#Hatfield House Library

[costarringyourlocallibrary]

The interior of Hatfield House Library (Hatfield, Hertfordshire, England) in Yorgos Lanthimos’s The Favourite (2018). (Identified in the film as Kensington Palace.)

[thegirlisuedtobe]

update i am making a fake rebecca rpg game trailer, here are my manderley floor plan sketches, can someone tell me if this would actually work like functionally as a house, thank you 💖💞

i'm leaving some notes under the read more to explain some design choices

i don't actually need it to be funtional bc at most im only showing the morning room, the hallway to rebeccas room, the dining room and the library, but i just wanna know if like other than the upper west wing, does it actually make sense?

i need to fix the outline so that the portions that jut out match on both floors so ignore them for now.

FOR THE RECORD ik the hallway to rebeccas room is stupid. yes, i designed it exactly for that specific reason and also i shot myself a bit in the foot bc of the garden and grand staircase placement. it has to be at the opposite end of the grand staircase entrance but also at the top left because thats where the rhododendron garden is,,,,,

i also have to make the west wing virtually inaccessible except for the long hallway, also the hallway has to have windows on one side at some point.

also, is it too boxy? i took a lot of inspo from hatfield house for the lower parts design but that house is like very extended out, so should i also extend the house lengthways instead? it could solve the need for rebecca's room needing to be at the end of a long hallway but also i cannot get rid of the great hall with the grand staircase right in the middle,,,,

[the-ship-maker-2]

Are you able to do some sort of fanfic between Aiden Klein from the mourge files and a child reader? (Not romantic ofc.)

Where like he ends up treating us like Sally Hatfield? We are just more...behaved than her and don't run?

Aiden Klein x Child! Reader (platonic)

How did you end up here? You didn't know.

One moment you were running away from your shitty home and family in forest lawn. The next minute you're in a basement watching low quality public Christian shows.

Aiden Klein was the man who took you in. Or more accurately kidnapped you and holding you hostage. Not that you knew the difference.

You did know, however, that he was always kind to you. You would often run errands for your parents at the store and he would buy you a chocolate bar or whatever candy of your choice. Or you would be at the library whenever you were locked out of your home and he would be there reading to you or talk about the latest book you read. Or would sit on the park bench with you and listen to your woes and walk you back home everytime you got kicked out.

So it didn't ring any alarm bells in your head when you ran away and he found you and offered to let you stay with him as long as you like and never had to go back. A warm room and free food with the only few people who showed you an ounce of kindness. How could you possibly refuse?

There were a few weird things though. How he would never let you out of the house without close supervision, or allowed you to go to school and often asked to drink some of your blood from time to time. Bit you never left the house anyways with your old family you were constantly locked up. You hated school because of that mean Mr. Webb. And so what if he drank your blood? It wasn't alot at once and he feels you iron rich meals to compensate.

You supposed that you could get used to this.

(I hope you like this and feel free to ask again!)

Aiden Klein is a character from the morgue files which was creates by our lord and savior David Near. You should go check it out!

[alightinthelantern]

Tudor City is an apartment complex located on the southern edge of Turtle Bay, on the East Side of Manhattan in New York City, near Turtle Bay's border with Murray Hill. Designed and developed by the Fred F. French Company, it lies on a low cliff, which is east of Second Avenue between 40th and 43rd Streets and overlooks First Avenue. Construction commenced in 1926, making it the first residential skyscraper complex in the world. Tudor City was one of the first, largest, and most important examples of a planned middle-class residential community in New York City. It is named for its Tudor Revival architecture. The complex is a New York City designated landmark district and is listed on the National Register of Historic Places.

The 13-building complex consists of 11 housing cooperatives, one rental apartment building, and one short-term hotel; these buildings collectively house 5,000 people. Most of Tudor City's buildings are arranged around 41st and 43rd Streets, which slope upward east of Second Avenue; the eastern ends of the two streets are connected by Tudor City Place, which crosses over 42nd Street. Two parks flank 42nd Street, and there was once an 18-hole miniature golf course in the southern park. The buildings generally contain stone, brick, and terracotta facades, as well as ornate Tudor-style details. The Fred F. French Company advertised Tudor City heavily, erecting large signs on the roofs of two buildings on 42nd Street, which could be seen from blocks away.

