#historic costuming with orchid

[perfectlypanda]

When visiting the many islands that comprise the Fire Nation, it was not uncommon for their royal majesties Fire Lord Zuko and Master Katara to don the traditional dress of the host island.

Almost as soon as I had finished working on the art piece I did with Zuko and Katara in Thai inspired outfits, I knew I wanted to do something similar but with outfits inspired by the Philippines (or outfit, sorry Zuko I find women's fashion more interesting than men's).

Before jumping into the commentary, I'll stress that this design is fantasy inspired by the Philippines. Although I did research, it is not an accurate representation of Filipino national costume, nor is it meant to be.

This was more challenging in some ways than the Thai piece, because even though the Thai piece required a ton of detail work, I was creating a design much closer to its real world inspiration. In this case there wasn't a specific "look" I was trying to recreate, instead I wanted to create a design inspired by the traditional fashion of the Philippines. However, 1). pre-colonial fashions were very different from the Spanish inspired styles that arose during colonialization and that have since evolved into modern traditional Filipino attire, and 2). the Philippines is home to many different indigenous groups, each of whom have their own traditional costumes.

Originally, I wanted to exclusively look to the pre-colonial period for inspiration, but when I looked only at pre-colonial designs, I found I missed the iconic silhouettes seen in modern Filipino dresses. So I widened my research scope to see how I could combine pre-colonial with elements of modern fashion.

For pre-colonial styles, the best historical resource is the Boxer Codex. Karakoa Productions was also a helpful resource to see how pre-colonial looks were being interpreted from historical illustrations and descriptions into real world garments. I looked at modern designers from the Philippines to see how they were playing with the design of terno (which often feature the iconic butterfly sleeves I wanted to include). One design I was really inspired by was a look worn by Filipina actress Kathryn Bernardo.

Both written and illustrated accounts of the pre-colonial era in the Philippines emphasize the prevalence of golden jewelry, so Katara has a gold necklace, bracelets, hair beads, and belt. Katara's belt is inspired by two main sources. The first is an extant kandit (royal belt) woven from gold wires in the Museo ng Bangko Sentral ng Pilipinas's pre-colonial gold collection. The dangles on it are loosely inspired by the beaded belts made by the T'Boli people.

With Katara's skirt, I tried to blend the longer style of skirts seen in the Boxer Codex, with a striped pattern inspired by the numerous woven designs I found in traditional indigenous attire. The specific photo I used as inspiration was labeled as being from Kalinga, but I found similar weavings from other groups as well.

The flowers in Katara's hair are flowers found in the Philippines - sampaguita, waling-waling orchids, plumeria, hibiscious, and santan. She also wears her dual moon-flame tiara.

♥ Please do not repost. If you like it and want to show people, share a link to this page instead. Thank you!

[spif-lol]

So my friends and I are in the middle of watching the 5th doctor's era, and after watching POTD the other day and then watching Enlightenment (the episode after Nyssa leaves) today, I'm just struck by the tragedy of it all, of the sheer suffering Tegan went through - which, while not as cosmically awful as having your memory erased or getting trapped in a parallel universe etc, was nonetheless far too real and relentless.

So Tegan has possibly one of the most traumatic intro episodes. Unlike the overwhelming majority of companions, she doesn't choose to join the doctor. She enters the TARDIS while looking for help when her aunt's car broke down on the side of the road on the way to her new job, and since the TARDIS was parked around the Master's TARDIS due to the latter's trickery. The Master uses his tissue compression eliminator to kill Tegan's aunt, and Tegan gets lost in the seemingly endless labyrinth within the TARDIS, and when the Fourth Doctor and Adric return to the ship they take off with her still inside it.

She didn't want to leave Earth, and she spends the next few episodes begging the Doctor to take her back. In these episodes, she witnesses the Master destroy a quarter of the universe, watches the Doctor die and regenerate and is forced to look after him with Nyssa while Adric is kidnapped by the Master and the TARDIS travels back to the Big Bang and is almost destroyed. She carries the Doctor's recovering form through the jungle of a planet meant to be a sanctuary, only for it to be another of the Master's trap which they barely escape. She has to deal with Adric, and spends her first trip to a space ship trying to get back to the TARDIS so that she can get away from it all, and has to be rescued by the Doctor when this backfires. On the world of the Kinda she is possessed by the manipulative Mara and trapped inside her mind, an experience which would stick with her even after the Doctor saved her. She finally catches a bit of a break when they visit Earth in the past and have a relatively breezy adventure stopping Terileptils from trying to take over the planet (though they do inadvertently end up burning down London), and in the next episode she's decided that she doesn't want the Doctor to take her home anymore.

Black Orchid is a defining episode for the 5th Doctor's era. It is a light hearted romp and pure historical in the midst of tense action packed sci fi stories. Tegan eagerly watches the Doctor play cricket, orients Nyssa and Adric to Earth in the 1920s, and thoroughly enjoys her time at the costume party the TARDIS team is invited to at the local estate. Then it turns out a man who stole the Doctor's costume has kidnapped one of their hosts (who happens to be a doppelganger of Nyssa), the Doctor is arrested and Tegan and the others arrested as accomplices, and then Nyssa gets taken to the roof of the building as it burns and Tegan watches as her captor almost drops Nyssa off the roof and then falls to his death. They attend the funeral, and then head off again in the TARDIS.

And then we get to Earthshock. In the time leading up to this episode, the TARDIS team have become somewhat of a dysfunctional family. Though Tegan did not choose to join them on the TARDIS, she grows close to them all, especially Nyssa, sharing a room with her and bonding over their struggles with the new Doctor. Though she finds Adric annoying, she still cares about him deeply and bickers with him like one might a sibling. And she trusts the Doctor, though barely and with little respect, to get them safely from one destination to the next. Then in Earthshock Adric wants to leave, and Tegan doesn't get in the middle of him and the Doctor fighting, but they all quickly get distracted by the Cybermen plot they arrive in the midst of, and soon are all held hostage on a space ship headed to Earth with a cargo of Cybermen. The Doctor outwits them and they all end up back on the TARDIS except Adric, who is attempting to stop the ship crashing into Earth from the control room. While the Doctor fights a Cyberman inside the TARDIS, blaster fire damages both the TARDIS console and the controls Adric is working on, and so the Doctor, Tegan and Nyssa watch helplessly on the TARDIS scanner as the ship crashes into the Earth with Adric still inside. Tegan and Nyssa beg the Doctor to go back in time, to rescue him, but there's nothing any of them can do. Adric is dead - the only long term companion to die and stay dead while travelling with the Doctor.

