#harmony and horror revival

[divnydoodles]

Some Arthur practice + Revival doodle

[cherrychan-0110]

Insane Posting

[pringledraws]

Do I write Frankie lore.?.. Write it..write..RAWWWHHH...fine >:(

Frankie Keiths ||Harmony & Horror: Revival AU.

Past

In 1985 before the Greywhinders death! Frankie Keiths was a babysitter for the Greywhinder children! (He was 15 at the time!) The reason he wasn't killed during Martin's lil murder spree is that he wasn't there he was far from it for personal reasons and also he was at college as well, so when he didn't know the murders at that time.

The Arcadia time

Frankie Keiths is the only human security guard for choices that "Arthur" made, he was unaware of the puppets he was going to work with though. "Arthur" basically throws him in there without any training or whatsoever. Frankie tries his best at his job, he is notoriously known for sneaking in the ice cream parlor and eating the ice cream, that's how he met his friend Viven Beaut! Mostly their relationship is mutual more like siblings hehe. Vi introduced Commander Henry to Frankie when hanging out, he was a little creeped out when meeting Commander but tried to shake it off the nagging fear.

I'm too lazy right now to continue..eh.. Divny can save me or something.

Personality:

He is Goofy, Loyal, and banned from eating plastic straws.

Looks (idk some people put this):

A very androgynous face, long ginger hair, dark brown eyes, birth marks on both sides of his cheeks making him look like he has cat whiskers.

Yea I am done 🥲

Art by @divnydoodles n @cringey-tea (love ya guys)

Lego break sounds*

[cringey-tea]

Harmony and Horror; REVIVAL!!

Brewed up by; @cringey-tea @cherrychan-0110 @divnydoodles @chrismangaming @pringledraws @oddballinonyamama @bewilderedsblog @moon_silkyx.x.x @l0nelyappariti0n

It's a fun Au made by a bunch of pals and roleplayers. Of what goes down in the new and improved Arcadia! I hope we'll be better at explaining it in the future.

[nancyx5601x]

[nevaehdavis5675]

Im Taking Parent Headcanon request

fandom that I can do :

The Mandela Catalogue

Fnaf ( including the books)

Bendy and the ink machine ( including Bendy and the dark revival incuding the books )

The walten files

South park

Little Nightmares ( 1 + 2 including the comics)

Harmony and horror

What I can do :

Y/N as a baby

Them Reacting to ( whatever you want example: you giving them a drawing or whatever)

Y/N as a child

Y/N as a teen

Comfort ( whatever you requested)

What I can't do :

A*use

I*cst

( anything inappropriate)

Ok thats it tell me what character you want me to do a parent Headcanon I'm bored and I have nothing else better to do

[farity]

Sorrow, part 6

"You cannot mean that, Aemond."

Alicent looked at her son, then at her father, looking for answers from either of them.

"Aemond!" she snapped.

Otto Hightower, Hand of the King, sat back, engaged in a staring contest with the one who had so far been his favorite grandson. He glanced at the young woman sitting next to him, whose eyes were firmly planted on the hands she clutched together.

"Mother," Aemond finally said, breaking the tension, "I have made my choice, and she sits next to me. She is my wife and she will remain so until the Stranger takes us. And yes," he added, "I mean it. Should either of you make further attempts to destroy my marriage, I will leave, with my wife, and with Vhagar."

He noticed his grandsire's jaw twitch.

"I'm sure the loss might tip the scales on behalf of my whore of a sister."

Alicent stood then, "have you forgotten your duty, Aemond? Where is your devotion to your family, where is your loyalty?"

Aemond lunged to place his hands on his grandfather's desk, towering over his mother. "When have loyalty and duty ever served me?" he raged.

Elyse clasped her hands tighter, Otto saw, her pale knuckles almost white.

"I've been loyal, and dutiful, all my life. Did it get me justice when that bastard took my eye? Did it get me an ounce of affection from my father?"

Alicent let out a slow breath, and had no answer to give.

"Here is my line," Aemond added, "and should you cross it, you know what I will do."

