#josephine lawrence

[garadinervi]

Shards, Facta est deserta, [from Byrd Song (2024)], (Digital track), Erased Tapes Records, 2023

Composer: Kieran Brunt Performer(s): Kieran Brunt and Hamish McLaren Publisher: Decca Publishing Design: Robert Raths

[mudstoneabyss]

i know ive said this 3 million ways before but if we dont get something combining Lubelle's interest in doubles (or possibly similar things a la whats up with Cecil and Kevin) with her association with Carlos to bring Charles into it then whats even the fucking point

[walrusi]

misc2

[pwmovz]

tag dump.

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛 ; brooklyn davis.

𝚙𝚊𝚒𝚛𝚒𝚗𝚐 ; brooke & leonard.

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛 ; ezra lindström.

𝚙𝚊𝚒𝚛𝚒𝚗𝚐 ; ezra & birdie.

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛 ; dorian rhodes.

𝚙𝚊𝚒𝚛𝚒𝚗𝚐 ; dorian & viviana.

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛 ; josephine montgomery.

𝚙𝚊𝚒𝚛𝚒𝚗𝚐 ; josephine & robert.

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛 ; indy kawaguchi.

𝚙𝚊𝚒𝚛𝚒𝚗𝚐 ; indy & lawrence.

𝚌𝚑𝚊𝚛𝚊𝚌𝚝𝚎𝚛 ; penelope wu zahara.

[ask-the-wyatts]

Introduction

Hello!

This is a TNMN ask and RP blog for two of my neighbor OCs: Josephine and Larry Wyatt.

{STATUS: OPEN! Feel free to send asks!}

This is Josephine Wyatt speaking. If you want to direct an ask to her, you can mark it with 📋

This is Larry Wyatt, son of Jo Wyatt speaking. If you want to direct an ask to him, you can mark it with 🐉

{This is Silver the mod speaking, you can find them at @silverserpent. Their marking is 🐍. Of course, alternatively, you can just say who you're directing your ask to.}

*These are actions or descriptions.*

*

Well, hello there!

My name is Josephine Wyatt, I am a new neighbor in the apartment. I was born in '22, I work as a secretary. I'm interested in mathematics and cryptography, along with literature. Feel free to ask me anything - within reason.

And I'm Larry Wyatt, her son! I am in seventh grade, and I also like books. My favorite right now is Lord of the Rings. Ask me things too, please.

Importantly: I am not interested in any advances, and Larry is thirteen. Refrain from that or you'll be swiftly blocked. {As in: Jo will not accept any shipping, and absolutely NO NSFW} {but I the mod would LOVE if you asked about her love lief :D}

*

I previously made a blog, but even before i started posting, someone took over.

Since then, we had a an opportunity to have a conversation. Since there's already a fair amount of posts by them on that blog already, we decided I'll make a new one for myself, and they will keep the old one. You can find it at @ask-the-doppelganger.

[onenakedfarmer]

Currently Watching

BUTTER ON THE LATCH Josephine Decker USA, 2013

[daisyjoners]

tag dump! nana’s version - pairings, parte dois.

[newyorkthegoldenage]

The 306 Workshop Group in front of 306 West 141st St., late 1930s.

The 306 Workshop Group, also known as the Harlem Art Workshop, was founded by artist Charles Alston. This group served to bring together Black artists such as Jacob Lawrence, Romare Bearden, Augusta Savage, and Langston Hughes, just to name a few. Located at 306 West 141st Street in Harlem, the Harlem Art Workshop provided these artists with both a meeting and work space. In the 1920s, Harlem became a coveted address. The neighborhood in New York City was synonymous with an outpouring of production in the visual arts, music, literature, theater, and dance that some began referring to the creative era as the Harlem Renaissance.

Famous artists of the Harlem Renaissance included: sociologist and historian W.E.B. Du Bois, writers Claude McKay, Langton Hughes, and Zora Neale Hurston, musician Duke Ellington, and entertainer Josephine Baker. These artists strove to express their racial identity and pride.

Jacob Lawrence, an artist of the Harlem Renaissance, believed his paintings were “a portrait of myself, a portrait of my community.” The community he grew up around included artist and mentor Charles Alston and leading philosopher Alain LeRoy Locke.