Everything goes downhill from here. Tegan never quite recovers her trust in the Doctor after this. Immediately following Adric's death the grieving team arrives at Heathrow Airport, the work Tegan's been wearing her uniform for and trying to get to this whole time, and get dragged into yet another plot by the Master, one which involves them seeing a hallucination of Adric. And then they defeat the Master and Tegan gets to have a brief tour of Heathrow Airport before making it back to the TARDIS just in time for it to leave... without her.

Still reeling from everything she'd been through, Tegan nonetheless tries to work her air hostess job, but isn't able to cut it. After losing the job and trying to figure out her place back on Earth she decides to visit her favourite cousin who's on holiday in Amsterdam and arrives to find him having gone missing in a mysterious crypt. She tries to find him and gets kidnapped by Omega, a time lord and enemy of the Doctor, and used as a hostage against him (again). Even after that experience, once Omega is defeated Tegan is eager to rejoin the TARDIS team, to Nyssa's joy and delight.

The Mara resurfaces and Tegan relives her nightmares. A questionable new companion, the alien Turlough, joins the TARDIS and Tegan watches him warily, sure he's up to no good. On one particular day where Nyssa and Tegan are happily chatting together while Nyssa works on an experiment in their room, a portal opens up in their room and Nyssa gets drawn into it and ends up lost and sick on a leper colony ship. Tegan follows and gets lost in the ventilation system with Turlough. At the end of the adventure, after Nyssa has found a cure and the Doctor has stopped the space ship from exploding and ending the universe, Tegan is reunited with Nyssa only to receive the news that she's not coming back with them, she's staying on the ship to reform their healthcare system.

"She'll die here!" Tegan urges the Doctor to attempt to change Nyssa's mind but she will not be shaken.

"Not easily Tegan," Nyssa said, on the brink of tears. "Like you, I'm indestructable."

The two embrace and I honestly think Tegan never recovers from losing her. I believe Tegan would've stayed with her if she'd felt more confident with space and space travel, and she probably regretted not opting to stay behind many times going forward.

In the first episode after losing Nyssa the Doctor initially tries to get Tegan to remain in the TARDIS, in safety, but an Eternal takes an interest in her and she gets thrust into their games. She doesn't get a break, a moment to her herself to grieve, and instead has the Eternals violate her mind, recreating her and Nyssa's bedroom on their ship and keeping a close eye on her, using her for entertainment. The Doctor can't, or doesn't, do anything to protect her.

Now Tegan and Turlough do get along, but I don't think Tegan's heart is in it for the rest of her adventures with the Doctor. She travels with him because she has nothing else left, she's lost her aunt, her job, her closest friends. It's really quite tragic, especially considering that she's one of the longest lasting companions alongside Jamie, Clara and Yaz.

Having already suffered at the hands of the Master and the Cybermen, Tegan encounters the Daleks on Earth and sustains an injury that wipes her out for most of the adventure. She and the soldier nursing her spend most of the time hiding from daleks and trying not to get killed. Once the Daleks are defeated and Tegan rejoins the Doctor and Turlough at the TARDIS, she tells him that she's not coming with him, because she's seen too much death and travelling isn't fun anymore.

She seems to have said this in the moment, maybe out of desperation or in the hope that the Doctor would offer some comfort or promise of safety as opposed to the blank and broken stare of a man who had lost so much. So she leaves, but changes her mind at the last minute, running to the TARDIS just as it disappears for good. And that's the last she sees of him for almost forty years.

Until Power of the Doctor, when the Doctor walks in and barely even acknowledges her. Though I doubt she wants to travel with her again, she still never really got closure. She didn't choose to join the TARDIS and she was basically forced to leave, and then in the years after she would've heard of all the times the Doctor was back on Earth, and after she joined UNIT would've learnt of all the different incarnations and companions he'd had, yet she never came back to see her, after everything they'd shared, suffered together. She was convinced the Doctor didn't even care about her, and though she'd tried to live her life in a way that helped people, it had brought her right to this very spot, a fight with Cybermen, Daleks and the Master and a Doctor who barely looked at her and didn't ask her into the TARDIS. No wonder Tegan is so angry throughout that episode!

I don't even have a point to this I guess I just am thinking about her, and how Tegan deserved better, but I'm so glad she got her moment with the hologram doctor, an acknowledgement of everything they'd been to, and she got a place to discuss her trauma at the end with the Doctor support group. Also I don't care what Chibnall says, Tegan is NOT alone, her wife Nyssa is just busy at a space science conference and will be back soon to bitch about the Doctor.

[ja-mi-sa]

Manjiro and Shinichiro. Clothing comparison between Mikey and Shin

The cover of volume 30 of the manga is finally out and I can compare these two images with peace of mind.

There are common features on their costumes, namely the image of Nue and gentians. But Shin has dragon and orchid images on his clothes.

Nue.

Nue (鵺) is a mythical creature seen in the ancient chronicles of medieval Japan. It has the head of a monkey, the body of a tanuki, the legs of a tiger, and a snake instead of a tail. Nue can turn into a black cloud and fly. Because of its appearance, it is sometimes referred to as the Japanese Chimera. She is not a predator, but feeds on human fears.

Nue is described in the historical Japanese chronicle dating back to the 12th century. The chapter "Nue" describes the following: "In the era of Nimpyo, during the reign of sovereign Konoe, the emperor suffered every night from an incomprehensible illness, and he was tormented by nightmares, from which he even lost consciousness. They turned to the highest priests. They read incantations and the most holy prayers, but it did not help. Every night at the hour of the Ox, the sovereign had a seizure. At this hour, a black swirling cloud hung over the palace and made the emperor suffer."

Nue is an allegory for the Black Impulse of the Sano brothers.

Nue makes the emperor suffer. The Black Impulse causes Mikey and Shin to suffer.

Nue can turn into a black cloud. A black impulse literally swirls around a person and makes him lose control of himself.

Nue is a chimera made up of parts from different animals. We all know how Mikey tends to take on the looks of people he cares about.

Nue can be said to be a being that mirrors the Sano brothers. (It only partially applies to Shinichiro, because the other half of the costume depicts a dragon. This refers to the duality of Shin. He can be both a majestic dragon and Nue).

The Dragon.

The golden dragon is located on the left side of Shin's cape, right next to the heart.

Gold is the official color of Shinichiro. The dragon refers us to his gang "Black Dragons".