He turned to Elyse and placed a hand out. She looked up at him and placed her own smaller one on his, and he led her out of Otto's study.

* * * * *

"I do not wish to cause any strife."

"It is not you who is causing it."

"Oh, sister!"

Elyse turned at the sound of Helaena's voice, and sank into a curtsy. "Your Grace."

Aemond kissed his sister's cheek and Helaena then reached out to embrace his wife.

"I was wondering if you would sit with us in the gardens. The baby sleeps and I thought to have the children play outside."

"I would love that," Elyse said shyly, "if that is agreeable to you, husband."

Frankly, he'd much rather take her back to their rooms and kiss her some more, but he saw the small smile on her face and nodded. "Of course, I will find you later," he replied, placing a kiss on her temple.

He watched as Helaena linked arms with Elyse and led her toward the gardens, wondering if someday there might be harmony amongst them all, then turned to find a smirking Aegon looking at him.

"Well, well."

Aemond rolled his eye before bowing to his brother. "Your Grace," he said, smirking.

"Is this your way of doing penance for killing that little fuck?"

Aemond started to walk past his brother, but Aegon grabbed his arm.

"It is no penance, brother."

"Tell me, was she doing something so very interesting in her chapel that she intrigued you so? I hear she was on her knees."

"Did you not hear what she said to our gracious guests?" Aemond shook off Aegon's hand. "Or did your gossipmongering not include that horror story?"

Aegon stared after him as Aemond walked away.

* * * * *

Two hours later, Aemond was heading to the gardens, when he heard someone laughing.

He knew it wasn't Helaena, nor any of the nurses that helped with the children, and when he turned the corner to walk into the garden itself, he stopped, frozen.

Elyse was holding baby Maelor, who was busily placing drooly kisses all over her jaw, giggling and kicking his fat little legs while Elyse laughed.

He had not heard her laugh before, not seen her smile like that, and the knowledge that she would never hold a child of her own with such joy broke something inside him. If he could revive her late husband just to kill him again with his bare hands, he would do it gladly.

He watched Helaena toss her a clean cloth and Elyse wiped her jaw off, still laughing, and then she turned to find him looking at her.

Her smile froze in place, but then it started to rain, so softly at first that she didn't notice it because she was still looking at him, and then it began to rain in earnest and she looked up and laughed again before running to him as Helaena rushed her children inside.

"Come," she said, tugging at his hand.

He let her pull him out into the open, charmed by her laugh and her joy, and watched her close her eyes and feel the drops falling on her face.

"It's lovely, isn't it? It hasn't rained in so long," she murmured, eyes still closed, and Aemond, who embodied calm and restraint in most things, simply reached out and pulled her in, his hands cradling her face so he could kiss her under the rain.

He felt her smile against his lips, felt her gentle touch as she wrapped her arms around his waist and kissed him back.

Overlooking the gardens, Alicent watched the two young people for a moment before heading back to her rooms.

* * * * *

The raven arrived the next morning, with a declaration of war.

"I will return as soon as I can," he told her as he readied himself. It was the last thing he wanted to do, to leave Elyse still unsettled, but if he didn't go, who knew what Aegon might do.

It was Rhaenys, the old bitch who had nearly incinerated them all at Aegon's coronation, the self-righteous hag who had murdered hundreds of people when she emerged from beneath the boards of the dragon pit.

"Of course," she said, giving him a small smile.

"You should sleep here," he added, before he lost his nerve. "I was thinking maybe sleeping, just sleeping, with me, might help with your nightmares. And it is more comfortable than yours."

Elyse blushed, "I should like that, Aemond. I should like to share your bed."

He was too afraid to ask if she meant share his bed just to sleep, or truly share his bed. He took her hands in his and kissed the back of her fingers before kissing her lips.

"Come back to me, husband," she whispered.

"I will. I will come back to you, wife."

* * * * *

"It is difficult, this waiting."

Elyse turned to find Alicent standing at the doorway.

"Your Grace," she stood and curtsied.

"I never waited for my husband to come home from battle, but I assure you, waiting for my children is almost unbearable." Alicent walked over to where Elyse sat by the balcony. "Aemond is a very capable dragon rider, and an even better fighter, should the need arise."

