#Three Blanch

[eulaliasims]

Okaaaaay, we're back to normal posts for the singular graduation party (because I simply don't have the attention span to play one for every household). Jayne gets the honor, and he's so excited that he didn't even put his phone away before changing into his cap and gown.

Lily: I can't believe we're sitting here, graduated, and we're both engaged! It's so exciting!

Rosalind: Oh yeah, definitely. By the way, do you and Arthur have an open re--

Lily: Ooh, hang on, that's my phone, it's probably my dad calling!

It's a Blanch heavy party--sorry, Lily. 😭 I'll have her family take her out to dinner to celebrate later.

[eeblouissant]

I can’t be bothered to finish these properly so here you go :’)

[friendlessghoul]

Buster Keaton and Blanche Payson Three Ages - 1923

[undead-knick-knack]

I saw this image and this is all I could think of

[tennessoui]

MR AND MR SITH I LOVE IT!!!😭😭😭

I’m just picturing them doing the Angelina and Brad pose and it’s sending me

ok i was thinking about this au this morning so here is 1.1k of a writing warm up set in the mr and mr sith au where the jedi have captured master skywalker to take him home (they think he's been held hostage this entire time), but they accidentally pick up sith obi-wan instead and no one is prepared........

(1.1k)

Ena frowns down at Jedi Master Anakin Skywalker, a bad feeling sprouting in her chest. This all feels wrong, but it isn’t. She knows it isn’t.

“He really fought back?” she asks Mal as soon as he enters the room. “But you told him we were Jedi, right? That we came to rescue him? That he was safe?”

Mal puts his hand on her shoulder. The touch is supposed to be comforting, but Ena isn’t sure how much she wants comfort right now. “I did,” he swears. “But he’s been held captive by the Sith for so long, Ena, who knows what they’ve done to his mind?” “He doesn’t…he doesn’t look tortured,” Ena says, looking over Master Skywalker’s bound figure. They’d had to physically tie him down with rope and chain once they’d subdued him, apparently. Apart from the livid bruise along his cheekbone, he appears uninjured. His hair—auburn and rather short—falls messily over his face.

“You and I both know that sometimes the deepest scars are ones we cannot see,” Mal tells her, squeezing her shoulder once.

“And the child?” Ena asks. “Has the med droid finished looking him over?” “Healthy,” Senaka reports as she comes into the room, montrals twitching at the change of Force, a heaviness in the air that they know comes from their captive even though they’re not sure why. “Five standard years of age, I believe, with a ridiculously high midichlorian count. He’ll be waking up within the hour, I’m sure.”

“Master Skywalker has clearly bonded with the boy,” Mal reports, hand rising to tug at a padawan braid that’s no longer there. “It was only when we separated them that he stopped fighting us. He didn’t even notice Senaka had a force collar until it was already on his neck.”

Ena feels a headache brewing behind her eyes. She knows what they’ve done is the right thing.

It doesn’t feel right though.

To tie a venerated, traumatized man to a chair, to win a fight against him by subduing a child…but they had had no other option. 

After six years of no information, the Jedi Council had finally caught a whisper about Jedi Master Anakin Skywalker’s location. Four Jedi Knights had been dispatched to follow this rumor to its bitter end, to track down Master Skywalker, rescue him from the clutches of the Sith who stole him away so long ago, and bring him home.

Their informant had confirmed that a man with yellow eyes was often seen on the same planet, in the same city. So they’d had to move fast.

And when Master Skywalker had not been receptive…when he’d killed Knight Avas…Ena knows they’d been forced into making a decision that felt wrong but must be right.

Mal squeezes her shoulder once, opening his mouth to say something. Before he can, Master Skywalker shifts slightly in his chair before he freezes completely. Awake.

His eyes flash open a second later, pale blue glowering right into Ena’s soul. “Where is he?” he spits, words spoken in an unexpectedly Coruscanti accent. “What have you done with him?”