The golden dragon is a symbol of power and strength. Both Chinese and Japanese emperors were given the epithet "dragon-faced". Moreover, it was believed that some emperors had a dragon's tail. Previously, only members of the imperial family were allowed to wear robes with gold elements / gold color.

Also, the dragon repeatedly acts as a protector of the buddhas and a generous giver of happiness and wealth.

Manjiro is the Buddha. There is a golden statue of Manjiro that replicates the golden statue of the reclining Buddha. In addition, the Manji sign is a symbol of the footprints of the Buddha.

The dragon protects the Buddha. Shinichiro protects Manjiro.

In Western folklore, dragons are tough creatures that have a penchant for collecting various treasures. Often they spend time in their lair and guard the jewels.

Shin is like a dragon majestic and excellent. It has been repeatedly said that he was an outstanding man.

Shin, with special devotion and love, protects his precious little brother as the main treasure in life.

Covers of volumes 24 and 30.

In fact, I think these covers are similar.

Their pants feature swirls that look like a black impulse. The main colors for the backgrounds are gold and red. Gold is the color of Shinichiro, red is the color of Manjiro.

Gentian.

Gentian is a beautiful autumn flower that means “sincere love”.

Orchid.

Orchid, the queen of flowers, means "pure love, tender memories."

Both of these flowers were used for Manjiro's funeral to express the love of the Sano brothers.

BUT these two flowers are often used in manga. This worries me a little.

Their names are in Japanese.

Gentian - 竜胆 (Rindo), Orchid - 蘭 (Ran). These flowers are literally the names of the Haitani brothers. The kanji in Rindo's name also have separate meanings 竜 (ryuu) - dragon, 胆 (kimo) - courage, spirit.

His name may mean "Dragon Spirit". The dragon is bonded by Shinichiro, Draken, and Mitsuya. With the closest people in Mikey's life who protect him from others.

Could the Haitani brothers have a connection to the Sano brothers or time traveler?

Even the clothes show a deep connection between Shinichiro and Manjiro. It has similarities as well as differences that show that they are very similar, but each one is unique in its own way. They both have great charisma, know how to change people and cannot live without each other. But also their methods, behavior, abilities are opposite. Even their characteristics are different. Shin is a crybaby who always lost. Manjiro is the "Invincible Mikey" who holds back tears.

They are like yin and yang, opposites making up a single whole.

They are the Sano brothers.

[greenisthaiforsure]

Thai Pattern, Aka Lai Thai

Hello Greener! Today we will talked about Thai patterns, also known as Lai Thai or Traditional Thai Patterns, have their origins in Thailand.

These patterns emerged and were primarily inspired by Buddhism, as Thailand has a long history of being a Buddhist country since ancient times. Thai patterns can be seen in various forms of Thai art, including architecture, textiles, ceramics, and religious artifacts. The Thai pattern often feature a pattern of the Lotus, Jasmine, Java Cassia, and Sea Iceland Cotton

but they are various type of Lai Thai, The symbolism behind Thai patterns varies depending on the specific design.

one of the most famous lai thai is Called Kranok (กนก).  this type of Pattern can be found in many Thai artworks, such as Tripitaka "Three Baskets" cabinets, temple doors, and coffins. It is often associated with protection, spirituality, and the divine.

Kinnaree, a young woman wearing an angel-like costume.

I designed to tried designing a kranok type pattern as part of my experience cause why not.

not only that Thai pattern, often carry deep cultural, religious, and historical significance. Here are some common symbols found within these patterns and their meanings:

First we have a Lotus flower they are representing purity, enlightenment, and rebirth, the lotus is a common motif in Thai art, symbolizing the ability to rise above the murky waters of desire and attachment. we can see other various flowers besides the lotus too, such as like jasmine and orchids,

A Naga which often depicted as a mythical serpent or dragon, the Naga symbolizes protection, water, and fertility. It's a significant figure in Thai mythology and is believed to guard temples and other sacred places. then we have a Garuda (Krut) As a mythical bird-like creature and the national emblem of Thailand, Garuda represents authority, loyalty, and the Thai monarchy's power. It is also considered a protective figure. Along with Nagas and Garudas, other mythical beings like Kinaree (half-woman, half-bird creatures) and Hongsa (a mythical swan) are prevalent, representing spiritual purity and artistic inspiration.

and then we can see Elephant in some pattern, they symbolize strength, power, and good fortune, elephants are revered in Thai culture and often appear in royal and religious contexts.

but mostly they used the geometric shape as a guideline for each pattern Circles, squares, and other geometric forms are often used to create a sense of order and balance, representing the universe's cosmic harmony.

London, E. (2009). Thailand Condensed. Singapore: Marshall Cavendish Corporation.

another practice, using scanner

[tanadrin]

Dev Patel and the Green Knight

I finally got around to seeing The Green Knight. Overall, I enjoyed it--David Lowery does a good job capturing the essential weirdness of the tale, which is very much about taking a mundane circumstance (a Christmas feast) and suddenly catapulting the reader into a mythic otherworld through the intrusion of the alien and monstrous, and the fantastical costumes, dramatic lighting, and dissonant score all contribute very well to a sense of otherness that permeates the original story.

But I find it interesting--and, I'll admit, a little frustrating--that no modern film adaptation of medieval literature is really capable of taking the story it's adapting on its own merits. This isn't an objection to modifying the source text, or taking it in new, non-literal direction. I can think of plenty of adaptations of work that play with the source material in interesting ways, and are better for it. Even very faithful adaptations like Peter Jackson's Lord of the Rings are inevitably going to alter the source based on the need to adapt it for the screen and the whims of the director. But when it comes to medieval classics, texts like Beowulf or Gawain and the Green Knight are always held at arm's length. An ironic layer is always interpolated into the original story, and even in modified form the story is never allowed to stand on its own.

Contrast, for instance, modern retellings of Arthurian legend; or Wagner's Nibelungenleid; or something like Neil Gaiman's book of Norse mythology. These are all adaptations of much older stories, all medieval; and the authors typically happy to let the stories operate on their own terms. In fact, that is often a selling point: dipping into these tales is a way of sampling an alien culture, one that is remote from us in time rather than space, and part of the sense of heightened drama is the understanding that these stories do not necessarily depict the world in the same way that modern realist prose does. They are fairy-stories, in the Tolkienian sense, and something not quite even like "high fantasy," which, although it is a genre which owes much to the mythic tradition, is usually *told* in the same manner as other realist fiction. And you could take these stories and re-cast them in a realist mold--that's definitely been done with Arthurian legend, either via anachronism or trying to place them in an era-appropriate historical context, and even that yields something quite like the original in tenor, even if the language used to relate the story is often very different.