Elyse watched as Alicent took her hand in hers. "My son will come home to you."

"I've watched him train," Elyse said, but I've only seen him on Vhagar a couple of times."

Alicent smiled. "He offered to take me flying once and I told him to never ask me again, but he will take you."

Elyse said nothing, unused to her mother-in-law.

"He seems to care a great deal about you."

"I care about him, too."

Alicent nodded. "I hope so, child. I truly do."

* * * * *

[jclemuss]

Psychoanalysis and Subjectivity

"Thriller" by Michael Jackson, released in 1983, is not just a song but an iconic cultural phenomenon, with its music video setting new standards for the industry. Directed by John Landis, the video is a mini horror film featuring Jackson as a charismatic young man transformed into a werewolf alongside his love interest, played by Ola Ray. The video showcases Jackson's unparalleled talent as a performer, with his electrifying dance moves and mesmerizing presence. Its groundbreaking special effects and narrative storytelling revolutionized the music video medium, becoming an instant classic. "Thriller" remains a timeless masterpiece, captivating audiences with its fusion of music, dance, and cinema, leaving an indelible mark on pop culture for generations to come. 

Sigmund Freud's essay "The Uncanny" explores the concept of the uncanny, or the eerie feeling of discomfort or unease experienced when something seems strangely familiar yet simultaneously foreign or unsettling. Freud delves into various aspects of the uncanny, including its connection to repressed desires, the repetition of specific themes or motifs in literature and art, and its association with the return of the repressed. He ultimately suggests that the uncanny arises from the revival of primitive beliefs and fears, often related to death, castration, or the supernatural, which have been repressed into the unconscious mind. This reminds me of the entire motive of the music video, which is the aspect of death. Sigmund said, “the primitive fear of the dead is still so strong within us and always ready to come to the surface at any opportunity”(Freud, 369). Death is the main factor that spikes an uncanny feeling. Our conscious mind feels eerie when we can not define whether something is animate or inanimate. This can also be viewed through the lens of Fenon’s theory because of the transformation, performance, and cultural appropriation that happens in this video. A transformation can be seen as a metaphor for the way Black individuals have been historically portrayed as "other" or different in Western society, often associated with fear and negativity. However, it also ties into Lacan’s theory of identity and self-representation. The transformation can be interpreted as a commentary on the pressure for Black individuals to conform to white standards of beauty and behavior, which makes them see themselves differently because of social interactions. 

Question: How often do you see the black community transform into something other than being black, and how much of an impact do you think it has?

"Black or White" is a groundbreaking music video by the iconic artist Michael Jackson, released in 1991. Directed by John Landis, the video captivates audiences with its innovative visual effects and powerful message of racial unity. Opening with a diverse array of faces from around the world morphing into one another, the video symbolizes the interconnectedness of humanity. Jackson's electrifying dance moves and charismatic performance are showcased against a backdrop of vibrant sets and dynamic choreography. The video's climax features a montage of people breaking through barriers, emphasizing diversity, acceptance, and equality themes. Through its striking imagery and infectious rhythm, "Black or White" remains a testament to Jackson's unparalleled talent and a timeless anthem for social change and harmony.

Frantz Fanon's essay "The Negro and Psychopathology" delves into the psychological impact of colonialism and racism on Black individuals. Fanon explores how the experience of oppression and discrimination leads to a profound sense of alienation, identity crisis, and psychological trauma among Black people. Frantz Fanon said, “The Negro recognizes the unreality of many of the beliefs that he has adopted with reference to the subjective attitude of the white man”(Fanon, 115). He implies that Black individuals have internalized certain beliefs or attitudes, possibly about themselves or about the world, that are based on the perspective or viewpoint of white people. However, they have come to recognize that some of the beliefs held by white people are not grounded in reality or are false. This means that things that are said about the black community usually is said to make them feel bad. The saddest part is that it is so engraved in our system that naturally, it just reproduces.