“Master Skywalker,” Ena says, holding out a hand to try and soothe the fury thrashing in the man’s eyes. He snarls the moment she comes too close. “The boy is fine. I swear it, you know the Jedi would never hurt a child. We won’t hurt you either. It’s over. You’re safe.”

Master Skywalker rears back as much as he can in his current position. “I want to see him,” he commands. “Bring him to me.”

“We can’t do that,” Senaka shakes her head slowly. “You’re…volatile, Master. You could hurt him.”

“You will let me see my child,” Master Skywalker snaps, voice seeping with danger. “I—”

It is the patter of little feet that interrupts him now, and the three Jedi turn around immediately. Not before there’s a blur of movement from the door and the boy careens between their legs, running to throw himself onto Master Skywalker’s lap.

Though the man’s arms are bound tightly behind him, Ena can see the way he automatically tries to hold the boy, shoulders jerking forward before he sinks back with a snarl of frustration.

“Papa!” the boy is saying over and over again, rubbing over the Jedi Master like an affectionate tooka cat. “I can’t feel you! Papa, why are you gone?”

“I’m here, Luke, it’s alright. We’re alright,” Master Skywalker murmurs, voice becoming impossibly softer as he leans far enough down so that he can tap their foreheads together.

“Master Skywalker, we mean you no harm,” Ena tries to say, taking another step forward. Senaka is right. Master Skywalker killed a Jedi only a few hours ago. He’s unstable. He’s dangerous. 

“I don’t know who that is,” the man snaps as the child—his child?—hides his face in his neck. “Release me at once. I have no ties to the Jedi Order.”

“What?” Mal looks shocked then shaken. Ena understands. None of them ever knew Master Skywalker, but everyone in the Temple had heard of him. He was legendary. A perfect Jedi. To hear that he doesn’t even recognize his name…it shakes Ena to her core. “No—you—you are Master Skywalker. Do you—Anakin. That’s your name. Anakin Skywalker. You’ve been missing for six years. You were kidnapped by the Sith on an undercover mission to Nyrel. We never stopped looking for you.”

The man in front of them freezes again, face expressionless as the seconds tick on. Slowly, a red eyebrow arches its way up his forehead. “Oh,” he says like he’s suddenly realized a great mystery of the universe. “Oh, I see.”

The child on his lap tugs at the front of his robes before deciding to tug at the bristles of his beard instead. “Papa,” Luke says in that way children do when they are demanding attention. “I can feel Daddy though. He’s not feeling good.”

Skywalker’s nostrils flare at this, and he cuts his eyes from the far wall down to the boy and then up to Ena. “Did you hurt him?” he demands, voice like ice. “When you captured me. Did you hurt him?”

“The boy? No—you can see, he’s fine—”

“A man,” Skywalker shakes his head. “Golden hair. Blue eyes. Tall.”

“No, papa,” Luke tugs at Skywalker’s beard again. “No. He’s okay. But he’s not feeling good things.”

Skywalker’s attention is fully on his child. “What do you mean, Luke?” he asks, voice gentle and coaxing.

“Angry,” Luke says. “Daddy is angry and close.”

For some reason this makes Master Skywalker smile, lines around his eyes crinkling with the force of his joy. “That’s very good then, Luke Love. Do you know why?”

Ena feels Mal shift next to her, unease growing in the air around them as Master Skywalker turns his face up to them. “Why?” Luke asks.

“Because our friends here really want to meet your daddy,” he says. “And I think your daddy’s going to be absolutely charmed.”

[winterdaphne2]

Musings on Johnlock and Moftisson's Use of Dialogue from ACD Canon

I recently finished rereading the original ACD Sherlock Holmes stories, and I had a lot of fun spotting places where the BBC Sherlock writers lifted dialogue directly from the original canon and incorporated it into the show. For example, this exchange between Sherlock and Moriarty during the pool scene in TGG…

Moriarty: I would try to convince you, but everything I have to say has already crossed your mind. Sherlock: Probably my answer has crossed yours.

…comes from Holmes and Moriarty’s first meeting in “The Adventure of the Final Problem,” with only very slight modifications.