Before Tudor City was constructed, tenements and slums dominated the area. Following the development of the nearby Grand Central Terminal and office buildings during the early 20th century, Fred F. French began planning a residential enclave in Midtown Manhattan. French announced plans for Tudor City in December 1925, and the first 12 structures were completed in phases between October 1927 and late 1930. The section of 42nd Street through Tudor City was widened in the 1950s with the construction of the nearby United Nations headquarters. The final building in the complex, 2 Tudor City Place, was finished in 1956, and the French Company sold the Hotel Tudor in 1963. Harry Helmsley bought most of the remaining buildings in 1970 and resold them in 1984 to Philip Pilevsky and Francis J. Greenburger, who converted most of these structures to co-op apartments.

The complex contains 12 apartment buildings, named Prospect Tower, Tudor Tower, Windsor Tower, Woodstock Tower, Hatfield House, the Manor, the Hermitage, the Cloister, Essex House, Haddon Hall, and Hardwicke Hall; it also includes a hotel, the Hotel Tudor. Woodstock Tower, in the center of the complex, is the tallest tower of the group, and was originally topped by a flèche, a gothic spire. Tudor City's original shops included three restaurants (providing room service for a fee), grocery, liquor, and drug stores, a barber shop, and beauty parlor. Services included a post office, indoor playground, private nursery, maids, laundry and valet service, private guards, garage, a furniture repair and rug cleaning service, and a radio engineer who would repair and connect aerials. Residents published their own magazine, and there were also organizations such as a camera club. The enclave also contained such amenities as an ice-skating rink and tennis courts, in addition to a library, babysitting service, and bowling alley. Prospect Tower and Tudor Tower both contained two rooftop decks, while the Manor contained another roof deck; there was also a water playground for children.

Due to their distinctive architectural style, Tudor City has been heavily featured in television in film. Appearances include The Godfather Part III, Scarface, Taxi Driver, and Sam Raimi’s Spider-Man trilogy.

[kevinpshanblog]

100 Year Old Film

Our Hospitality December 13th, 1923

On December 13th, 1923, Buster Keaton's second feature film, Our Hospitality, was released to the public. The film, co-directed by Keaton and John G. Blystone, is a hilarious and inventive satire of the famous Hatfield-McCoy feud, which pitted two rival families against each other in a bloody and violent conflict.

The film stars Keaton as Willie McKay, a young man who inherits his father's estate in the South, unaware of the feud that has been raging for decades. On his way there, he meets and falls in love with Virginia Canfield (played by Keaton's real-life wife Natalie Talmadge), the daughter of the head of the Canfield clan. When he arrives at his ancestral home, he discovers that the Canfields have sworn to kill any McKay on sight, except when they are inside their own house, where hospitality rules prevent them from harming a guest.

What follows is a series of hilarious and ingenious gags, as Keaton tries to stay alive and win the heart of his beloved, while avoiding the wrath of the Canfields. The film showcases Keaton's trademark physical comedy, as well as his remarkable attention to detail and historical accuracy. The film features a realistic recreation of an early 19th century steam locomotive, a thrilling chase sequence involving a horse, a bicycle, and a waterfall, and a spectacular stunt where Keaton hangs from a rope over a rocky gorge.

Our Hospitality is widely regarded as one of Keaton's best and most influential films, as well as one of the greatest comedies of all time. It was selected for preservation in the United States National Film Registry by the Library of Congress in 1995, as being "culturally, historically, or aesthetically significant".

If you are a fan of Buster Keaton, or of silent comedy in general, you should definitely watch Our Hospitality, or rewatch it if you have already seen it. It is a film that will make you laugh, marvel, and appreciate the genius of one of the greatest comedians and filmmakers of all time.

[redalabs-joshuathomas]

Update 44 23/08/23

REDA Labs

After 3 months of constant work, we are proud to present the final video for our project. This was an amazing experience and we are very happy with the output. The environment was really elevated by the sound design and script with the help from our supporting team. We are really thankful to each and everyone who helped us to make this project a reality.