One aspect that correlates with Fanon's ideas is Jackson's own experience of racial identity. Throughout his life, Jackson grappled with questions of race and belonging, facing scrutiny and pressure to conform to societal expectations of blackness. His changing appearance, particularly his skin color, sparked speculation and debate about his racial identity and self-image. Fanon would likely view Jackson's transformation as a manifestation of the internalized racism prevalent in societies where lighter skin is often associated with beauty and success. This also makes me think about how his skin transformation can be perceived as uncanny. The transformation can be perceived as uncanny due to its combination of familiarity and strangeness, its psychological implications, the public reaction it elicited, and its broader cultural significance. It made him seem familiar but also unfamiliar. 

This scene of the music video resonates with Jacques Lacan’s “The Mirror Stage as Formative of the Function of the I” through its exploration of identity, diversity, and unity. Just as Lacan explains that the mirror stage marks a pivotal moment in the formation of the self, the video showcases individuals from diverse ethnic backgrounds, highlighting the complexity of identity formation in a multicultural world. Lacan said, "Whence it is that the relation of the individual subject to his own images is apprehended, prior to any grasp of it by the self, in a specular relation of the organism to its reality, and that, whatever may be the degree of elaboration of the imaginary function, its mediation is necessarily situated in the intersubjective dialectic"(Lacan). This statement explains that individuals have an inherent, perhaps unconscious, relationship with their mental images or representations, which reflects their perception of reality. This relationship is influenced by interpersonal dynamics and interactions, highlighting the interconnectedness between self-awareness and social experiences. Social interactions really change the way one views oneself, which sadly becomes subconscious critiquing.

Question: Do you guys view transformation as uncanny, and why do you think some people do? Do you think when you first understood your image was the only time you fully saw/respected yourself?

Sources

Freud, Sigmund. "The Uncanny." The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey, vol. 17, Hogarth Press, 1955, pp. 219-256.

Lacan, Jacques. "The Mirror Stage as Formative of the Function of the I." Écrits: A Selection. Translated by Bruce Fink, W.W. Norton & Company, 2002, pp. 75-81.

Fanon, Frantz. "The Negro and Psychopathology." Black Skin, White Masks, translated by Charles Lam Markmann, Grove Press, 2008, pp. 99-127.

[chrismangaming]

Since it hasn't been a while since my poll, I'll just do my writing thing. I've been itching to share this one since it's more recent and characters are unraveling thanks to the people writing the harmony and horror revival story *coughing, thank you tea for inviting me.

While I'm here I'm going to share the characters I have made for the story, four fellas who sit within the town dealing with the chaos within. I'll be doing different posts. This post, I'll be talking about the one who has the most connections to the story. Cause some of them are somewhat far from it all and are going to be sucked into the plot later on. Anywhoooo

Harmony and Horror original character: Leeroy Haymes.

Leeroy Haymes is a 45 year old Caucasian straight male, Leeroy Haymes had grown into the very town the greywhinders were in. He had gotten himself a loving life, a wife, two kids, and a career in architecture. He had it all, until Christmas of 1993, his beloved wife and children were struck by the puppeteer. Killed by a bunch of Henry's all the while Leeroy Haymes was out of town in Delaware for a project under his business name. When he arrived back home, he discovered the remains of the attack.

In horror of what he witnessed, Detective Stewart had offered comfort to Haymes. In fact helping him discover the perpetrators of the crime, the Henry's that killed his family. Leeroy thanked the detective for his work and now spends his life within the town, a sulking and grief ridden man. Drinking away within the town bar, he despises the newly created Arcadia for the mere fact it reminds Leeroy about the Henry's.

He sits there drinking himself slowly, only wanting to hide away from the pain of it all.