The people of Harlem and their rich heritage were constant sources of inspiration for Lawrence. The community experience—its triumphs and tragedies, its dreams and disappointments, its pleasures and humility, collectively forged by the Great Migration, the Harlem Renaissance, and the Depression era—lives on in his paintings.

Photo & text: Phillips Collection

[shivunin]

Grey Warden Scarf

(ID in alt text) Phew! I made it before the end of the year. This scarf was inspired by the Grey Warden armor in Dragon Age 2. It is made of acrylic yarn and measures about 7.5 inches (~19 cm) wide and roughly 8 ft (~2.7 m) long.

This one took the longest of all the Dragon Age scarves I've made so far, since the diamond stitch is worked over the previous row of stitches (and thus adds very little to the overall width). These photos also feature Lawrence, the helmet my husband made, who usually dwells in our living room but deigned to guest star for this happy occasion. I plan to finish my Leliana scarf next, since I finally got the right purple for it, and then Josephine c:

Other Dragon Age Scarves:

Cullen | Fenris | Morrigan | Leliana

[femina-amare]

Baby Names I Love

♡ Boys ♡

Abel — 'Breath'

Alexander/Aleksander — 'Defender of the people'

Alistair — 'Defender of the people'

Atticus — 'From Attica'

August — 'Great'

Estienne — 'Star', 'crowned'

Laurence/Lawrence — 'Shining one', 'bay laurel'

Maverick — 'Indepenent-minded'

Maxime — 'Greatest'

Micah — 'He who is like God'

Oscar — 'God's spear'

River — 'Flowing body of water'

Shepherd — 'Sheep herder'

Vass — 'Iron'

♡ Girls ♡

Delphine — 'From Delphi', 'dolphin'

Josephine — 'God will increase'

Magdalene — 'Woman from Magdala'

Marceline — 'Young warrior'

Marionette — 'Little Virgin Mary'

Monet — 'To be heard'

Nicolette — 'Victory of the people'

Winifred — 'Friend of peace'

Winslow — 'Friend's hill'

Wren — 'Small songbird'

[shewhoworshipscarlin]

Fredi Washington

Fredericka Carolyn "Fredi" Washington (December 23, 1903 – June 28, 1994) was an American stage and film actress, civil rights activist, performer, and writer. Washington was of African American descent. She was one of the first Black Americans to gain recognition for film and stage work in the 1920s and 1930s. Washington was active in the Harlem Renaissance, her best known role being Peola in the 1934 film version of Imitation of Life, where she plays a young light-skinned Black woman who decides to pass as white. Her last film role was in One Mile from Heaven (1937), after which she left Hollywood and returned to New York to work in theatre and civil rights activism.

Fredi Washington was born in 1903 in Savannah, Georgia, to Robert T. Washington, a postal worker, and Harriet "Hattie" Walker Ward, a dancer. Both were of African American and European ancestry. Washington was the second of their five children. Her mother died when Fredi was 11 years old. As the oldest girl in her family, she helped raise her younger siblings, Isabel, Rosebud, and Robert, with the help of their grandmother. After their mother's death, Fredi and her sister Isabel were sent to the St. Elizabeth's Convent School for Colored Girls in Cornwells Heights, near Philadelphia, Pennsylvania.

While still in school in Philadelphia, Washington's family moved north to Harlem, New York. Washington graduated from Julia Richman High School in New York City.

Washington's entertainment career began in 1921 as a chorus girl in the Broadway musical Shuffle Along. She was hired by dancer Josephine Baker as a member of the "Happy Honeysuckles," a cabaret group. Baker became a friend and mentor to her. Washington's collaboration with Baker led to her being discovered by producer Lee Shubert. In 1926, she was recommended for a co-starring role on the Broadway stage with Paul Robeson in the play Black Boy. She quickly became a popular, featured dancer, and toured internationally with her dancing partner, Al Moiret.

Washington turned to acting in the late 1920s. Her first movie role was in Black and Tan (1929), in which she played a Cotton Club dancer who was dying. She acted in a small role in The Emperor Jones (1933) starring Robeson. In 1933, Washington married Lawrence Brown, the trombonist in Duke Ellington's jazz orchestra. That marriage ended in divorce. Washington also played Cab Calloway's love interest in the musical short Cab Calloway's Hi-De-Ho (1934).