Moriarty: All that I have to say has already crossed your mind. Holmes: Then possibly my answer has crossed yours.

Another one of my favorites might be when Sherlock says “Sorry, I never could resist a touch of drama” to Mary in the Leinster Gardens scene in HLV. This line comes from “The Adventure of the Naval Treaty,” where Holmes shocks his client by revealing the missing treaty from under a serving dish and then says “…Watson here will tell you that I never can resist a touch of the dramatic.” (The Sherlock writers liked this one so much that they gave it a callback in TAB. In the church scene, Sherlock strikes a gong to catch the women’s attention and then says “Sorry, I could never resist a gong, or a touch of the dramatic.”)

There are lots of other examples!

What really caught my eye during my reread, though, were places where it seemed like the show writers lifted lines from the ACD stories, but then changed them in some way or incorporated them into the show in ways that changed their meanings or significance. I think there are a few places where they did this and perhaps made the dialogue more…Johnlocky.

There are four passages in particular that I’m thinking about. I would love to hear your thoughts on these!

 “Oscillation on the pavement always means there’s a love affair.” In TSOT, Sherlock says this to John as John looks out the window of the 221B sitting room and watches a potential client trying to make up her mind about whether to come in.

Sherlock: She’s a client. She’s boring. I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.

This comes from the ACD story “A Case of Identity”:

Holmes: “I have seen those symptoms before. Oscillation upon the pavement always means an affaire de cœur.”

The literal situation in the original story is very similar; Holmes is looking out the window of the sitting room and watching a potential client try to make up her mind about whether to come in. In the show, however, this line is much more significant than just an observation about a client. As many of us have recognized, in the show there’s some very important subtext going on because this is a reference to John’s oscillation on the pavement in TEH, when John came to visit Sherlock after their disastrous reunion but hesitated outside the door.

(gifs from @afishlearningpoetry, here)

So in the show, because the writers also included John’s oscillation on the pavement in the previous episode, this line becomes much more important. The text of the line itself is pretty much the same as in the original story and appears in a very similar immediate context, but the show writers changed the broader context to modify its meaning and significance. Now it’s about Sherlock and John and full of Johnlock subtext.

I also think the fact that we’re talking about a love affair is significant. This tells us that John feels torn between Mary and Sherlock after Sherlock’s return in TEH and he’s not really sure what to do about it. I wonder if this might be a clue that John was already thinking about cheating on Mary with Sherlock in TEH—we saw that he was prepared to do this a few months later during the stag night in TSOT. Read another way, perhaps the reference to an “affair” here indicates that John is already cheating on Sherlock by being with Mary, because the real love story in this show is always the one between Sherlock and John. Just a thought.

When they lifted this line from “A Case of Identity,” the show writers also changed the French phrase “affaire de cœur” to the English phrase “love affair.” I’m not a French speaker, but I think “affaire de cœur” might have the same meaning in French that “love affair” has in English—it’s not just referring to an “affair of the heart,” as in something to do with love, but to an actual affair. But please, if there are any French speakers reading this, I would love to hear what you think! If this phrase does have a different connotation in French, that could be really interesting.

“…he has many fine qualities of his own that he has overlooked in his obsession with me.” There are at least two lines from Sherlock’s best man speech that seem to have been inspired by the original stories, but changed slightly. Here’s the first one.

Sherlock: If I burden myself with a little help-mate during my adventures, it is not out of sentiment or caprice—it is that he has many fine qualities of his own that he has overlooked in his obsession with me.

This comes from “The Adventure of the Blanched Soldier,” one of only two stories in the original canon narrated by Holmes instead of Watson. In the original story, Holmes writes this:

Holmes: Speaking of my old friend and biographer, I would take this opportunity to remark that if I burden myself with a companion in my various little inquiries it is not done out of sentiment or caprice, but it is that Watson has some remarkable characteristics of his own, to which in his modesty he has given small attention amid his exaggerated estimates of my own performances.