Watching this movie, I was *strongly* reminded of Robert Zemeckis's Beowulf, in that this did not feel like an attempt to adapt Gawain and the Green Knight for the screen. It felt like an attempt to tell a story *about* Gawain and the Green Knight (the text), a story which does not stand on its own. You don't have to have read the text to understand the movie (although I think some directorial decisions would be a bit mystifying if you hadn't), but the movie definitely situates itself *as a response* to the text. Which is an odd choice! Actually, another good point of comparison is Spike Jonze's Adaptation. It started life as an adaptation of Susan Orlean's The Orchid Thief, but Charlie Kaufman sort of gave up writing that halfway through and wrote a movie about the difficulty he was having writing *that* movie, and the result is something very weird (and very good) that is full of metafictional elements that depend on the existence of this other work, in a way that a straight retelling of The Orchid Thief for the screen obviously would not. And while The Green Knight isn't that extreme, it is definitely playing on the structure of the medieval poem, and replying to it.

The core of the movie (as I understood it) is a tension between young Gawain's aspiration to knightliness, his ambition which is born at least in part from his mother's encouragement, and his own failure to live up to the heroic ideal of greatness. Not chivalric--this is a movie in which the ethos of chivalry makes not even the briefest of appearance, which is weird given that it's nominally an Arthurian romance, and that the chivalric ethos is extremely important to the original text. Instead we have a generic greatness being described, one which is associated with renown, with taking part in mythic events, and with achieving high rank and honor. In the service of seeing her son obtain all this, Gawain's mother seems to cast some kind of spell, whereupon the titular Green Knight appears at Arthur's Christmas-feast; and as in the poem, a game of beheadings is proffered. Gawain accepts the challenge, beheads the knight, and the knight rides away, promising he'll meet Gawain a year and a day hence at the Green Chapel. So far so straightforward. When Gawain sets off a year later to meet the knight, his mother gives him an enchanted belt to keep him safe from harm. Gawain goes on to have a couple of side-of-the-road adventures and mishaps, the kind of thing that's par for the course when you're telling an Arthurian romance, until he arrives at the house of a mysterious benefactor, just about a day away from the Chapel, who grants him hospitality until the day of his challenge.

Now, in the original story, this is where Gawain gets the magic belt, and it's hugely important: Gawain and his host promise to exchange anything they might receive at the end of each day, when the host has been out hunting all day and Gawain has been in the house recuperating from his travels. During this time, the host's wife repeatedly tries to seduce Gawain; and Gawain is trapped between the imperative not to sleep with his host's wife (a major violation of the rules of good chivalric conduct!) and the imperative not to offend the woman (also a violation of those rules). He succeeds, for the most part; he is forced at one point to give his host a kiss at the end of the day, since the wife kissed him; this is shown as him holding nothing back and acting in good faith on the vow he made to his host. When Gawain finally rebuffs the wife for good, she insists that, even if he won't sleep with her, he should at least take a magic belt she has woven that will keep him from harm. He does; but he does *not* give this to his host. When he finally goes to the Green Chapel, the Knight returns the original blow as promised--but only nicks Gawain lightly. He reveals himself to be none other than the host who was sheltering him; the nick was his reprimand for withholding that final gift, but because of his good conduct he is otherwise left unharmed. The whole thing was a test of sorts, one which Gawain passed. Despite flinching at first from the blow, and keeping the belt secret, he shows himself ultimately to be a man of good (albeit not perfect) conduct, and *that* is why he wins honor from the whole affair.

The movie takes this basic narrative and alters it in key places, completely changing the valence of the whole thing. First, Gawain gets the belt at the beginning of his quest, as mentioned; he loses it on the way, but when he reaches the castle, the wife of his host (who succeeds in seducing him with a handjob) presents it to him as if she had woven it herself. He does not actually engage in the game of exchanged with his host, who is *also* not the Green Knight. And we're treated to a monologue about the color green from the wife that feels beat for beat like it's been ripped off from someone's undergraduate essay about Gawain and the Green Knight, which is a little weird even in the context of the rest of the movie. Finally when Gawain reaches the chapel, the knight goes to return the blow--and Gawain completely chickens out and flees. We are then treated to an extended sequence of Gawain returning home; being feted as a hero; earning his knighthood (presumably by lying about what happened); succeeding Arthur as king; him abandoning his low-class beau once she bears him a son, and marrying a princess; going to war; his son dying in a war; and finally, as an old man, being trapped in his throne room as a besieging army breaks its way inside. Just before they do, he removes the magic belt from around his waist, his head fall off, and bam--we're shown this has been an Occurrence At Owl Creek Bridge thing this whole time, and the Green Knight has not yet landed his blow.

Gawain finally takes off the belt, throws it aside, and tells the knight to go ahead--and the knight bends down and congratulates him. In context, the reading seems to be this: the belt is a talisman of Gawain's mother's influence, of external expectations for what kind of man he is. The Knight is Arthur or perhaps an agent of his, and the test in *this* case is whether Gawain can be his own person. All the events leading up to this point are perhaps a part of the original magic Gawain's mother cast, an effort to Lilith Weatherwax her kid to greatness by putting him into an epic story. Implicitly, then, the Gawain and the Green Knight we all know is the false version of the tale, the tale as Gawain's mother would have it told.

This is all very clever. But I'm afraid it's so clever it falls apart in the end. Because the structure of the original story that this depends on is dependent in turn on taking the whole notion of chivalric virtue seriously, which this movie plainly does not. Gawain is shown as irreverent and lustful and a bit of a party animal--lovable and good hearted fundamentally, but definitely not an Arthurian hero. That's fine, but that's a very modern sort of character, one that feels out of place in a movie that is trying very hard also to be tonally unmodern, firmly embedded in a mythic otherwhen of Arthurian legend. Moments of slice-of-life mundaneness, while charming, strain mightily against the epic tone the movie tries to take in other places, and strange events like a ghost seeking her lost head or immense giants striding the landscape. We are jostled: are we in the land of myth? Or are we in historical Britain? We cannot be in both!

