#Theatre du Grand-Guignol

[diioonysus]

théâtre du grand guignol opened in 1897 and closed in 1962. one of the most notorious stages of all time, it was the place where playwrights staged horrific tales of violence and revenge under the haunting eaves of a former chapel. during its 65 years in operation, the grand guignol staged over a thousand plays to both the shock and delight of its audiences, going down in history as one of the foundations of horror-as-entertainment. in a typical grand guignol performance, patrons would see five or six short plays, all in a style that attempted to be brutally true to the theatre's naturalistic ideals. the most popular and best-known were the horror plays, which featured a distinctly bleak worldview and gory special effects, particularly in their climaxes.

[urheartsamess]

just cannot stop thinking abt the théâtre des vampires directly taking its inspiration from the théâtre du grand-guignol….. the way the theatre was mixing perversion and sadism, macabre and extreme violence but was also crazy enough to have its humorous moments while actors pretended to (graphically) butcher women on stage and it didnt even have any cultural aspirations just the will to shock its audience im honestly TERRIFIED for claudia’s tragic and morbid ending

[notsatyr]

btw the Théâtre des Vampires is historically accurate and based on a real theatre if anyone cares!! I was so so excited about the whole recreation lol I felt like such a nerd. This might already be established fact amongst long term book fans but allow me to nerd out about theatre history while I procastinate on my exams anyways <3

So if you ask me, it's entirely based on Le Théâtre du Grand-Guignol, a Parisian horror theatre that operated from 1897 to 1962 which alligns with the timeline. It is even placed in Pigalle, the same street as it's real life counterpart.

Much like we see in the show, the theater would put on a handful of smaller plays, alternating between plays of brutal violence and comedic plays in a pattern they called "hot and cold showers". The plays were generally about anything and everything taboo and often about the outcasts of society. Murder, insanity, incest, street urchins, you name it. The plays used a varity of over-the-top special effects to achieve it's gore.

The theatre attracted a wide varity of audience looking for a varity of experiences. In the middel war days, it would even see royalty and celebrities among it's audience. It was just as common for people to faint and need medical attention (something they hired doctors for, partially as a marketing trick) as it was for peopel to get so aroused that they had rentable boxes formerly used by nuns for... privacy. Right did I mention this all happened in a former chapel? this was in a former chapel. Which they also include in the shows version with stained glass doors, gothic wood carvings, and confessionals.

They also comment in the show on how the theatre had become "passe" following the war, which is also true; the theatre would see dwindling audience numbers from the end of the war untill it's closure in 1962. It's speculated that the horrors of the war had rendered their material less shocking; everyones ideas of what sort of violence humans where capable of had been changed for good.

ok. I need to go back to studying lmao but I might update with some pictures comparing Le Théâtre du Grand-Guignol to the Théâtre des Vampires depicted in the show + some more details later. Sufficient to say, the theatre nerd in me is very very excited about the commitment they put into depicting this little piece of theatre history.

[xxgothchatonxx]

So, this shot is probably edited out of context but I do wonder if this

is related to the prominent theme of TVC (..all of Anne Rice's work, tbh) of people finding pleasure in dark, twisted things.

Because if the first(ish) theatre scene is going to be like it was in the book, it will be sexual but in the horrifying sense because Louis and Claudia, and by extension us as the audience, know it's not just an act. (I mean, even without knowing it's not an act, it's still extremely disturbing) But I wonder if this guy is really liking what he's seeing. (Again, I might be wrong so I'm pre-emptively apologizing to this guy if I got his vibe wrong)

I'm also basing this assumption off the knowledge that this version of Theatre des Vampires is directly inspired to Le Theatre du Grand Guignol where they had separate rooms for people to *ahem* be excited in private. There is apparently a psychological link between horror and pleasure, but I'll stay on TVC topic here.

Also vampires feeding in this series is a blatant metaphor for sex. This show's already shown that with Louis and Jonah, just as one example. So, I wouldn't be surprised if this season cranked it up to 11, for vampires and humans.