Main Team

Joshua Thomas -

Environment Artist

Lighting Artist

VFX Artist

Level Artist

Technical Artist

Editor

Uditraj Vadher -

Environment Artist

Level Artist

Cinematography

Technical Artist

Animation

Texture Artist Rigging Artist

Supporting team

Prop Creation

Sound design

Dennis Nikhil Raj - Music

Kelvin Mathew - Sound Design

Atharva Kulkarni - Mixing

Krishiv M - Recording Engineer

Conol Thomas-Lambert - Script and Voice over

List of external assets used -

Nosakhae. (2022). Toast Maker | Electric Sci-fi Gun. Sketchfab. [Online]. Available at: Electric Sci-fi Gun - Download Free 3D model by Nosakhae (@NosTeam)

AdamBetts. (2022). Sci-Fi Gun. Sketchfab. [Online]. Available at: Sci-Fi Gun - Download Free 3D model by AdamBetts 

Lezalit. (2023). PEACEMAKER - SCI FI GUN. Sketchfab. [Online]. Available at: PEACEMAKER - SCI FI GUN - Download Free 3D model by Lezalit 

Praneeth.Ganoji. (2022). Sci-Fi Gun Model. Sketchfab. [Online]. Available at: Sci-Fi Gun Model - Download Free 3D model by Praneeth.Ganoji 

Fearell. (2020). Sci-fi Assault Riffle. Sketchfab. [Online]. Available at: Sci-fi Assault Riffle - Download Free 3D model by Fearell

Data Electronic Medical Document Modern. Alliesinteractive. Freepik. Available at: Data electronic medical document modern

Dead Body SVG, Deceased People, Dead People, Body Clipart, Deceased Bodies, Dead Men And Women, Cricut Cut File, Digital Download. WillieBees. Etsy. Available at: Dead Body SVG Deceased People Dead People Body Clipart

3D Sci-Fi Control Panels. ExecutoArt. TurboSquid. Available at: 3D Sci-Fi Control Panels

Alireza Farhadi. (2023). Sci-Fi Interior Laboratory Modern SciFi Station 3D Model. ArtStation. Available at: URL (Accessed: Date).

Voloshenko. (2022). Sci-Fi Wires Kitbash Pack 80. ArtStation.

Ehsan Kiani. (2023). 570 Sci-Fi Decals. ArtStation. Available at: URL

Alireza Farhadi. (2022). SciFi Light Pack 3D Model. ArtStation. Available at: URL

Modular SciFi Season 1 Starter Bundle. Jonathon Frederick. Unreal Engine Marketplace. Available at: Modular SciFi Season 1 Starter Bundle in Environments - UE Marketplace

Modular Scifi Season 2 Starter Bundle. Jonathon Frederick. Unreal Engine Marketplace. Available at: Modular Scifi Season 2 Starter Bundle in Environments - UE Marketplace

Scifi Hallway. Epic Games. Unreal Engine Marketplace. Available at: Scifi Hallway in Unreal Engine Marketplace

SuperGrid Starter pack. ZeOrb. Unreal Engine Marketplace. Available at: SuperGrid Starter pack in Unreal Engine Marketplace

Modular Sci Fi Office. Kelheor. Unreal Engine Marketplace. Available at: Modular Sci Fi Office in Unreal Engine Marketplace

Big Office. 1D.STUDIO. Unreal Engine Marketplace. Available at: Big Office in Unreal Engine Marketplace

Spline+. VOYAGER 3D. Unreal Engine Marketplace. Available at: Spline+ in Unreal Engine Marketplace

Megascans. Quixel. The world's largest scanned 3D asset library. Available at: Megascans - The Largest and Fastest Growing 3D Scan Library

Mixamo. Available at: Mixamo

[onpoint-fencinganddecking]

Salem, OR's Historic Districts: A Journey Through Time

Salem, OR, is a city rich in history, with many historic districts that offer visitors a glimpse into the past. From Victorian-era homes to mid-century modern architecture, Salem's historic districts showcase a range of architectural styles and highlight the city's evolution over time. In this blog post, we will take a journey through time and explore some of Salem's historic districts.