And this is a movie that was definitely made by people who had read the original text; not just the original text, but also a great deal of criticism *about* the original text. The movie namechecks the theme of fivefold symmetry that's incredibly important to the structure of the poem; there's the aforementioned undergrad essay about colors about 3/4th of the way through; and there's the fact that the structure of the original plot (down to Morgan LeFay in disguise as an old woman in the host's castle) is present in altered form in every detail. But none of these details add up to much. There's a weird homoerotic kiss with the host that implies that in fact *he* wanted to sleep with Gawain, in addition to his wife; the ghost Gawain encounters early on tells him the Green Knight is in fact someone he knows (and therefore *can't* be the host; I think it's implied to be Arthur, like I said, but this is never quite confirmed), and while all these things *about* the original poem are shown, none of them ever get integrated thematically into the plot.

I think as a result, whatever Lowery was going for, the whole movie kind of falls apart in the end. And that's a pity, because somewhere in there is just a really weird, visually striking, really gripping, embellished-and-polished-for-modern-sensibilities-but-also-thematically-true-to-the-source retelling of Gawain and the Green Knight. And that would have been a much better movie! What are we to make of this, a movie that purports to be telling a story-behind-the-story, but one that leaves no room or context for the original? After all, Gawain in the end does *not* flee, does not return home a coward and a liar; presumably, he earns his honor, and can be honest about what happened. But if he is honest, none of the rest of what we have been shown makes a lick of sense, or has any point.

One feels a bit as if modern directors, when confronted with medieval texts being a bit weird, a bit alien in their worldview, instead of realizing that's actually something people like some of from time to time, feel like they have to construct an artificial bridge between the Middle Ages and the present day. But because it is invariably metafictional and self-referential, as if to say "don't worry, we know nobody REALLY wants to watch a bunch of boring medieval shit played straight," it comes off as cringing and ashamed of its source material. This isn't a plea for historicity! Gawain and the Green Knight is not history. But one does occasionally want to see an adaptation of one's favorite works without directors being ashamed of the text they are adapting! And since most people will not have read the original, I am rather confused about what the director intends for the audience to get out of all these references that are dependent on it, but don't stand on their own merits within the narrative of the movie itself.

The acting was good, the set design and costumes were terrific, I loved the slow and measured pacing and the weird score, and the design of the Knight himself, and the landscapes and almost everything else about the movie. So I don't think it's a waste of time, especially if you have read and enjoyed Gawain and the Green Knight, in the original or in translation. But it's definitely a pity to see a movie that was, well, *almost* great, but ended up merely OK.

[mamapriest]

GORGEOUS WEDDING GOWNS OF AMERICAS WEALTHIEST FAMILIES 💕💕💕

By Marina Liao and Mehera Bonner

Aug 7, 2020

America may lack royals, but we have wealthy society families in spades. We're talking monikers like the Vanderbilts, the Astors, the Kennedys, and so on. And when members of these families tied the knot, major $$$ was spent. Of course, the gowns were to die for. Relive the most expensive and historical gowns to date, ahead.

Dolores Costello's Wedding Dress

Drew Barrymore comes from a long line of Hollywood stars and this is her grandfather, acclaimed actor John Barrymore, with her grandmother, his third wife Dolores Costello, in 1928. Some of Barrymore's most well-known films include Grand Hotel (1932), Twentieth Century (1934) and Midnight (1939), which have been inducted into the National Film Registry. Dolores was a well-known silent film actress in her own right when the two were married; she was his co-star in The Sea Beast.

Jacqueline Bouvier's Wedding Dress

Jacqueline Bouvier married John F. Kennedy on September 12, 1953 in Newport, Rhode Island. Her gorgeous wedding gown was created by African-American fashion designer Ann Lowe—who didn't receive credit for the dress until much later in life—and is now on display at the Kennedy Library in Boston. The dress consisted of 50 yards of fabric made out of ivory-colored silk taffeta and Jackie wore a lace wedding veil that belonged to her grandmother. She also wore a single strand pearl necklace, which was a family heirloom, and a diamond pin from her parents and a diamond bracelet from her groom.

Cornelia Vanderbilt's Wedding Dress

Heiress Cornelia Venderbilt's 1924 wedding to British diplomat John Cecil was the party of the century, and took place at the family's famous Biltmore estate in Asheville. A whopping 2,500 people attended the reception.

“The bride was lovely in a gown of white satin, very straight, with long sleeves,” wrote the Asheville Citizen. “Her bridal veil of tulle and lace, which she wore over her face when entering the church, was four yards long. It was caught with orange blossoms from Florida...Her bridal bouquet was of orchids and lilies of the valley, made in Asheville by the Middlemount Gardens. Each of her satin slippers was ornamented with a single orange blossom.”

Miss Catherine Wood Campbell's Wedding Dress

In what was called Atlanta's wedding of the year, Catherine Wood Campbell married Randolph Apperson Hearst in 1938. Catherine was the only daughter of Morton Campbell, a wealthy telephone company executive while Randolph was the son of William Randolph Hearst, a media mogul (full disclosure: Marie Claire is a subsidiary of The Hearst Corporation). The wedding had nine bridesmaids and 15 groomsmen. The bride wore a white satin gown and tulle veil.

Elizabeth Taylor's First Wedding Dress

American hotelier Conrad Hilton's son Nicky Hilton married Elizabeth Taylor when she was just 18 in a ceremony in Beverly Hills.

MGM organized the fabulous event, and Elizabeth's dress was designed by famed costume maker Helen Rose. Her team of 15 people took an entire three months to create the gown out of satin and seed pearls, and the train is a whopping 15 yards. FYI, the couple divorced just eight months later.

Anne McDonnell's Wedding Dress

Henry Ford II and Anne McDonnell were married in Long Island, and the church was swarming with hundreds of uninvited guests hoping for a glimpse of the bride and groom. Anne's dress is ever-so lovely, with sheer cap sleeves and a giant skirt.

Abby "Babs" Rockefeller's Wedding Dress

Abby, daughter of John D. Rockefeller, Jr. and Abigail Green Aldrich, married banker David Milton in 1925. The wedding was a *huge* news-making affair, with 1,200 guests at the reception in NYC. And you'll love this: The bride broke with tradition and insisted that the word "obey" be removed from her marriage vows. Pretty cool.

Margaret McGrath's Wedding Dress

Almost ten years later in Bedford, NY, in 1940, his brother David Rockefeller (later the former chairman of the Chase Manhattan Bank and the Metropolitan Museum of Art) married Margaret McGrath and she wore a very similar gown—with slightly puffier sleeves. This, following a proposal made with a 5.6 carat rectangular step-cut diamond ring.