[scumgristle]

Severin Films

Our friend, horror historian Alain Petit has informed us that Denise Dax passed away last weekend at the age of 98. Dax was the last known surviving actor from Paris' notorious Theatre Du Grand Guignol wherein she was a pioneering scream queen, murdered and mutilated nightly in its later years (it closed in 1962). She took over as the theatre's leading lady after the legendary Paula Maxa (1898 - 1970) aka "the most assassinated woman in the world" moved on. The theatre was housed in a deconsecrated church on the Rue Chaptal in the seedy Pigalle district and is widely believed to have popularized splatter for entertainment. We shot a terrific interview with Dax about her time there a few years ago as part of an ongoing documentary project on Grand Guignol. RIP Denise Dax 1925 - 2023.

[blueiight]

Even in the book its santiago who first makes inquiries about what they did to lestat, it'd be so easy for armand to act like he had nothing to do with it here if they're advertising santiago as the leader of the theatre.

But i just wonder if they do the head chopping experiement on stage. though...

yea! armand was the one who actually jigsawed ppl so i dont think hed do it infront of louis cuz thatd leave no room for doubt there.. but idk im excited to see how s2 will go, having armand as the head of the (theater vampire equiv of) the historical grand guignol is kinda adept to having louis as the head of the fictional historical storyville district . diversity win ur tricks ur auteurs & crazies are vampires du colorre

[riainceol]

Update!

I’m back in the studio, making significant progress with the new material.

I have four songs in different levels of completed. One is written, two are arranged (I.E. no lyrics) and one is being written. I’m aiming for hopefully one or two more.

I’ve got big ideas and goals. I don’t want to speculate or talk about them here lest my brain decide it’s out of my system. But I will reveal that my next release is going to be heavily inspired by Black Metal, Doom Metal and Death Metal. And it’s name will be

Le Théâtre du Grand-Guignol

(The Theatre of the Great Puppet)

If you know you know, if not I will explain when I’m ready to release it.

I’d also like to take this moment to thank everyone for picking up copies of Lay Down for The World and Signals. I’m glad those who did like them, Signals was a big experiment, and I’m happy it went over pretty well.

[heartclutter]

Grand Guignol — English Translation

■ Music：RuLu  https://twitter.com/21mad21 ■ Vocal : つぐ  https://www.youtube.com/c/tuggt_ ■ Vocal Edit：さんかくずわり  https://twitter.com/Sankaku_Mix ■ Illust：とーがらし https://twitter.com/_tgrs_ ■ Movie：Qvy https://twitter.com/Q_quv_s6 ■ Translation：HEARTMUSH https://twitter.com/coeurings

Hello everyone! I really fell in love with this song and have been listening to it on repeat since it was released, so I decided to make an attempt at translating it! 

The song title refers to Le Théâtre du Grand-Guignol ("The Theatre of the Great Puppet"), also known as the Grand Guignol; a Parisian theatre that specialized in naturalistic horror shows.

Note: While there is a version voiced by Miku,  I've featured Tug’s cover as I prefer it over the former. This post, however, will have the “vocaloid” tag for organization’s sake.

Grand Guignol feat. Tug グランギニョル feat.つぐ

腐っちまった平穏と 這いよる影  帳が下りる (最低なタイトロープ) すり減った 感情は 冷凍

砕け散ったレプリカント  踏みしめたら 明日には自由？ (最低なタイトロープ) 賽はとうに投げられてる

These halcyon days have since decayed; the augury of night descends just like a curtain (walking the worst of tight-ropes) This tattered heart has frozen over

Perhaps by trampling over shattered pieces of replicants¹, tomorrow there’ll exist a freedom? (walking the worst of tight-ropes)

Point of no return; the die's² long since been cast, you know?

The monster with no tears to cry sniffs you out, brings your true colors to light: Expose the real you!