Sherlock’s line in TSOT is a bit harsher towards John than what Holmes writes in the original story, but it comes in the section of the speech where Sherlock is purposely trying to make himself look like a jerk. Sherlock is deliberately self-deprecating right after this, explaining that “…if I didn’t understand I was being asked to be best man, it is because I never expected to be anybody’s best friend. Certainly not the best friend of the bravest and kindest and wisest human being I have ever had the good fortune of knowing.” So perhaps we shouldn’t take Sherlock too seriously when reading this line in particular.

Even so, it seems notable to me that the show writers changed the end of the quote and specifically chose to have Sherlock use the word “obsession” to describe John’s attitude towards him. That word isn’t in the passage from the ACD story, so I feel like the writers must have put it there for a reason. To me, “obsession” feels like much stronger language that what Holmes wrote and is more suggestive of love or infatuation than of a platonic relationship.

Moreover, I wonder if Sherlock’s use of the word “obsession” here is also meant to give us a clue as to how Sherlock sees John’s feelings towards him at this point in the narrative. Personally, I think Sherlock has known or suspected that John is in love with him ever since he overheard John and Irene’s conversation at Battersea in ASIB. But I also think that by the time we get to S3 (and especially to HLV) Sherlock and John have both come to believe that their love for each other is destructive and dangerous. (I could write a much longer meta about this, and might do so at some point.) So to me, perhaps Moftisson using the word “obsession” here is meant to indicate that Sherlock believes John’s love for him is unhealthy, or that John doesn’t see him clearly. It’s a very sad thought. But then again, I might be reading too much into this, because after all, this is the part of the speech that Sherlock later tells us to dismiss by revealing that he purposely meant to make himself look bad here.

Although actually that’s still pretty sad, because Sherlock is basically saying that he doesn’t deserve John. So I guess either way, Moftisson took what was actually a pretty sweet and complementary thing that Holmes said about Watson in the original canon and made it part of the evidence that Sherlock is feeling quite down on himself by this point in the narrative of the show.

“…but then, you know, he’s a romantic.” In the best man speech, we also get this line from Sherlock when he’s talking about John’s blog and how John writes up their cases.

Sherlock: Of course, he does tend to romanticize things a bit, but then, you know, he’s a romantic.

In the original ACD stories, Holmes often critiques Watson’s writing style and how he presents their cases in his stories for the Strand and other magazines. One of the first instances of this takes place in The Sign of Four, where Holmes critiques Watson’s write-up of A Study in Scarlet.

Holmes: I glanced over it. Honestly, I cannot congratulate you upon it. Detection is, or ought to be, an exact science, and should be treated in the same cold and unemotional manner. You have attempted to tinge it with romanticism, which produces much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid. Watson: But the romance was there. I could not tamper with the facts. Holmes: Some facts should be suppressed, or, at least, a just sense of proportion should be observed in treating them. The only point in the case which deserved mention was the curious analytical reasoning from effects to causes, by which I succeeded in unravelling it. Watson [narrating to the reader]: I was annoyed at this criticism of a work which had been specially designed to please him. I confess, too, that I was irritated by the egotism which seemed to demand that every line of my pamphlet should be devoted to his own special doings.

We could probably have a whole separate conversation about the queer subtext in this passage, but I’ll try to stick to the aspects of this that I think are particularly relevant here. First, Holmes specifically uses the word “romanticism,” basically saying what Sherlock said in the show when he said that John tends to “romanticize” their cases. So this is pretty similar! But what I think is different is that in the passage from The Sign of Four, Holmes is criticizing Watson’s writing in a negative fashion, is actively pointing out areas for improvement, and seems a bit peeved, or at least not wholly impressed. Watson certainly takes it that way, since he writes that he was “annoyed at this criticism of a work which had been specially designed to please him.”

In contrast, Moftisson softened Sherlock’s comments significantly for the best man speech. He’s not actually picking a bone with John like Holmes is in the original canon. Sherlock is still saying that John is “a romantic” who “romanticizes” their cases together, but he doesn’t mean it in a bad way!