Sarah Norton's Wedding Dress

William Waldorf Astor married socialite Sarah Norton in 1945. Despite getting divorced in 1953, the pair had a whirlwind romance and apparently got engaged just a few days after they met. Not much is publicly known about Sarah's dress, but we can all agree that her starburst tiara is fit for royalty.

Patty Hearst's Wedding Dress

Patty, the daughter of Catherine and Randolph, married Bernard Shaw in 1979. The two tied the knot in an Episcopal ceremony at a naval base in San Francisco Bay. Patty wore an off-the-shoulder white gown and wedding veil.

Source: prevention.com

[6-and-7]

I’ve rather been wanting to do one of these things eventually, so thank you @madfanboyinablueblog​!

Favorite Doctor: Probably Six. I enjoy his bluster and haughtiness because of the two hearts of gold hidden underneath. Every time he gets to be Sof I just melt. Also, I too love cake, singing, big words, cats, and The Coat, so I just really vibe with him.

Favorite Master: I’m always glad to ‘Say something nice’ about Missy. She’s just so much fun! She dabs, she does dramatics, she introduces herself by singing, she takes the mickey out of everything (”I’m that mysterious traveler in space and time known as Doctor Who, and these are my expendables, Thing One and Thing Two.”), and she’s just absolutely marvelous.

Favorite Sonic: I don’t really know. I’m rather partial to the design of Three and Four’s, with the wheel at the top. I don’t really know why.

Favorite Companion: How dare you make me choose among my babies. Uhhhh I’ll go with Donna, because her chemistry with Ten made me like him much more than I otherwise would have. She helped to redeem him for me, as it were.

Favourite Episode: Hmm, another very difficult one. I think I'll say... The Empty Child/The Doctor Dances. Nine was my first Doctor, and I have a soft spot for all his episodes. This two-parter stands out to me for the raw terror that the Empty Child still inspires in me, the introduction of Jack, the tenderness and chemistry between Nine and Rose, and of course, “EVERYBODY LIVES!”. That scene still warms my heart.

Favorite Soundtrack: I’m not super good at picking them out. I’m going to cheat and say ‘Jo is Making a Thing’ from The Scorchies, because that song is both a bop and a jam.

Dream Actor/Actress for the Next Doctor: Bold of you to assume that I know any actors who haven’t been on Doctor Who already. Uhh, it says ‘dream’, so I’m just gonna say Catherine Tate as the DoctorDonna.  

Dream Composer: ????? I have no names. Literally all I’ve got is David Bowie. Which, again, it was ‘dream’ composer, so why not.

Dream Story: I have many. Off the top of my head... 1. A musical story in which the Doctor goes to Broadway and encounters Iris Wildthyme, who has been cast in a play. But things go terribly awry as critics and divas alike start dying, and Iris and the Doctor discover that the Scorchies intend to use this musical to take Manhattan -- literally. Panda is there and must engage in psychic combat to keep his mind from being taken over by the evil puppets. Lin Manuel Miranda makes a cameo. 2. Literally just a remake of “The Year of Intelligent Tigers” by Kate Orman. No changes to the dialogue or plot. You can’t improve on that. ... I considered letting Karl and the Doctor kiss, but I fear that might ruin the Yearning. Please Mr. BBC, let me see Paul McGann in a slapdash tiger costume, playing the violin. 3. The Doctor and the Master are trapped in a deadly gauntlet of traps and must work together to escape. They eventually confront the mastermind behind it all, who reveals herself as the Rani. She just wanted to force them to sit down and break the sexual tension that’s been there since the Academy. 4. The Doctor and her companions meet P.G. Wodehouse in early 20th century London and have an amusing comedy of errors involving a prize pig, a thrice-stolen diamond necklace, a foreboding Aunt, and absolutely no aliens whatsoever, it’s just a nice, goofy pure historical, the likes of which we haven’t seen for damn near forty years. So basically Black Orchid, but it’s Wodehouse. 5. Faction Paradox tries to mess with the Doctor’s timeline, end up asking her if she’s alright and if she needs a hug. The companions enter the TARDIS to find the Doctor crying on the shoulder of an increasingly uncomfortable woman in a skull mask. The companions exit the TARDIS. 6. Season-long arc of two-parters in which the Doctor must once again search for the six segments of the Key to Time, while Faction Paradox agents seek to trip her up and stop her from assembling it and returning the universe to harmony. I could go on, but I don’t think I could stop if I didn’t make myself.

I’m gonna tag @achairwithapandaonit, @banrionceallach, and @braddersbangerz

[sebeth]

Crisis On Infinite Earths #5

Warning, Spoilers Ahead…

 Psycho-Pirate’s master is very upset – he’s destroyed the two prime universes, murdered the Monitor, and he still isn’t able to level up!

The Monitor - via pre-recorded message – reveals the he used his death energies to create a netherverse that absorbed the Earth-1 and Earth-2 universes.  However, the two universes are merging and will cause the other’s destruction.

Alex Luthor (son of Earth-3 Lex Luthor and Lois Lane) reveals the Monitor left him with instructions to save the two universes.  The rapidly aging Alex is now a teenager.

The Flash and Red Tornado are prisoners of the mysterious master.  Psycho-Pirate abuses poor Barry out of sheer boredom.

Lana Lang for WGBS-TV reports on the current insanity of the newly-created planet. In one city, you have dinosaurs, Neanderthals, Viking ships, blimps, horse-drawn carriages, and buildings from the 30th century.  

Sinestro himself has a “What the hell?” look on his face – and he’s seen some stuff!

Alex Luthor and Harbinger have gathered an assembly of heroes and villains.  Big two page spread of the assembly.  We have the Legion of Super-Heroes, the Outsiders, Infinity Inc., the Metal Men, Cave Carson & his team, the Teen Titans, the Sea Devils, the survivors of Easy Company, Dr. Light II, Swamp Thing, All-Star Squadron, Ragman, Riddler, Captain Boomerang, Kamandi, Rag Doll, Star Sapphire, the Persuader, Elongated Man, Steel, Hawkman, Hawkwoman, Captain Comet, B’Wana Beast, Bir Sir, Solomon Grundy, the Mist, Aqualad, Tula, Lori Lemaris, the Blackhawks, Phantom Stranger, the Cheetah, Robotman, Per Degaton, Dr. Polaris, the Creeper, Cinnamon,  Monsieur Mallah, Phobia, the Legion of Substitute Heroes, Batgirl, Batman, Earth-2 Robin, Earth-2 Superman, Earth-2 Huntress, Wonder Woman, Green Lantern (John Stewart), Martian Manhunter, Celsius, Arion, Scalphunter, Green Arrow, Killer Frost, Firestorm, Deathstroke, and Plastic Man.