剣を抜け 灰とならば 標に 痛みを光にして 世界は 果実を奪い合う グランギニョル 終わりの無い上映  合図が鳴る

Draw out your sword If you burn to ash, wear it with pride You'll take your pain, and turn it into light³

We'd wage a war to seize the sweetest fruit; this world's a Grand Guignol!

The signal for this endless screening never stops its ringing!

あっけなく散ってく 蠢く春 晒した現実 無能な先生に 罰 砕け散ったレプリカント  踏みしめたら 明日には自由？ 賽はとうに投げられてる

Scattering, a disappointing spring writhes in the dirt⁴ and strips the youth⁵ off of reality No-good teachers must pay the price!

Perhaps by trampling over shattered pieces of replicants, tomorrow there’ll exist a freedom? Point of no return; the die's long since been cast, you know?

鼓膜に刻まれた喜劇が嗤ってる 裁く脳内

The Comedy⁶ carved in my ears laughs at me so hard it begins to cry: Judged by my own mind!

線を引け 意味を知れば 透けてく 未来の刹那にして 世界は騙しあう 滑稽なグランギニョル 答えのない証明  帳が上がる

Drawing the line Now I know the nature of the beast, it's clear: "The future" will be over in a flash!

Humanity's duplicity is killing me, a Grand Guignol! No-one answers the smoking gun, but the curtains still are rising!

線を引け 意味を知れば 透けてく 未来の刹那にして

Drawing the line Now I know the nature of the beast, it's clear: A moment in the spotlight flies by fast⁷!

剣を抜け 灰とならば 標に 痛みを光にして 世界は 果実を奪い合う グランギニョル 終わりの無い上映 合図が鳴る 答えのない証明  帳が上がる

Draw out your sword If you burn to ash, wear it with pride You take your pain, and turn it into light

We'd wage a war to seize the sweetest fruit; this world's a Grand Guignol!

The signal for this endless screening never stops its ringing! No-one answers the smoking gun, but the curtains still are rising!

¹ I am uncertain if RuLu is making a reference to the bioengineered humanoids in the film, Blade Runner, or if they simply mean to indicate some type of "man-made humanoid" as the object of the sentence.

² The speaker does not indicate how many dice there are, but since the phrase is "die has been cast" in English, I've defaulted to that.

³ There's no proof that this is on purpose, but 光 (hikari, light) and 怒り(ikari, rage) sound very similar to each other, and I think it would be really fucking cool if this were an intentionally chosen semi-homophone that equates a light that is meant to guide you (or a spotlight, if we're staying with the theatre theme) with anger. Your rage will light the way...?

⁴ There is no mention of dirt in the original. However, the verb "蠢く" is often used to refer to crawling (like a worm). Because it is implied the flowers in this "spring" (metaphorical or not) are falling/wilting, I decided to push the imagery of a "rotting spring" as well as allude to the worm component by introducing dirt into the lyrics.

⁵ It is not uncommon for young adults to become disenchanted with reality; my guess is the speaker wants to punish their teachers for feeding into the illusion of a "Springtime of Youth", or the idea that the world is their oyster, especially when it comes to romance. This, however, is just a Game Theory. The more literal translation would be that this spring "exposes reality".

⁶ Referring to a Comedy Show or performance.

⁷ して is generally an indicator of an action ("to do"), but 仕手 (pronounced the same way), can also mean "protagonist" or "main character". Given the consistent theater motifs in this song, I can only surmise that the double-reading is intentional on RuLu's part, and settled on translating the first iteration of this line reading して as "to do", and the second on the assumption that it is meant to read as "仕手". Best of both worlds?

[randomstoryprompts]

The antagonist is from the Theatre du Grand Guignol. https://t.co/2PEbP39Gpl

[marciamattos]

Georges-Antoine Rochegrosse, nascido em Versalhes em 2 de agosto de 1859 e falecido na Argélia em 1938 é um pintor, decorador e ilustrador francês.