(lil descriptionary of him since I can't draw him. 5'8, broad shoulders, grey silver hair, dark grey beanie, hazel eyes, beaten up black blazer or black hiking coat)

[sioster]

can I ask to hear more about your mlp au? 👉👈

sorry Stella !!!!! I wanted to post the designs first, but now since theyre up, i can talk a bit!! I haven't thought of everything yet, but here are bits im almost 100% sure of:

As you can see in Dream's design, he doesn't have a cutie mark. That's because I wanted to combine the Admin au/headcanon with the mlp one. The idea behind this is that his purpose in life is to protect the land and maintain peace and harmony. Since the second that more than 10 people decide to stay there quarells start to happen, he does not receive his mark as he has not completed the task of menaging peace (or something pleasei hope it makes sense)

Dream is not an alicorn but just a pegasus. When more conflicts start to pop up (middle of L'manburg war for independence i'd say) he decided to look into magic anyway, in hopes of finding whatever possible to help him- maybe artefacts or non unicorn magic based things (like Zecora's witchcraft ? is this the right way to name it?) After getting the Revive Book he studies it too. At that point in time, the land itself, which has some kind of... mind? sentience? idk, grants Dream the gift of a horn for all his struggles ( a) he's the singular guardian b) he has studied a shit ton) not sure in which way i want this to go, but here are notes: -Dream after gaining his horn may try to hide it using invisibility, shapeshifting or illusion spells. No one knows what other can use against him, so hes better off not parading around with a clear show of importance (+ its pogtopia era when he gains it, so he may want to stay low idk man) -we know that in the show, alicorn change their phisique by becoming larger with time. So maybe after like a year after gaining his new status, Dream starts shifting from an average height pony into a taller one (ex. Princess Cadance or Luna after redesign) no idea what this could be used for, but just thoring it out there

There's no way to tell if Tommy does have a cutiemark under the picture of Human Real Life Queen Lizzie. cw: injury/slight body horror?

4. From the explosion on the 16th, Wilbur's wings break. The state of his body carries over to Ghostbur, who can still levitate, but isn't capable of moving his wings properly. Though after his revival, Wilbur comes with his wings fully intact. They've been healed since they were damaged very close in time to his death and revival is a bit like respawn- he just needs to rehabilitate and relearn how to fly again. (is this a set up for hurt/comfort? : - ) who knows)

[eddieredmayneargentinablog]

News of Cabaret: It's official Cabaret goes to Broadway! We still have to wait to know if Eddie will reprise his role there.

"Award-Winning ‘Cabaret’ Revival Plans Spring Broadway Bow"

The production opened in London with Eddie Redmayne in a starring role; the New York cast has not yet been announced but he is expected to join it.

By Michael Pauson, New York Times, July 11, 2023

Willkommen, bienvenue, Broadway!

“Cabaret,” the ever-popular (and portentous) musical set in a Berlin nightclub on the eve of the Nazis’ rise to power, will return to Broadway in the spring in a new production that has already won raves in London.

The producing team on Tuesday morning announced a plan to transfer the show to Broadway, and said it would open at the August Wilson Theater, where a revival of “Funny Girl” is scheduled to close Sept. 3.

The “Cabaret” producers did not announce any other details, but it is widely expected that Eddie Redmayne, the film star who played the nightclub’s Master of Ceremonies when this revival opened in London, will reprise the role on Broadway. The show’s other big role, Sally Bowles, the nightclub’s star singer, was initially played in London by Jessie Buckley; that role has not yet been cast in New York.

“Cabaret,” with music by John Kander, lyrics by Fred Ebb, and a book by Joe Masteroff, originally opened on Broadway in 1966, and that production, directed by Hal Prince and starring Joel Grey, won eight Tony Awards, including for best musical, and ran for three years. Grey went on to star in a 1972 film adaptation that won eight Academy Awards, including one for Grey and one for his co-star, Liza Minnelli.

The musical was revived on Broadway in 1987, again with Prince directing and Grey as the Emcee. Then in 1998, a new production directed by Sam Mendes and starring Alan Cumming and Natasha Richardson, came to Broadway; that production closed in 2004 and then returned in 2014 for another year, opening with Michelle Williams opposite Cumming.

This latest revival, directed by Rebecca Frecknall, opened in London in 2021, and won seven Olivier Awards, including one for best musical revival. Its run is continuing. The critic Matt Wolf, writing in The New York Times, called the production “nerve-shredding,” and said, “Frecknall pulls us into a hedonistic milieu, only to send us out nearly three hours later reminded of life’s horrors.”