Grant Neighborhood Historic District

The Grant Neighborhood Historic District is located in the heart of Salem and features homes built in the late 1800s and early 1900s. The district is named after Ulysses S. Grant, the 18th President of the United States. The homes in the district are primarily Victorian in style and showcase a range of architectural details, including intricate woodwork, stained glass windows, and ornate porches.

Gaiety Hill/Bush's Pasture Park Historic District

The Gaiety Hill/Bush's Pasture Park Historic District is one of Salem's most exclusive neighborhoods, featuring homes built in the early 1900s. The district is named after the Gaiety Theater, which was once located in the area. The homes in the district are primarily Colonial Revival and Craftsman in style and feature large, lushly landscaped yards.

Englewood Park Historic District

The Englewood Park Historic District is located in northeast Salem and features homes built in the 1930s and 1940s. The district is named after Englewood Park, which is located in the area. The homes in the district are primarily Tudor Revival and Colonial Revival in style and feature distinctive brickwork and steeply pitched roofs.

North Capitol Mall Historic District

The North Capitol Mall Historic District is located in downtown Salem and features a mix of historic buildings, including the Oregon State Capitol, the State Library, and the State Supreme Court Building. The district also features several mid-century modern buildings, including the Mark O. Hatfield Library and the Salem Conference Center.

Court-Chemeketa Historic District

The Court-Chemeketa Historic District is located in northwest Salem and features homes built in the early 1900s. The district is named after Court Street and Chemeketa Street, which are the main streets in the area. The homes in the district are primarily Craftsman and Colonial Revival in style and feature large front porches and brick or stone exteriors.

South Central Commercial Historic District

The South Central Commercial Historic District is located in downtown Salem and features a mix of historic commercial buildings. The district includes the Salem Public Library, the Reed Opera House, and the Elsinore Theatre. The district also features a variety of restaurants, bars, and shops.

West Salem Residential Historic District

The West Salem Residential Historic District is located on the west side of the Willamette River and features homes built in the early 1900s. The district is named after the West Salem neighborhood and is primarily composed of Craftsman and Colonial Revival-style homes. The district also features several mid-century modern homes, including the iconic "flying saucer" house.

Salem's historic districts offer visitors a glimpse into the city's past and highlight the diversity of architectural styles and cultural influences that have shaped the city over time. Whether you're a history buff, architecture enthusiast, or just looking for a unique and interesting way to explore Salem, a journey through the city's historic districts is a must-see experience.

In conclusion, if you are looking for a reliable and experienced fence contractor in Salem, OR, OnPoint Fencing and Decking is a great choice. Their team of skilled professionals is committed to providing high-quality fence installation, repair, and maintenance services to their customers.

Whether you need a new fence installed for privacy or security, or your existing fence needs repair, OnPoint Fencing and Decking has the expertise and resources to get the job done right. They offer a wide variety of fencing materials and styles to choose from, so you can find the perfect fit for your home or business.

Additionally, their team is dedicated to delivering exceptional customer service, ensuring that you are completely satisfied with their work from start to finish. They will work closely with you to understand your needs and preferences, and provide personalized solutions that meet your specific requirements.

Overall, OnPoint Fencing and Decking is a reputable and trustworthy fence company Salem, OR, that you can rely on for all your fencing needs. Contact them today to learn more about their services and to schedule a consultation.

OnPoint Fencing and Decking 1865 McGilchrist St SE, Salem, OR 97302, United States (503) 949-2712 http://onpointfencing.com/

[loversandcousins]

Houseguests

1/13/23

1/19/23

For 3 months I welcomed Stonehouse and Kerry James Marshall into my house. I checked out The Mountain Poems of Stonehouse (Copper Canyon Press, 2014) and Kerry James Marshall: Mastry (Museum of Contemporary Art Chicago, 2016) from the library. Both are books that you can flip through and read in short installments. In November I renewed Mastry. Finally the due date for both books approached and I gave them back a week ago. 

I am not usually so sentimental about returning books to the library. But these two I had gotten used to. Before returning them I scanned a few pages from each, a digital memento for the box of memories and muses under my bed. 