Filho de Élise Marie Bourotte (1828-1904) e Jules Jean Baptiste Rochegrosse, que morreu em 1874. Em 1875, sua mãe se casou novamente com o poeta Théodore de Banville, de quem Georges-Antoine se tornou o filho adotivo. Apresentando-o aos artistas, homens de letras que recebeu em sua casa: Baudelaire, Verlaine, Mallarmé, Rimbaud que hospedou em sua casa. Assim como a Victor Hugo, Flaubert

Iniciou a sua formação como pintor com Alfred Dehodencq depois ingressou na Académie Julian nas oficinas de Jules Joseph Lefebvre e Gustave Boulanger, aos 12 anos e terminou os seus estudos nas Beaux-Arts de Paris. Ele subiu ao box duas vezes para a competição Prix de Rome em 1880 e 1881 e fez sua estreia no Salon em 1882, onde conquistou uma medalha. No ano seguinte, obteve uma bolsa para uma viagem de estudos, que lhe permitiu viajar por toda a Europa.

No início de sua carreira, ele praticou pintura histórica e experimentou o simbolismo. Em seguida, ele se volta para o orientalismo ao descobrir a Argélia, onde conhecerá Marie Leblon com quem se casará em 1896. Ela será o amor de sua vida, sua esposa, sua musa e sua modelo. Ele vive e trabalha na casa Cité Chaptal em Paris, que mais tarde abrigou o Théâtre du Grand-Guignol, agora o International Visual Theatre.

Ele descobriu a Argélia em 1894 e se estabeleceu permanentemente com sua esposa em El Biar, nos subúrbios de Argel, em 1900. Todo verão ele viajava para Paris, onde era júri do Salão de artistas franceses. O casal morou inicialmente na Villa des Oliviers 3, depois mudou-se para um pequeno pavilhão. O casal construiu uma villa chamada Djenan Meryem. Eles passam o inverno na Argélia e o verão em Paris. Eles constroem outra casa em Sidi-Ferruch ao longo da praia. Em 1910 mandou criar uma oficina: Dar es Saouar onde recebia os seus alunos

Em 1905, foi professor da famosa Académie Druet, fundada em 1904 pelo pintor Antoine Druet (1857-1921).

Admirado por seus contemporâneos como Théodore de Banville ou Conan Doyle; Membro influente da Sociedade dos Pintores Orientalistas Franceses, membro do júri do Salão dos Artistas Franceses. Ele expôs não apenas em Paris, mas também no Salon des Artistes algériens e presidiu o júri da União Artística do Norte da África de 1925, bem como o Sindicato Profissional dos Artistas Argelinos.

Após a Primeira Guerra Mundial e a morte de sua esposa em 1920, após uma doença contraída no hospital de Argel onde ela era enfermeira, sua pintura tomou um rumo mais pessimista com toques de religiosidade. Ele se casou com sua governanta Antoinette Arnau, voltou para Argel em 1937 e morreu no ano seguinte. Ele será transferido para o cemitério de Montparnasse.

[jamieroxxartist]

I have always been a bit of a scattershot when it comes to what I paint. It works for some, but for me, I have never been a fan of the whole 'Pick a lane' thing when it comes to painting. I like to paint what I want and really what is interesting me on a particular day or time. The prevailing opinion you always hear in school etc, runs along the lines of 'Well, if you pick a style then you can get good at it.' Which I have always responded to with, 'Challenge accepted. Why not get good at A Lot of things?'

The reality is in the old days, a Painter would paint a painting and then hire a gallery to sell it. Now the galleries pay was most times paid to them upon the sale of the painting. Their piece of the pie. Galleries always got paid (and do today.) Most galleries specialized in a particular style of painting offerings to their particular clientele. And that's how it was for hundreds of years.