The main thing I love about George Perez’s artwork – the man is not afraid to draw a large group of characters.   The groups are never standing in straight formation either.  The characters are reacting and interacting.  A few examples:

1)      Easy Company is clearly freaked out by Swamp Thing.

2)      Beast Boy (Changeling) re-uniting with the missing Cyborg.

3)      Aqualad and Tula assisting Lori Lemaris.  Lori can’t stand because she’s a mermaid.

4)      Solomon Grundy is very annoyed.

5)      Couples are standing next to each other: Nightwing/Starfire, Brainiac 5/Supergirl, Lightning Lad/Saturn Girl, Bouncing Boy/Duo Damsel, etc.

6)      Elongated Man, Plastic Man, and the Metal Men are using their stretching abilities to great effect.

Lois Lane – also from WGBS-TV – interviews people on the street:  Tomahawk and Grixx of Ceti Alpha 6.   Poor Tomahawk doesn’t even know he what a television is – only moments ago he was fighting with George Washington’s troops.

Back to the assembled heroes.  Adding to the roll call:  Sargon the Sorcerer, Firehawk (the Western character), Black Orchid, Gizmo, Deadman, Gypsy, Penguin, Brother Blood, Validus, Jemm (Son of Saturn), Amethyst, the Warlord (Travis Morgan), Catwoman, the Atom (Ray Palmer), Jonah Hex, Vibe, Captain Cold, Earth-2 Wonder Woman, Ocean Master, Dolphin, and Black Canary.

We take a quick peek at Rann where Adam Strange battles monsters from the pre-historic era.

Superman steps up with the big hero speech: “Maybe I’m wrong talking for everyone but I will. Send us back. Let the doubters decide. But I promise you this, if we can save the worlds that remain, we will!”

The series has consistently shown Superman as the standard bearer of the DC Universe – the one you turn to when the end of the world is here. It has also demonstrated the struggles Clark has with the role: he has fears and vulnerabilities but has to ignore it and order to be the “shining light” for the other heroes.

A team of Green Lanterns, including Arisia and Katma Tui, arrive on Oa.  They discover the Guardians in stasis but are quickly taken out themselves.  

Lois Lane is attacked by a sabretooth tiger but is quickly saved by Earth-1 and Earth-2 Superman.  

Rip Hunters and his Time Masters are adrift in time.

Alfred and Jason Todd call for aid as Anthro, Embra, and a host of Neanderthals are invading Wayne Manor! Batman responds and he brings back-up. The back-up consists of Earth-2 Robin, Earth-2 Huntress (logical as they know the secret identity and are part of the family, Katana & Halo of the Outsiders (Batman’s team, also in on the identity), Nuklon (he’s trustworthy), Per Degaton, Kung, the Brain and Monsieur Mallah, Poison Ivy, Plastique, and Weather Wizard.  What?! Bruce is obviously not concerned about maintaining his secret identity at this point.

We have a brief panel of Batman putting his arm around Jason Todd’s shoulders. Jason is in civilian attire, not in his costumed identity. Earth-2 Robin (an adult Dick Grayson) is clearly looking at the duo with an unhappy “Who are you” expression. Again, George Perez – master of small details.

Unfortunately, my adorkable Anthro has no dialogue. The world is missing out on what would have been an awesome Alfred-Anthro interaction.

Starfire, Sun Boy, Firebrand, Firestorm, Polar Boy, and Killer Frost head to the Soviet Union to assist Red Star.  Killer Frost has reverted back to her lovable “I will kill you all” self.

Red Star refuses the aid until Starfire reminds him: “It’s our world. Please, we have to work together if we’re to save any of us.”

Red Star concedes: “Your words should be heeded by all. I apologize. You are right. Perhaps if we all survive, the politicians will remember this cooperation and build a better world for us all.”

Good luck with that!

Psycho-Pirate is still picking on my poor sweet Barry.  Meanwhile, the master is transforming the Red Tornado from machine into a primal force.

The Legion, The Justice Society, Zatana, and Sargon are attempting to combat the out of control weather only to discover that it’s being caused by the Red Tornado. Wildcat’s spine is shattered by a lightning bolt – he will never walk again.  We also get a quick two panel glimpse of Yolanda Montez.  Yolanda will become the second Wildcat.

The heroes and villains unite to save the universe.  Alex Luthor informs the group there are five universes that need to be saved.  

The master reveals himself to Psycho-Pirate and Flash:  Call me…the Monitor!”   A very corpse-like Monitor.

We end on Earth-X: “An earth where World War Two had continued for more than forty years.” AKA the home of the Freedom Fighters (Uncle Sam, Phantom Lady, The Ray, the Human Bomb, and Black Condor).  

So…Five Universes to save…

We have:

1)Earth One

2)Earth Two

3) Earth X

4) Earth F – Marvel Family

5) Earth C – Charlton characters – Blue Beetle, Captain Atom, Question, Nightshade

Earth One and Earth Two are DC’s golden and silver age characters. The remaining three earths feature characters from various comic book publishers DC bought out over the years: Charlton, Fawcett, Quality, etc.

[steamship-historical-society]

Sophie Tucker (1887-1966), pictured on board the Leviathan in 1925, was an international star of vaudeville, music halls, and later film, performing in both Yiddish and English in a career that spanned over 50 years. She was intrigued by the theatre, but her parents encouraged her to marry and settle in Hartford. In her autobiography Some of These Days, Tucker wrote that her mother believed “that marriage, having babies, and helping her husband get ahead were career enough for any woman. I couldn’t make her understand that it wasn’t a career that I was after. It was just that I wanted a life that didn’t mean spending most of it at the cookstove and the kitchen sink.” In 1907, Tucker got her first break in vaudeville, and after her audition, she overheard someone say, “This one’s so big and ugly, the crowd out front will razz her. Better get some cork and black her up.” Despite her protestations, producers insisted that she could be successful only in blackface. She became known as a “world renowned coon singer,” a role that she didn’t want her family to know she had taken. As luck would have it, one show her costume trunks were lost. She went onstage in Boston without blackface, declaring to the shocked audience: “You all can see I’m a white girl. Well, I’ll tell you something more: I’m not Southern. I’m a Jewish girl and I just learned this Southern accent doing a blackface act for two years. And now, Mr. Leader, please play my song.” Tucker felt that it was her economic independence that doomed her three marriages, all of which ended in divorce. As she explained it: “Once you start carrying your own suitcase, paying your own bills, running your own show, you’ve done something to yourself that makes you one of those women men like to call ‘a pal’ and ‘a good sport,’ the kind of woman they tell their troubles to. But you’ve cut yourself off from the orchids and the diamond bracelets, except those you buy yourself. Many view Sophie Tucker’s humor and raciness as a precursor of today’s strong female singers like Bette Midler who invokes Tucker in a portion of her performances under the persona “Soph.” Image from the Pickerill Collection, SSHSA Archives. (at The Steamship Historical Society of America) https://www.instagram.com/p/Buwqk2WhAAp/?utm_source=ig_tumblr_share&igshid=6jd71ef3s49s