Her best-known role was in the 1934 movie Imitation of Life. Washington played a young light-skinned Black woman who chose to pass as white to seek more opportunities in a society restricted by legal and social racial segregation. As Washington had visible European ancestry, the role was considered perfect for her, but it led to her being typecast by filmmakers. Moviegoers sometimes assumed from Washington's appearance—her blue-gray eyes, pale complexion, and light brown hair—that she might have passed in real life. In 1934, she said the role did not reflect her off-screen life, but "If I made Peola seem real enough to merit such statements, I consider such statements compliments and makes me feel I've done my job fairly well." She told reporters in 1949 that she identified as Black "...because I'm honest, firstly, and secondly, you don't have to be white to be good. I've spent most of my life trying to prove to those who think otherwise ... I am a Negro and I am proud of it."[7] Imitation of Life was nominated for an Academy Award for Best Picture, but it did not win. Years later, in 2007, Time magazine ranked it as among "The 25 Most Important Films on Race."

Washington's experiences in the film industry and theater led her to become a civil rights activist. In an effort to help other Black actors and actresses find more opportunities, in 1937 Washington co-founded the Negro Actors Guild of America, with Noble Sissle, W. C. Handy, Paul Robeson, and Ethel Waters. The organization's mission included speaking out against stereotyping and advocating for a wider range of roles. Washington served as the organization's first executive secretary. She was also heavily involved with the National Association for the Advancement of Colored People, widely known as the NAACP. While working with the NAACP, Fredi fought for more representation and better treatment of Black actors in Hollywood because she was one of the few Black actors in Hollywood who had some influence with white studio executives. Aside from working with those organizations to fight for the rights of Black actors, Washington also advocated for the federal protection of Black Americans and was a lobbyist for the Dyer Anti-Lynching Bill, which the NAACP supported.

Despite receiving critical acclaim, she was unable to find much work in the Hollywood of the 1930s and 1940s; Black actresses were expected to have dark skin, and were usually typecast as maids. Directors were concerned about casting a light-skinned Black actress in a romantic role with a white leading man; the film production code prohibited suggestions of miscegenation. Hollywood directors did not offer her any romantic roles. As one modern critic explained, Fredi Washington was "...too beautiful and not dark enough to play maids, but rather too light to act in all-Black movies..."

Washington was a theater writer, and the entertainment editor for The People's Voice (1942–1948), a newspaper for African Americans founded by Adam Clayton Powell Jr., a Baptist minister and politician in New York City who was married to her sister Isabel Washington Powell. She was outspoken about racism faced by African Americans and worked closely with Walter White, then president of the NAACP, to address pressing issues facing Black people in America.

In 1952, Washington married a Stamford dentist, Hugh Anthony Bell, and moved to Greenwich, Connecticut.

Fredi Washington Bell died, aged 90, on June 28, 1994. She died from pneumonia following a series of strokes at St. Joseph Medical Center in Stamford, Connecticut.

[garadinervi]

Shards, Amen, amen, amen​.​.​., [from Byrd Song (2024)], (Digital track), Erased Tapes Records, 2023

Composer: Kieran Brunt Performer(s): Kieran Brunt and Hamish McLaren Publisher: Decca Publishing Design: Robert Raths

[claudia1829things]

"LITTLE WOMEN" (1970) Review

"LITTLE WOMEN" (1970) Review

It is very rare to find a British adaptation of an American novel. It is even rarer to find more than one adaptation. Louisa May Alcott's 1868 novel, "Little Women" must have been very popular with the BBC network. The latter had adapted the novel four times. Several years ago, I had seen the network's 2017 version. I thought it was the only version adapted by the BBC . . . until I had stumbled across the 1970 adaptation.