And then the internet happened and suddenly Painters could market themselves and sell to a global market of collectors. Which is great for someone like me. I can paint what I like. And don't have to 'pick a lane.' I have collectors who dig my abstract paintings, others who dig my transportation paintings, still others who like my Pop Noir paintings etc. And yes even my Horror Pop Paintings, thus:

I have always been interested in the Le Théâtre du Grand-Guignol also known as the Grand Guignol which was a theatre in the Pigalle area of Paris (more info: https://en.wikipedia.org/wiki/Grand_Guignol ) From its opening in 1897 until its closing in 1962, it specialized in naturalistic horror shows. Its name is often used as a general term for graphic, amoral horror entertainment, a genre popular from Elizabethan and Jacobean theater.

I have always found, culturally the power of the scary tale, or the willies of a good ghost story, and it's enduring play in popular culture.

I have always felt that Fear is ingrained into the Human Experience. You know the first Horror awareness was probably some Primitive People somewhere sitting around a fire, and suddenly, gently outside the firelight in the deep dark, a twig snapped.

When US went into it's 2008 economic recession, and my traditional painting sales had slowed. I had to keep busy and the time seemed ripe to turn my eye and brush towards the macabre and spooky.

I really liked the juxtaposition of the dark, spookiness of ghosts and other bump-in-the-night subject matter with the fun, slickness of traditional Pop Glamour. The result were my Horror Pop paintings. It was the start of a whole new market of collectors for me. And it remains still strong for me today.

[mogkiompmovieguide]

La rage du démon, 2016, France

La rage du démon est un mockumentaire sur la recherche d'un étrange et mystérieux film réalisé par Méliès, qui tue d'effroi. En fouillant dans les archives du cinéma d’épouvante du début du XXe siècle, quand les films étaient encore des curiosités, occultes, nouvelles, mystérieuses et magiques. Dans l'espace cinématographique que nous occupons maintenant, beaucoup ont oublié l'émerveillement qu'accompagnait ces premières curiosités. Comme le court-métrage sensationnel de Louis Lumière « L'arrivée du train à la gare de La Ciotat » qui saisissait les spectateurs, au point de sortir du théâtre dans une terreur pure, pensant qu'un véritable train descendait vers eux.

Le documentaire grand guignol ‘La Rage du Démon’ plonge avec un humour un peu lourdingue par moments dans le mystère de l’une des œuvres perdues de George Méliés, réalisateur emblématique et maître des effets visuels notamment célèbre pour son film onirique et envoûtant « Le voyage dans la Lune » (1902). En enquêtant sur un court-métrage éponyme, qui, une fois projeté, aurait conduit le public à la folie avant que ce film maudit ne disparaisse à jamais.

À travers les yeux de véritables historiens, critiques et réalisateurs tels qu'Alexandre Aja, la légende inventée qui entoure ce film se construit lentement. Commençant par un passionné excentrique qui découvre l’œuvre et le projette au cours d’un festival, lors duquel les témoins effrayés sont interviewés et décrivent le sentiment de folie qui les a balayés alors que la foule commençait à se déchaîner.

L'intrigue développée ici est dû en grande partie au fait que le travail de Méliés a été copiée et dupliquée à une époque où le droit d'auteur n’existait pas (Nous pensons à Segundo de Chomón entre autres). En effet Méliés n'a jamais été un homme riche, et bien qu'il fût célèbre à son époque, d'autres cinéastes plagiaient ce que le réalisateur avait créé ; ‘La rage du Démon’ a été réalisé en suivant une narration amusante, laissant imaginer qu’un autre artiste ingénieux et macabre aurait peut-être fabriqué ce film dangereux, tristement réputé.

Non seulement ce documentaire fonctionne comme un reportage sensationnel conçu pour la télévision avec son lot d'intrigue et de surprises, mais il met aussi en évidence les éléments d'horreur inhérents au travail de Georges Méliés en invitant le spectateur à retrouver ses films, en s’engouffrant dans le terrier du lapin.

À l'heure actuelle, ce document dépeint une époque où la magie du cinéma était beaucoup plus effrayante, comme un message venu d'un autre monde.

