In the kitchen.

Alana: /s.