[edgeofthedales]

darrowbyeightfive in response to this reblog (wouldn’t an alternate cricket outfit been lovely for the Fifth Doctor)

I’m not sure whether the trousers represent something that was popular at some time in the past. I always assumed that they had just made them up because they thought the stripes and colours looked nice. I believe that he cut of the trousers, with the high waist (as seen on Planet of Fire) is typical of Victorian or early 20th Century men’s fashion, although I don’t know enough about fashion history to be able to say this for sure. It seems a flattering sort of cut. I do remember when I was a kid, there were still elderly gentlemen around who wore high-waisted trousers and braces (suspenders). Most of them were considerably rounder in figure than Peter Davison!

I also like the trousers and the general colour scheme of Davison’s costume. I agree that there needs to be at least some element of eccentricity to make it Doctorish. Since he’s a gentler, less forceful Doctor who sometimes struggles to impose himself on the people they meet, he does need something with a bit more impact than just the cricket whites, now I come to think of it.  I did like the way that there just happened to be a cricket pavilion (with notices and what looks like other people’s gear) in the TARDIS. It’s so typically Doctor Who because (a) it’s totally way-out in the context of the story - who were all these other cricketers anyway, and what were all their notices about? and (b) the scene was probably filmed at the cricket club that one of the production team belonged to and cost next to nothing!

They do seem to have picked colours that suited him, and he probably was lucky to take the job not long after Brideshead Revisited had been really popular, because, as you say, he got a nice costume rather than some of the over-the-top 80s gear. Maybe the over-the-top stuff came later in the 80s. I do feel sorry for Colin Baker and his companions having to wear such garish outfits. I find Sylvester McCoy’s costume nicer, although I think the question marks on all three of their costumes are a bit silly. I much prefer it when the Doctor’s clothes look like an eccentric combination of human clothes, rather than a ‘costume’. It’s nice that they have gone back to this in the new series. My favourite Doctor costume is Jon Pertwee’s, with those fantastic velvet jackets and shirts.

Davison’s costume was better than the next two Doctors’ in this respect apart from the question marks and the fact that he and his companions never seemed to change for the first season! There is the inevitable “when did they (the characters) wash their clothes/didn’t they get smelly?” question, and I wonder whether the actors had multiple identical outfits, because they too might have got a bit smelly after spending several hours recording and running around under studio lights! I saw on a Sherlock making-of that Benedict Cumberbatch had three identical copies of his long coat, one of which was used for stunts, but I think the Sherlock budget must be a lot higher than the Doctor Who one in the 80s. So overall I do like Davison’s costume a lot but I just wish there had been a little more variation because it would have been fun to see him in other outfits too. I particularly like his coat and was really happy to see that it was authentic-ish. I would happily wear a coat like that myself and do actually have a winter coat that’s just a little bit like it and has red piping around the pockets and cuffs, although it’s dark blue rather than beige. It does have a lovely ‘swish’ (I realised some time after writing it that the ‘Tristan strutting around the TARDIS in the Doctor’s coat’ scene was based on me and how happy I was when I got my new coat!)  I even like the clown costume from Black Orchid that everyone else apparently hates, because Peter looked so cute as a kind of ‘Pierrot’ (was that deliberate, I wonder? Maybe there is a whole level of symbolism in Black Orchid!) and I thought it was amazing that they put pockets in it (what would have have done with his hands otherwise?).

I do wonder at times if part of the reason why he ended up with a more straightforward historical outfit was because he had been on some historical shows (the lesser known, Love For Lydia and the very well known ACGaS) and thus there was this subconscious decision to continue with that trend. Ok, that might not have been the driving reason behind the cricket costume, but I also doubt that it escaped anyone’s notice that Davison does look good in period dress.

I guess I would lump the Doctor having a cricket club in the TARDIS under the same file as the swimming pool. XD You never know when you might need alternate forms of exercise besides running down corridors....

But yes, I agree that the softer color palette suited him well (much like how the cream colored Fair Isle sweater is so lovely on Tristan) and those extra “dramatic” touches ensured that it remained Doctorish and not “the Doctor is on a weird cricket kick”. I mean, that seems strange to say, but I honestly think that making it a more bizarre cricket costume made it so that you didn’t always think of it as specifically a cricket costume....if that makes sense. XD

And yes, I always regret the costume they gave Colin especially for his Doctor. The Sixth Doctor is one of my two favorites (the other spot belonging to Patrick Troughton’s Second Doctor) and I get a little sad when people focus on that outfit first...and to the point of distraction from the depth of Colin’s Doctor.  McCoy’s outfit wasn’t at that level of eye-pain, but I still don’t know if his outfit “suited him” as much as Davison’s did for Five.

I guess I’ve always thought that the TARDIS made extras of everyone’s outfits. XD And that the laundry machine was going at all times.....

And I agree that the costume Five was given to wear in Black Orchid was great. I mean, it was the same muted colors as his normal outfit and were still flattering for Davison. 

And of course, they had to put in pockets for Davison’s hands. It’s an absolute must for his signature acting quirk. Although, the more I watch (and re-watch) ACGaS, the more I’m convinced that he might have gotten some inspiration for his trademark “hands-in-pockets acting” from elsewhere....

[frockflicksfeed]

(Classic) Doctor Who Historical Costumes: Black Orchid

I’ve looked at some of the best historically-set Tom Baker Doctor Who serials, and next up is what many call the last “pure historical” Doctor Who story. By that, they mean that there are no sci-fi or fantasy elements other than the Doctor and what he brings with him. That style of historical is was... Read more →

The post (Classic) Doctor Who Historical Costumes: Black Orchid appeared first on Frock Flicks.

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