The demon’s rage is a mockumentary about the search for a strange and mysterious film directed by Méliès, which kills with fright. Searching through the archives of the horror movies of the early twentieth century, when the films were still curiosities, occult, new, mysterious and magical. In the cinematic space we now occupy, many have forgotten the wonder that accompanied these first curiosities. Like the sensational short film by Louis Lumière «The arrival of the train at La Ciotat station» which seized the spectators, to the point of leaving the theatre in pure terror, thinking that a real train was descending towards them.

The great clown documentary ‘La Rage du Démon’ plunges into the mystery of one of the lost works of George Méliés, an emblematic director and master of visual effects who is famous for his dreamlike and enchanting film “The Moon Journey” (1902). By investigating an eponymous short film, which, once screened, would have driven the audience crazy before this cursed film disappeared forever.

Through the eyes of true historians, critics and directors such as Alexandre Aja, the invented legend surrounding this film is slowly being built. Starting with an eccentric enthusiast who discovers the work and projects it at a festival, where frightened witnesses are interviewed and describe the sense of madness that swept them away as the crowd began to rage.

The plot developed here is largely due to the fact that the work of Méliés was copied and duplicated at a time when copyright did not exist (We think of Segundo de Chomón among others). Indeed, Méliés was never a rich man, and although he was famous in his time, other filmmakers plagiarized what the director had created; ‘Demon Rage’ was made by following a funny narrative, Let us imagine that another ingenious and macabre artist might have made this dangerous, infamous film.

Not only does this documentary work like a sensational television report with its share of intrigue and surprises, but it also highlights the elements of horror inherent in the work of Georges Méliés by inviting the viewer to find his films, By going into the rabbit hole.

At present, this document depicts a time when the magic of cinema was much more frightening, as a message from another world.

Le film ICI

[tuntematon-marsalkka]

Brutal and Gruesome: Terrifying Pictures of Grand Guignol, the Notorious Paris Horror Theatre in 1947

Brutal and Gruesome: Terrifying Pictures of Grand Guignol, the Notorious Paris Horror Theatre in 1947

There is a legend about Paris’s gruesome Théâtre du Grand Guignol. One of the most notorious stages of all time, it was the place where playwrights staged horrific tales of violence and revenge under the haunting eaves of a former chapel. During its 65 years in operation, the Grand Guignol staged over a thousand plays to both the shock and delight of its audiences, going down in history as one of…

[the-october-country]

Carlo Farneti

[theficpusher]

The Man Who Saw the Devil by metal_eye | E | 4249 "The Devil was staring at him. "Louis shifted slightly in his seat and scratched the back of his neck, picking up his program and reading the title of the play again: L’homme qui a vu le Diable. "He was wearing a satin red suit, one that certainly stood out amongst the usual greys and blacks of other Paris theatres, and instead of merely appearing the two times that the main character summoned him, this Devil followed the other men around on stage as they spoke and played cards. He kept looking over their shoulders and mocking their awkward movements, jerks and twitches compared to his own lithe prowl. The theatre audience, most readily impressed by gruesome effects and sensationalism, couldn’t take their eyes off him. "Neither could Louis." Paris, 1912. Louis is a frequent patron of the Theatre du Grand Guignol. Harry is a performer. Tonight he's playing the Devil.

beat the darkness by turnyourankle | T | 7754 Harry is a volunteer nurse stationed in Cairo; Louis is one of the patients in his ward.

Withdrawal Was the Weeping by QuickedWeen | E | 11090 Confined by life and society, Harry spends her Sunday afternoons walking aimlessly about the countryside as it's her only source of freedom. One Sunday she is aided by the most beautiful woman she has ever met, but not everything is as it seems. Was it a trick of the light? Was it Harry's own active imagination? There is nothing to do but try to find her again.