Part 1: Turning point and arrival

In 1980 Kerry James Marshall painted Portrait of the Artist as a Shadow of his Former Self. He was inspired by the 1952 novel Invisible Man by Ralph Ellison. He was 25 years old, and the painting is tiny, only 8 x 6.5 inches. This self portrait marks a turning point and an arrival for Marshall. Previously, he made mainly mixed-media and collage. From this point onward, Marshall has almost exclusively painted Black figures in everyday life, painting them with black skin, with black paint. I've heard artists say this before, that there is one piece that they make that shows them who they are, something that speaks back to the artist and illuminates a clear way forward. 

A year later Marshall painted Portrait of the Artist & A Vacuum, which I am obsessed with and very much want to imitate.

Part 2: "Right now I'm writing a right-now line"

Here are some of my favorite lines from Stonehouse:

very practical… sometimes feelings linger.. i would love to take my basket across the ridge and gather vine flowers… 

In the accompanying commentary, the translator Red Pine explains that in different times in Chinese history monks were given land to live off of. Stonehouse lived during the Yuan Dynasty and was temporarily head of the Monk affairs office in 1331. I don't want to glamorize this system, which Stonehouse clearly has a critique of, but throughout the whole book of poems you get a picture of a very different society from ours, one where being a monk is an established vocation with some supporting infrastructure in place. It is cool and thought provoking as we are currently pressed with the urgent work of crafting a new world.

"i've never been cheated by a hoe," good for you stonehouse… also very relatable, feeling lonely because your friends are out in the world striving for success. 

this verse stuck with me and I copied it into my journal. sometimes i feel a bit desperate in terms of not wanting to make the same mistakes again and again, wanting to break habits, especially those that harm my relationships with others. I really like how Stonehouse says "when life becomes simple old habits end." it strikes me as both optimistic and pragmatic.

hold the PHONE "right now I'm writing a right-now line" is an unreal line, tattoo-worthy, sky-writing plane worthy, very good, very excellent poetry. Stonehouse gets an EGOT. 

In Conclusion:

Those were 2 very good books. Furthermore, returning books means I check more out. Currently I am reading:

Cassell's Encyclopedia of Queer Myth, Symbol, and Spirit by Randy P. Connor, Mariya Sparks, David Hatfield Sparks

Dyke Strippers: Lesbian Cartoonists A to Z Edited by Roz Warren

Act of State: The Execution of Martin Luther King by William F. Pepper

Rock Steady: Brilliant Advice from My Bipolar Life by Ellen Forney

I am finding momentum in reading poetry, comics, and nonfiction, especially any text that is illustrated and/or that you can read non-linearly. On that tip, Act of State is the outlier, but it is so eye opening and righteous that I am locked in. I'll report back later~

[worlds-best-worst-axle]

0. Research!

I decided I wanted to make part of a spinning wheel, but I realized I don't actually know how they work. The first step, then, was research!

(As you will likely notice, I got too invested in research and ran out of time for the important steps... the building...)

I did some searching in the Hatfield library and the online catalog. I heavily referenced the book "Linen: Hand Spinning and Weaving" (citations below).

With that foundation of knowledge, the next step I took was visiting the Willamette Heritage Center. It's home to a few historic buildings, most notably the Thomas Kay woolen mill. They also house the Salem Fiber Arts Guild (a group dedicated to hand spinning and weaving textiles). The visit was less fruitful than I had hoped, as most of the infrastructure of the mill was big pieces of machinery that had moving parts that I couldn't see, and the Fiber Arts Guild has strange business hours. The people at the heritage center will still helpful, and that visit did net me another source book () as well as the possibility of an email from the Fiber Arts Guild (I have not received word from them as of current).

Next was watching a lot of spinning tutorial videos to study the motions of the parts, alongside a few videos of people actually explaining the parts. I wasn't able to make all of the parts, so I won't explain the mechanics in extreme depth, but I'll give an overview later (I spent a lot of time on it, and if I don't show you it my work is futile).

Sources

Baines, Patricia. Linen: Hand Spinning and Weaving. Batsford, 1989.

Smith, Beth. How to Spin : from Choosing a Spinning Wheel to Making Yarn. Storey Publishing, 2016.

"How Spinning Wheels Work." Youtube, uploaded by Tiny Fibre Studio, 24 October 2020, www.youtube.com/watch?v=hgXS1tZKQ_o.