(gif from thejohnlocked, here)

And now here’s the sad part, because this is BBC Sherlock, after all. When Sherlock says this, his voice drops in pitch a bit and sounds sadder, more subdued. He also looks down, avoiding eye contact with John. So the way this line appears in the show, it’s about Sherlock acknowledging that John is a romantic in the context of John marrying someone else. Sherlock knows that side of John isn’t directed solely or mostly at him anymore.

“Your life is not your own. Keep your hands off it.” In TLD, Sherlock says this to Faith after he realizes that she’s seriously thinking about committing suicide.

Sherlock: “Taking your own life.” Interesting expression. Taking it from who? Oh, once it’s over, it’s not you who’ll miss it. Your own death is something that happens to everybody else. Your life is not your own. Keep your hands off it.

This comes from “The Adventure of the Veiled Lodger,” where Holmes also encounters a woman who has a plan to commit suicide and talks her out of it. Moffat wrote TLD, and he took these two sentences in particular straight from the original story with no wording changes:

Holmes: Your life is not your own. Keep your hands off it.

There’s not much that I like about S4, but I do think this is one place where the writers actually improved on a line from the original canon and used it very effectively in the show. In this scene from TLD, it’s so clear that Sherlock is talking about his own fake suicide. His small speech to Faith demonstrates that he feels deep, genuine regret over his actions on the rooftop that day because of what his fake death did to John.

In the original canon, “The Veiled Lodger” is set in 1896 (see here), so it takes place after Holmes’s fake death at the Reichenbach Falls in 1891 and his return to London in 1894. The dialogue that surrounds the two sentences that Moffat pulled is more about the minor character than about Holmes, though, so although it’s possible that Holmes was thinking of his own fake death when he said them, it’s not as obvious as it is in the show.

In TLD, Sherlock first says “Your life is not your own. Keep your hands off it,” to Faith as she’s leaving 221B, similarly to how Holmes says this to the minor character at the end of their interview in “The Veiled Lodger.” But Moffat decided to have Sherlock say these lines again later on when they’re by the water, and in that scene he added this part to Sherlock’s dialogue, which isn’t in the original story and makes it clear what Sherlock is really talking about:

Sherlock: “Taking your own life.” Interesting expression. Taking it from who? Oh, once it’s over, it’s not you who’ll miss it. Your own death is something that happens to everybody else.

If we accept S4 as the official ending of the show, then Sherlock’s fake suicide in TRF is the crucial turning point in Sherlock and John’s love story. It is the terrible event that they are never able to recover from, and it sets in motion all of the pain that follows after. (This is also something I could write a much longer meta about.) So having Sherlock express such deep regret over it in TLD was actually a very powerful move on Moffat’s part. So yeah, that’s at least one good writing choice in S4. (*Screams*)

Anyway, this is what’s been on my mind recently, and I would love to hear what you think in the reblogs and replies! Thank you for reading 😊

[wendyius666]

A list of movies/shows based on the 'Snow white' fairytale! Part 1

(I haven't seen all the movies/shows so i apologize in advance if there is something inappropriate)

Snow White and the Huntsman (2012)

Snow White (1987)

Schneewittchen (1961)

Snow White (1995)

Snow White: The Fairest of Them All (2001)

Snow White: A Tale of Terror (1997)

Snow White and the Seven Dwarfs (1937)

Snow White (1990)

Happily Ever After (1989)

Blanche Neige (2009)

Snow White (1916)

Grimm's Snow White (2012)

Snow White: The Mysterious Father (2015)

Snow White and the Three Stooges (1961)

Schneewittchen und die sieben Zwerge (1955)

Mirror Mirror (2012)

I sette nani alla riscossa (1951)

Skazka o myortvoy tsarevne i o semi bogatyryakh (1951)

The Wonderful World of the Brothers Grimm (1962)

Osenniye kolokola (1979)

The Charmings (1987–1988)

The Magic Riddle (1991)