The People's Playground by musketrois | T | 17867 It is 1900 in New York City, and Harry Styles has recently immigrated to America from England. His sister encourages him to take a day off from his life as a factory worker and Harry decides to take a trip to the infamous Coney Island where he literally runs into Louis Tomlinson. It looks like Coney Island will be more than Harry bargained for.

fondre ton absence by scrunchyharry | T | 41315 Harry had never really given much thought to the future. He preferred to let life steer him forward and to follow in the footsteps of Louis, his best friend from as far as his memory went, his lover, his everything. Louis knew better than he did what was good for him. It changed drastically when Louis was ripped away from him, drafted and sent to the front to fight in a war that Harry had always been sure would never reach him. Too young and too sickly to follow, Harry was left on his own for the first time in his life. When he thought things could not possibly get worse, Louis went missing at the Somme and was declared dead. While everyone buried and mourned him, Harry never moved on. If Louis were dead, he was sure that he would know it. Their lives were too entwined, he would know if half of his heart had died. Determined to find Louis, Harry did everything he could in his quest to be reunited with him, except prepare for the state Louis might be in. He did not prepare for the harsh truth he would have to face: was love possible without memories?

No Hold to Hold Onto by kingsofeverything | E | 47913 Injured after being thrown from a bronc, Harry doesn’t know if he’ll ever compete again. His only hope is a man called Tommo, a world champion rider who retired at the top of his game. When Harry goes looking for help learning a new way to rope and ride, the last thing he expects to find is love.

Glitter in the sky, glitter in our eyes by softfonds | E | 59200 What happens when a Duke who will only marry for love and a courtesan who only sells it create a public ruse? Well, nothing boring for sure. An Edwardian AU.

Paint The Sky With Stars by kiwikero | M | 62870 On 10 April 1912, Harry Styles boards the finest ship the world has ever seen. Still grieving the death of their mother, he and his sister are being sent to America to live with a callous uncle who cares more about his business connections than family. Harry prepares himself for a long, disappointing voyage alone in his stateroom. Louis Tomlinson has borrowed and saved, and finally has enough to purchase a Third Class ticket to America. With all of his belongings in a single ruck sack, he boards the Titanic filled with hope for a brighter future. Never one to sit still, he can’t resist exploring the massive ship, and soon goes sneaking into First Class in a stolen steward’s uniform. By a twist of fate, Louis finds himself in Harry’s stateroom, entranced by the most attractive man he’s ever laid eyes on. He keeps returning day after day, even if he doesn’t understand what it is about Harry that continues pulling him in. That’s all right; Louis has a week to figure it out, and Harry is plenty willing to help. Except they don’t have a week. They have four days. Because on 15 April, their entire world will be turned upside down. Or, the historically accurate Titanic AU with a happy ending.

Such Good Luck by casuallyhl | E | 66205 Louis smiles at Harry’s words, leaning into his touch. “Tell me again.” Smiling, Harry takes Louis into his arms. Pressing gentle kisses to his face, Harry murmurs, “In six months’ time, I will have my twenty-fifth birthday. On that day, my portion of the inheritance will become legally mine. And I plan that very day to announce to my family that I have found love.” Harry chuckles as he runs his lips lightly along Louis’ cheekbone. “That, in fact, I found love when I was twenty-one years old, and that I have loved and been loved every day since.” Or, an Edwardian AU where Harry is a young aristocratic lord and Louis is a working class dairy farmer. Secrets are a necessary part of their relationship, but Louis has one that could topple their whole world.

[karamatsov]

btw if anyone was curious about the hesowars halloween vampire set (i know I'm late to this lolol)

It's referencing the 1930s-40s French Théâtre du Grand-Guignol (or 'Theatre of the Great Puppet'), which was this theatre in Paris that's famous for these short horror plays, potentially an early version of modern splatter horror films

Most of the short plays had a very loose plot and generally some kind of staged horrific death or torture using special effects, around 150 of them written by the same guy; André de Lorde

some of the plays have been referenced directly in this set!

this is an insanely niche thing to base an anime mobile game set off but respect I guess