[thesixthduke]

[costarringyourlocallibrary]

The interior of Hatfield House Library (Hatfield, Hertfordshire, England) in Tim Burton’s Batman (1989). (Identified in the film as “Wayne Manor.”)

[theworldcalls]

Library at Hatfield House.

[dato-georgia-caucasus]

King James Library, Hatfield House, Hertfordshire, England

[jurijurijurious]

The Shadows of Ghosts — or Grace visits Wals' house... Sort of...

I hope you’re ready for my insane geek post about how I have abstract-stalked my fave, fictional version of Walsingham by visiting his home from Elizabeth: The Golden Age  (well, I’ve actually visited Hatfield House which stood in for his home.) I think it was meant to be his Seething Lane home - and before you ask, yes I have actually been to Seething Lane in London too, but it is not worth the effort except to point at the building called “Walsingham House” and go “oh, he is remembered!” (The real Walsingham in that case. Not Rush’s Walsingham. I digress.)

So, there are three main locations in Hatfield House, which are all open to the public (squee!), that stand in for various parts of Walsie’s home in The Golden Age (TGA). They are:

the Marble Hall

the Long Gallery

the Adam and Eve staircase

There’s still one short shot of William in the film at Francis’ home which I am struggling to place (where Francis is told he has a visitor and William pops out of a shady “corridor” waiting). I think it’s possibly part of the gallery or off the staircase but, nvm...

Let’s start with the Marble Hall, the first room you enter when you visit the house. I spent ages in here, it is grand af and very recognisable as the room in which poor, tired-out old Wals lies in his deathbed. Shekhar Kapur cleverly uses the “Rainbow Portrait” of Elizabeth, which hangs in the same position in everyday life as you see in the film, and sets up the scene so the portrait is presiding over Walsingham’s bed. (Ofc a man like Rush’s Wals would have the Queen watching over his bed... I’m sure his wife is well happy with that.)

The room also cleverly doubles as an entrance hallway, Kapur doing his camera trickery to get an angle on it from above.  Have another look when you watch Wals get home and hand his chain to his servant - it’s the same room. 

Captures from the film featuring the Marble Hall:

And my photos:

You’ll walk next through and up the Grand Staircase and through the King James drawing room before you get to the Long Gallery. It is long too! The Long Gallery is another location which doubles up as two different areas of Wals’ house in TGA: the dining room and Francis’ study/library. It’s very recognisable by the wooden panelling, the floor tile patterns and the fireplace.

First, here’s the dining scene (on a side note, this scene is crazily edited. You can tell it used to be much longer and the editors tore it to shreds):

And here’s the long gallery in my photos for comparison. Check the ceiling, the flooring, the panelling and fireplace for reference points:

And here’s the other scene which uses the gallery - Wals’s study/library, where William makes not even a half-assed attempt to murder his brother. Harder to see the gallery beneath the set-dressing and props but if you check the floor and study the patterns on the panelling, you can see it:

And finally, the Adam and Eve staircase. You descend this after you have been through the “Winter” dining room and the library (neither of which, I am fairly sure, are in the film). Why is it called the Adam and Eve staircase, you ask? Apparently because a portrait of Adam and Eve used to be hanging in it, but though the portrait has moved to another room, the name remains.

Due to the one-way system in the house, you go down these stairs whilst the ghosts of William and Francis pass you going up. 

Here are caps from the scene. Mark the bannisters, ceiling and wall panels:

And my photos. (Obvs they hung older portraits on the wall for the film, the ones currently hanging in there are very modern):

This concludes my talk on visiting the shadows of ghosts and basking in the warm glow that you are walking in the same footsteps as actors playing your faves. And it also hits a double whammy as actual history has also taken place here too, though not Tudor history as this house is Jacobean and built after Elizabeth’s death. But if you want Tudor history, look out the window and you’ll see what’s left of John Morton’s fifteenth century palace, the one which Elizabeth would have spent time in and recognised. Cool af!