Set during the 1860s decade, "LITTLE WOMEN" told the story of the four March sisters of Concord, Massachusetts and their coming of age stories during and after the U.S. Civil War. With second daughter Josephine aka Jo serving as the story's main protagonist, the miniseries focused on the sisters' struggles with the family's diminished finances, their personal ambitions and especially their love lives. Early in the story, the March sisters become acquainted with their neighbor, one Theodore "Laurie" Lawrence, grandfather Mr. Lawrence and his tutor, John Brooke. Whereas third sister Beth develops a friendship with the elderly Mr. Lawrence, oldest sister Meg falls in love with Mr. Brooke, and the youngest Amy develops from a slightly vain and coddled child to a mature and self-assured young woman. As for Jo, the story focused on her development from a temperamental and stubborn girl, who learns to maintain her hot temper, navigate through her relationships with two men and adhere to her ambitions to become a writer.

Another surprising aspect of "LITTLE WOMEN" that I had learned was that it was the longest adaptation of Alcott's novel with a total running time of 225 minutes. This gave screenwriters Alistair Bell and Denis Constanduros to be as faithful to Alcott's novel as possible. Were they? Somewhat. The pair did take care to explore Laurie's volatile relationship with his grandfather - something that a good number of the other adaptations had failed to do. And it allowed glimpses into his growing relationship with Amy in Europe. Also, the early stages of Meg's marriage to Mr. Brooke ended up being explored, something that only the 2019 movie adaptation had repeated. I believe the miniseries did a very solid job of conveying these aspects of Alcott's novel.

But the miniseries left out Meg and Laurie's experiences at Annie Moffat's party. The miniseries also left out the sisters meeting with Laurie's English friends - something only the 2017 adaptation had included. Bell and Constanduros had changed the time period of Amy's near drowning at Walden Pond from the winter to either the spring or summer, allowing a rickety pier to send her into the pond, instead of thin ice. And it never touched on Amy's violent encounter with her schoolteacher over pickled limes. Did these aspects of the screenplay harm the production? Hmmmm . . . perhaps not. But I do feel that the miniseries' increased emphasis on the Lawrence men's relationship came dangerously close to overshadowing the March sisters' own relationships. I am relieved that the miniseries managed to focus somewhat on Jo's relationship with Professor Bhaer. However, I do have a problem with the sexist manner in which Constanduros and Bell had the professor viewed his future marriage to Jo. Whatever admiration Professor Bhaer had for Jo's writing skills seemed to fly out of the window in his anticipation of her being a good wife. Superficially, I had no problems with the brief focus on Meg and John's marriage, even if it could have been somewhat more thorough. But I believe it exposed what I believe was one of the miniseries' main problems.

"LITTLE WOMEN" did have its share of problems. Like the 1978 television adaptation, it is clear to see that it suffered somewhat from a low budget. If I must be frank, that seemed to be more obvious in this adaptation. Aside from Amy's near drowning at Walden Pond and some of European settings featuring Amy and Laurie, all other scenes had obviously been shot inside a studio. Very disappointing, considering a good number of BBC productions featured a mixture of interior and exterior shots. I found the actresses' makeup and hair - especially the latter - to be inconsistent and frankly, a big mess. Betty Aldiss' costume designs seemed solid enough, but not particularly earth shattering. Although the cast solely featured British performers, I believe a handful of them managed to handle American accents quite well - especially Stephen Turner, Stephanie Bidmead and Martin Jarvis. But despite their solid or excellent performances, the rest of the cast seemed to struggle maintaining one. And could someone please explain why three of the actresses who portrayed the March sisters seemed to be incredibly loud? Nearly every time one of them spoke, I had to turn down my television's volume. Some have explained these scenes featuring quarreling between the four sisters. They have even gone as far to claim this adaptation was the only one that featured the sisters often quarreling. Well, they would be wrong. Nearly every adaptation (I am not certain about the 1933 movie) of Alcott's novel featured quarrels between the sisters. So, this explanation does not strike me as a good excuse for the loud voices.