Schneewittchen und das Geheimnis der Zwerge (1992)

The Legend of Snow White (1994–1995)

Willa: An American Snow White (1998)

In Dreams (1999)

The 10th Kingdom (2000)

Pretear (2001–2003)

7 Zwerge (2004)

7 Zwerge - Der Wald ist nicht genug (2006)

[teddy06]

Random Polish!Ice brainrot

Ice who grows up making Pierogi following a recipe card hand written by his great grandmother that makes enough to feed a small army

Ice who after joining the Navy doesn't have the time/money/even enough people to eat all of those pierogi so he learns to pare down the recipe to be just a few servings worth, and enlisting Slider in the long tedious cooking process.

Ice who, after he and Mav take in Bradley, makes the same pared down recipe, and teaches little Bradley how to fill and seal each Pierogi perfectly, (meanwhile mav still struggles to get it right and produces lumpy results)

Ice who makes pierogi again for roosters first dinner back at home after everything, and when roo gets there early (bc he is his fathers son) he's immediately pulled back into the assembly line they'd established so long ago

Ice who realizes that now that the daggers are also practically his kids that he can make the whole recipe again, without cutting it down. Ice who puts all the daggers through a mini pierogi making bootcamp so that they all can help out.

(It turns out that Rooster, Bob, Harvard, Coyote, Halo and Omaha master filling and sealing really easily, so their left doing that while Phoenix, Fritz, and Yale roll out dough and cut out disks of it. Fanboys pierogi are still a little misshapen but he's determined to get it right. Payback takes trays of finished pierogi back to where Ice stands in front of the stove top, ready to blanch them.)

(Hangman and Mav sit out, Hangman because "really pops it's too many cooks in the kitchen, I won't be much help" and Mav because "I was on active duty in the pierogi wars for how many years now? I am officially retired now that the reinforcements are here) (they sneak into the kitchen after dinner and bake a pretty mean dessert, so they're still contributing)

[hecatesbroom]

Me, posting two fics in the same month? You better believe it! I saw @eeblouissant's adorable artwork of Blanche kissing Rose's cheek (with Dorothy enviously standing to the side) and I couldn't not write something inspired by it. So here it is!

Summary

When Blanche kisses Rose’s cheek, Dorothy tries not to think of how it makes her feel — and fails spectacularly. The scene plays inside Dorothy's mind, has done so for the better part of today, when all she wishes is to forget. For what must be the hundredth time, she fails miserably trying not to think about how Blanche moved towards Rose. How Rose leaned into Blanche’s gesture, clasping her hands in front of her chest to receive Blanche’s kiss in a way that looked so natural, Dorothy’s sure now (even more sure than she had been this afternoon) they’d kissed like that before. It was a sickeningly sweet image, with an air of those old Hollywood films. Chaste kisses in black and white displayed on a gigantic cinema canvas for all to see – the only difference being that Dorothy had been the only audience member this afternoon, in their very own kitchen. She’d wanted nothing more than to grab the then-freshly made cheesecake from the counter and dump it over their soppy, sentimental heads.

[the-eclectic-wonderer]

For the character asks, Blanche. Questions 8, 10 & 12 😊

hiii friend!! thank you for the questions!! <3

8. What's something the fandom does when it comes to this character that you despise?

Oh wow. This is a dangerous question, haha!

‘Despise' is a pretty strong word. I feel like the one thing I really can't stand is character assassination (although this is true for every character I like, to be honest). I'm not the authority on what makes Blanche Blanche, of course, but I have seen a few instances when it felt like people only saw the superficial parts of her and forgot about everything else, you know what I mean? Thankfully that's pretty rare around these parts though :)

There's one thing that's more specifically Blanche-related that's a pet-peeve of mine, and it’s the accent thing. I don't really like it when accents are explicitly written down in fanfic, and since Blanche is the one with the strongest accent in the cast, this happens to her sometimes. I just want to point out that this is not wrong per se, it's just a me thing! I prefer to 'hear’ the accent in my mind while I read — if I have to stop and parse the meaning of a sentence mid-action, it's harder for me to fully immerse myself in the story. I don't mind the occasional truncation of a 'g' at the end of a verb, or the odd 'y'all' in a phrase, but if every sentence is written like that it does get a bit hard for me 😅 once again though, this is just my personal preference, and I definitely don't despise the practice.