The lead producers are Ambassador Theater Group, a British company that owns and operates theaters around Europe and the United States and has become increasingly active in producing on Broadway, and Underbelly, a British company closely associated with the Edinburgh Festival Fringe.

“Cabaret” will join multiple shows on Broadway this season that deal with antisemitism, among them “Just for Us,” a one-man show from the comedian Alex Edelman, which is now running, as well as “Harmony,” a musical by Barry Manilow and Bruce Sussman that is opening in the fall and “Prayer for the French Republic,” a play by Joshua Harmon, which is to open in the winter. Last season’s Tony-winning best play, “Leopoldstadt,” which closed earlier this month, and the winner of the Tony for best musical revival, “Parade,” which runs until Aug. 6, are also about antisemitism.

[divnydoodles]

Frank (Revival) doodles—

[cherrychan-0110]

Dentist office doodles

[pringledraws]

Ehh randomly air drop this without any explanation other my h&h oc*

I will be lore dropping but idk if anyone is gonna read it -😺

[cringey-tea]

Revival Trooper 24, a promised commander that was scrapped. After being reworked then added into the Trooper line, he still felt unbridled hate for humans.

he's homophobic /j

[moorheadthanyoucanhandle]

UNBELIEVABLE

Opening in theaters this weekend:

The Exorcist: Believer--Two 13-year-old girls go missing one day after school. Their panicked parents, single Dad Victor (Leslie Odom, Jr.) and evangelical couple Miranda (Jennifer Nettles) and Tony (Norbert Leo Butz) frantically search their Georgia suburb, but three days later the girls turn up alive.

These early scenes of this sixth Exorcist follow-up are tense and gripping, convincingly dramatizing a dread familiar to parents, but also deploying a few well-executed cheap scares. Soon after the girls reappear, they start showing unmistakable signs of demonic possesion. The nonbelieving Victor is skeptical at first, but before long he has enlisted the aid of Chris McNeil (the radiant Ellen Burstyn), who went through a similar experience with her daughter Regan up in Georgetown half a century earlier.

Act Two of Believer is mostly devoted to a rather ecumenical exorcism, with Catholics, Evangelicals and what appear to be Voodoo practicioners all participating, among others. This section falls flat. We get all the obligatory stuff--levitation, projectile tummy trouble--but none of the elliptical yet grueling intensity that the late William Friedkin brought to the 1973 film. Put simply, the second half of the movie just isn't very scary.

Part of what made the first film so potent was its harsh, judgy small-c conservative Catholicism. It seemed to suggest that Chris McNeil's wordly career and single life left the door open for the devil to take her daughter. The new film almost gets this right; it implies that Victor's daughter's yearning to communicate with her dead mom gives the demon a foothold, as Regan playing with a Ouija board invited in "Captain Howdy" back in the original.

But the kum-ba-yah sensibility of Believer's interfaith exorcism weakens this blood-and-thunder atmosphere. Don't misunderstand; I agree, on the whole, with the sentiments expressed in this movie's mild little homilies about faith and community and hope. But I don't think they're the most effective way to scare an audience. Decades ago I had a girlfiend, a lapsed Catholic, who found the original Exorcist so terrifying that she could barely stand to have it mentioned (I used to tease her by imitating the demon's voice).

The new film lacks the ruthlessness that could create that sort of reaction. Nor did I really find it plausible that these staunch traditionalist faiths could practice this archaic rite in harmony. As soon as anything went wrong, wouldn't they start blaming each other?

The director, David Gordon Green, works from a script that he wrote with several hands including Danny McBride. They were the team behind 2021's Halloween Kills, another honorable but unsuccesful revival of a classic horror franchise. The cast here is capable, with one standout--that splendid, always reliable warhorse Ann Dowd as a nurse with a relevant past who befriends Victor.

This much more, if little else, can be said for Believer: although the insolently absurd yet imaginative spectacle of John Boorman's 1977 Exorcist 2: The Heretic has its fascinations, Believer can probably still claim to be the best of the Exorcist sequels. But that's a low bar.