And tbh, “actual history” is a bit of a misnomer because even though, for example, Geoffrey Rush was playing Walsingham in his London home when they filmed here 14/15 years ago, the making of that film and the presence of those actors is now also a part of history, though ofc not the same branch as the one the film is portraying. (It gets a bit meta after a while, doesn’t it...?)

Stay tuned for the nest instalment of Abstract Stalking when I travel north in October to be be reunited with that babe of an Elizabeth location, Durham Cathedral, and walk in the steps of my baby Wals again, and where I’ll then be doing a whistle-stop tour of Northumbrian Castles and hopefully pinpointing the beach where Thomas Elyot was killed by Daniel Craig’s priest, the castle Mary of Guise rode out from, and such like, before I finally return via Raby Castle and point out the locale of the river masque where Anjou shouts out “un trés grand clés!”. 

(Welcome to my one-man fandom. I apologise in advance.)

[mrslokibarnesrogers]

Did anyone else notice that they used a lot of the same sets in Rebecca as they did in Enola Holmes?

The library was a big one, same with the hallways.

Update: confirmed, both movies used the same house, Hatfield House, for a bunch of their main scenes.

[foreveralwaysanauthor]

I Could Be Every Color You Like

October 3, 2021

Prompt - Full of Colors

Characters - Bentley and various others

Notes - This gave me so many ideas for one-shots.

“Why does that kid like art so much?”

He'd heard that question a lot over the years. It was a simple question and, to be frank, not many knew the answer. The youngest of the Murphy brothers was a chatty fourteen-year-old who was usually seen holding a pen or marker to something. It was only natural that people asked questions, he supposed. It wasn’t normal for people to walk around, drawing everything in sight, but that’s just the way Bentley was.

Bentley was an enthusiastic artist and had been for as long as he could remember. Of course, he usually did so for fun, coloring on napkins and such, but his art was always meticulously done. He’d learned to draw from his mom when he was really little. Miles recalled once that Bentley had drawn all over one of their bedroom walls when he was three, but his mom was so happy with how it looked that she refused to wash it off or paint over it. Bentley was just an artist through and through - it was what he was good at.

In school, the teachers that knew Miles and Royce expected Bentley to be just like one or both of them. First was the oldest - Miles, the hardworking, above-average student who had excellent manners and was part of both the automotive department and the school newspaper before graduating early. Then came Royce, the kid with straight A’s since kindergarten who spent most of his free time studying in the library or writing in a journal. But, when Bentley came along, their expectations went out the window.

Bentley was far more artistic than his brothers, doodling in the margins of his paperwork and turning it in, only to receive a note from the teachers, telling him to please stop. While he kept his grades up, even after Miles left for Florida, he could never seem to meet the precedent set forth by his brothers. His teachers tried to talk with his father about his attention problems and constant drawing, but the man never answered the phone. When he did, he’d answer in the same manner every time before hanging up - “Did he kill someone? No? Then leave me the hell alone.” After a while, the teachers stopped caring as much and left him alone, which was nice.

The only teacher he’d liked was Mr. Samuel Hatfield, his art teacher in middle school. The man was a giant at six foot seven but had the biggest heart in the building. He took his time with each of his students, making sure they understood what concepts he was teaching them and could handle their own. For once, Bentley could claim the position of teacher’s pet with pride. The teacher took pride in Bentley’s artwork, using them as examples for other classes and, occasionally, the upperclassmen who needed encouragement.

It felt good to be appreciated.

So, when Royce whispered to him one night in the confines of their bedroom that they’d set aside enough money to move in with their older brother, he felt torn. He desperately wanted to move in with Miles, far away from their father, but he also wanted to stay so he could continue feeling special for his art. It was all he felt he was good at and he loved feeling important, but his love for his brother outweighed that a million times over so his decision was nearly instantaneous.

The next day, after working his busboy job at the diner on the edge of Main Street, he took off on his bicycle for the art shop next to the library, using his collective tip money for the day - a whopping seven dollars and fifty-four cents, nearly triple what he usually got - to buy a small sketchbook and a discounted paint set. The rest of his money, he planned on pocketing. He and Royce would be leaving soon anyway, what did it matter what he spent the extra cash on now?”