10. Could you be best friends with this character?

I'm actually not sure how to answer this! If we didn't know each other at all, I think we'd need to be in a situation where we have to spend some time together in order to become friends (like, idk, working together or something like that). We don't share lots of interests (appreciation for art aside), and her passion for men would definitely throw me off at the beginning, so I'd need a reason to spend time with her to get to know her! But we are more similar than we seem, so once I did get to know her better, I'd love to be her friend :) we'd probably drive each other crazy on some things, but I need someone to get me out of my comfort zone at times, and she'd probably benefit from having a more 'grounded' friend, in the same way she benefits from having Dorothy as a friend.

... of course, this is all assuming that she'd want to be my friend in the first place, which is not a given 😂 I'm probably not interesting or fun enough to convince her to give me a chance, but a gal can dream, you know?

12. What's a headcanon you have for this character?

Just one? :')

I've said it before on here, but I headcanon that she's a cover hog. It just makes sense to me! And, still related to sleep, I feel like this is basically canon, but she's a night owl. She's more active during the night, she sleeps in, and it takes her a while to wake up in the mornings.

She actually is knowledgeable about art -- but not necessarily about artists! I think she likely doesn't have a lot of formal education about art (and especially art history), and even if she did study anything related to it she doesn't strike me as an exceptional student overall, but she has a natural instinct for visual beauty -- she's great at things like recognizing which paintings were made with similar techniques or within the same artistic current, distinguishing the traits and characteristics of painters, identifying specific shades of colour, this kind of stuff. Show her a painting and she'll correctly tell you that it's a Van Gogh, how he painted it, the precise shades of colour he chose and why he chose them -- but she also doesn't know that he cut off his ear, you know?

She was a bit of a reckless driver, especially in her youth -- the kind who likes to hit the gas just a tad too much, who plays the music just a tad too loud. She likes acting larger than life, she likes having fun, and she likes attention, so this feels appropriate for her. I figure it probably wasn't noticeable because she rarely drove herself (she always had a gentleman at her side to drive her around), but she never really grew out of that particular trait -- until George's death. After that, I think any imprudence behind the wheel would evoke his accident in her mind, so by the time the Girls met her she had turned into a very conscientious driver.

Thank you, these were so much fun to answer!! I love love love talking about Blanche <3

[CHARA CTER ASK GAME!!! 💫]

[thedevilsruby]

*The leaders meeting Giovanni*

Candela: My fire gives me courage to beat you!

Blanche: I will calculate your every move to beat you.

Spark: I WILL FUCKING DESTROY YOUR BLOODLINE, YOU FUCKING BITCH! AAAAAHHHH

[eulaliasims]

Finally, a Sim tradition that Syx approves of!

The rest of the family is less enthused.

[breaddippedinorangejuice]

𖠂Self/Page introduction𖠂

Greetings,stranger! You've just landed in

Planet RÖT2001: 𒈔Blanche𒈔

Greetings strangers! I'm Blanche('-'*)♪

here I rant, write fanfic, nd just do any shit really. I'm a 3 child raccoons inside an adult body. . .

safe travels!

[mdshh]

Last baby of the first generation is a teen 🤧

[busterkeatonsociety]

This Day in Buster…February 8, 1924

The La Crosse Tribune prints this photo of Buster Keaton and 6ft 2 cavewoman Blanche Payson from “Three Ages,” describing the movie as: “a devastating burlesque on life and love, marriage and business.”

[heartofstanding]

hate my brain is like "haha what if i buy this book of german essays so i can painstakingly photograph the article about Blanche of England and run it through google translate so i can cry over a shitty AI translation about bb Blanche in my spare time"?