The cashier frowned at Bentley as he counted his money, coming up just a couple of quarters short. He sighed, debating on which item he wanted to buy more. Just then, the door jingled next to him and he instinctively looked up, meeting gazes with his art teacher.

“Hi, Mr. Hatfield,” Bentley greeted quickly before turning back to his purchase.

“Well if it isn’t Bentley Murphy,” the art teacher greeted. “Why am I not surprised to see you here. Buying anything good, kiddo?”

“A goodbye gift,” Bentley claimed with a grin. “My brother and I are leaving town to be with our big brother.”

“Ah,” Mr. Hatfield exhaled. “Is this a gift for your dad or your older brother?”

“Nope,” Bentley exclaimed. “This is for me. Something to remember Myrtle Beach, I guess.”

The teacher nodded slowly, taking in the information as Bentley spoke. “So, where does your older brother live again?”

‘Uh oh. Too much info,’ Bentley thought to himself. ‘Don’t get caught. They’ll call the cops if they know where we’re really going. Be smart like RJ. Think, think, think.’

“California,” he lied in feigned excitement, sending his teacher a brilliant smile. “He moved there a couple years ago to be with a girl he liked who moved to Los Angeles.”

The teacher nodded again and smiled. “Well, since this is a parting gift, I’ll cover it, kid.” The man reached into his pocket and pulled out a wallet.

“Actually,” Bentley began, “I think I’ll put the paint back-”

“Leave it, Mr. Murphy,” Mr. Hatfield stated firmly, setting down some money. “It's just some paint. I have no problem helping you to further your talents. Save your cash for spending time with your brother.”

The cashier took the money from Mr. Hatfield and bagged Bentley’s items before handing them to the fourteen-year-old. Bentley and the man said their goodbyes before Bentley went outside and hopped on his bike, riding quickly toward home. When he arrived home and found only Royce there, the two boys packed their bags and left not long after, leaving only a simple note in their place. The next fifteen or so hours were spent biking to their Uncle Tommy’s house - a man who had despised his sister’s husband since he’d met the man and had been encouraging the boys to leave. Once they arrived, they took the man’s car - with his permission and knowledge, of course - and took off for Florida. Ten hours later, they arrived pulled into the town, a sign with bold letters saying “Welcome to St. Pete Beach” being their only welcoming committee.

Royce pulled Uncle Tommy’s car into what they believed was Miles’ address, if his letters were anything to go by. They got out of the car and knocked on the door a few times before anyone answered. It was just barely eight in the morning so it wasn’t unexpected, but the anticipation was killing them slowly. Bentley was mildly surprised to see his oldest brother - who looked like he was just woken up by them - whip open the door, wiping his eyes a few times before pulling them both into a tight hug. They were shown to their room, finding it decked out in just about anything Miles had found that he’d thought they would like. To Bentley’s surprise, a brand new art book and some canvases were laid out on his bed, accompanied by various types of paints, markers, and pencils.

Their brother’s friends became family to them and they were accepted fairly quickly. Lela set aside time every day just to paint with him on the beach. Mick would teach him and his brothers photography in her spare time. Butchy took him and Royce for walks to the park so Royce could write in peace while Bentley drew in his sketchbook. Tanner took him to an art gallery on the edge of town just for fun. It was like being an artist was something to be proud of. Like there wasn’t any competition to have better grades or better abilities. It was an air of tranquility that the fourteen-year-old hadn’t felt since his mom approved of his artwork as a kid.

Over time, he began noticing the colors of people he spent the most time with. Whether it was the color of their eyes or in the things they surrounded themselves with or their favorite colors, Bentley saw them each in a different light. If he said them out loud, it would make sense to absolutely no one, but that was fine by him. He made sure it came across in his artwork instead of in his words.

For instance, Miles gave off rays of baby blue with a hint of red - calmness, safety, and love - so those were the colors Bentley used to draw his oldest brother with most. Royce was a brilliant, sunset orange - smart, vibrant, and playful - and it suited the middle brother better than he ever cared to admit. Mick and Butchy together were green with dashes of lavender, a colorful combination of love, strength, and balance - a source of protection and love that was unending and reliable. Lela was pale pink, full of innocent love for those around her.

So, when asked why he loved art so much, Bentley had only one answer to give: the colors.