Judging from the previous paragraph, one would assume I have a low opinion of the majority of performances featured in "LITTLE WOMEN". Not really. Most of the performances featured in the miniseries struck me as pretty solid. Actresses Angela Down ("Jo"), Jo Rowbottom ("Meg"), Janina Faye (Amy) and Sarah Craze ("Beth") all gave solid performances and managed to capture the nuances of their individual characters in a competent manner. As I had stated earlier, I had a problem with most of them - with the exception of Craze - resorting to loud and histrionic voices in their portrayals of the March sisters at a younger age or in the case of Rowbottom, engaged in a heated quarrel. I thought Jean Anderson gave a solid performance as the stuffy Aunt March. Frederick Jaeger gave a very likeable performance as Jo's love interest, the intellectual Professor Friedrich Bhaer. And I believe the actor had a solid screen chemistry with Down. I really had a problem with actress Pat Nye, who portrayed the family's housekeeper, Hannah. Nye's handling of Hannah's American accent struck me as ridiculously exaggerated . . . to the point that her accent almost seemed Southern. Patrick Troughton, a talented actor in his own right, had more or less been wasted in his role as the family's patriarch, Mr. March. I do not believe he had spoken more than three to five lines in this production.

I can think of at least four performances that really impressed me. It seemed a pity that not one of them came from the four actresses who portrayed the sisters. Oh well. John Welsh has my vote as the second best version of Mr. James Lawrence, the March family's wealthy neighbor. I thought he did an excellent job of developing his character from a strict and curmudgeon guardian to a warm-hearted man who learned to develop a relationship with his grandson. Most portrayals of John Brooke, Meg's future husband, have never impressed me. But I must say that I found Martin Jarvis's portrayal of the character more than impressive. The actor was given an opportunity to delve more into Mr. Brooke's personality and he ended up giving one of the better performances in the miniseries. If given the chance to vote for the best performance in "LITTLE WOMEN", I would give it to Stephen Turner for his portrayal of the sisters' close friend, Theodore "Laurie" Lawrence. I suspect Turner had greatly benefited from Bell and Constanduros's script, which seemed more interested in Laurie as a character than the four leads. But judging from Turner's performance, I suspect his would have overshadowed everyone else's due to the actor's superb handling of the character. I also have to compliment Stephanie Bidmead's portrayal of the March family's matriarch, Mrs. "Marmee" March. Not only did I find her performance warm and elegant, but it also lacked the dripping sentimentality of the earlier versions and the heavy-handed attempts to make the character "modern" - relevant to today's movie and television audiences.

"LITTLE WOMEN" had its flaws. I cannot deny this. But I feel its flaws - which included a limited budget and some questionable American accents - were not enough to dismiss the nine-part miniseries as unworthy. I believe the 1970 miniseries proved to be a lot more solid and entertaining than some fans of Alcott's novel believed, thanks to Paddy Russell's competent direction, a damn good screenplay by Denis Constanduros and Alistair Bell, and a first-rate cast led by Angela Down.

[vintagestagehotties]

Round 1 is officially over!

Congratulations to the actresses who made it to Round 2!

Round 2 will begin on Saturday, May 4th

The winners of Round 1:

Maude Adams

Anna Maria Alberghetti

Julie Andrews

Angela Baddeley

Hermione Baddeley

Lauren Bacall

Olga Baclanova

Pearl Bailey

Josephine Baker

Lucille Ball

Anne Bancroft

Tallulah Bankhead

Theda Bara

Mona Barrie

Jessie Bateman

Polly Bergen

Claire Bloom

Mrs Patrick Campbell

Diahann Carroll

Lina Cavalieri

Helen Chandler

Geraldine Chaplin

Ruth Chatterton

Claudette Colbert

Constance Collier

Gladys Cooper

Katharine Cornell

Phyllis Dare

Zena Dare

Ruby Dee

Judi Dench

Stephanie Deste

Marie Doro

Geraldine Farrar

Maude Fealy

Edwige Feuillère

Susanna Foster

Trixie Friganza

Jane Froman

Eva Gabor

Zsa Zsa Gabor

Mary Garden

Greer Garson

Dusolina Giannini

Hermione Gingold

Dorothy Gish

Lillian Gish

Frances Greer

Mata Hari

Dolores Hart

Olivia de Havilland

Jill Haworth

Audrey Hepburn

Libby Holman

Lena Horne

Sally Ann Howes

Ethel Irving

Diane Keaton

Lisa Kirk

Eartha Kitt

Angela Landbury

Carol Lawrence

Vivien Leigh

Lotte Lenya

Beatrice Lillie

Bambi Linn

Gillian Lynne

Heather MacRae

Jayne Mansfield

Mary Martin

Jessie Matthews

Siobhán McKenna

Meng Xiaodong

Helen Menken

Ethel Merman

Cléo de Mérode

Evelyn Millard

Liza Minnelli

Rita Moreno

Odette Myrtil

Pola Negri

Julie Newmar

Nichelle Nichols

Maureen O’Sullivan

Aida Overton Walker

Anna Pavlova

Bernadette Peters

Lily Pons

Rosa Ponselle

Lee Remick

Diana Rigg

Thelma Ritter

Chita Rivera

Ginger Rogers

Lillian Russell

Rosalind Russell

Diana Sands

Lizabeth Scott

Maggie Smith

Emily Stevens

Susan Strasberg

Barbra Streisand

Yma Sumac

Inga Swenson

Laurette Taylor

Hilda Trevelyan

Monique Van Vooren

Fannie Ward

Ethel Warwick

Elisabeth Welch

Mae West

Anna May Wong

Diana Wynyard

Yoshiko Yamaguchi

[anonymousromanticpoet]

Miguel gets a pet. He doesn't tell Robby.

______________________________________________________________

It was a peaceful day in the Diaz-Lawrence-Keene household. Miguel and Robby had just gotten back from training.

"Alright, I'm going to go shower," Robby told his boyfriend, stepping into the bathroom and shutting the door. Then came the sound of the water turning on, followed by a startled, ear-splitting shriek.

Robby yelled, throwing open the bathroom door and emerging, soaking wet and hastily wrapped in a towel.

Miguel was lying on the bed, laptop open, headphones in, completely oblivious.

"Miguel? Miguel! Look what I found," Robby held up the glass, covered by a washcloth, that the California treefrog was currently confined in. The little amphibian gurgled a hello.

"What?" Miguel took out an airpod.

"This thing...this creature, was creeping on me while I was in the shower," Robby explained with a shudder. "You know anything about this?"

Miguel looked confused for a moment, then said, "Oh, him? That's José."

"José," Robby repeated. "Ok...you want to tell me what José was doing in our shower?"

Miguel shrugged. "I found him lying half dead in a puddle yesterday. He looked like he could use a warm bath, so I put him in the sink and gave him some dead grasshoppers to eat. He must've gotten out of the sink and decided he'd prefer a shower."

Miguel looked at his boyfriend and stated all of this like it was the most normal thing in the world.

"Uh huh," Robby nodded, unimpressed. "And you didn't think to tell me about this before I went to take a shower?"

"I thought he'd still be in the sink," Miguel said, still seemingly not comprehending the situation.

"There is frog slime on my shampoo bottles, Miguel. Frog slime. And it looks like he tried to eat my soap," Robby narrowed his eyes at the little green creature in the glass. José burbled out something that sounded like a chortle. "You see this? He's laughing at me!"

"It is kind of funny..."

"Is not!"

"You scream like a girl."

"I do not!"

A knock at the door interrupted their argument. Johnny Lawrence came in.

"What're you two arguing about? Robby, you're dripping water everywhere, go dry...why the hell are you holding a frog?" Johnny stopped, looking at José's beady little eyes peering out of the jar.

"Miguel, thought it would be a good idea to invite this little goblin into the house, and let him take up residence in our shower," Robby explained, glaring at his boyfriend.

"What? I thought he was cute," Miguel protested.

"Cute? Miguel, this thing looks like a slug with arms!" Robby exclaimed.

"Alright, alright, you two, cut it out," Johnny sighed. "Miguel, if you want to keep...José, could you keep him in a tank? Maybe not in the shower that you and Robby both use?"

Miguel nodded grudgingly. "Fine...I'll get him a tank."

A scream from the other room interrupted the conversation. Carmen came running from the other room.

"Johnny, there are tadpoles swimming in the toilet..."

"Miguel..." Johnny facepalmed.

"Guess José's a Josephine," Robby laughed. "Fine, she can stay in a tank in our room. But you owe me a new soap. And if I find her on the bed, I'm moving into the guest room."

[kevin--of-desert-bluffs]

Kevin and Cecil: doubles, counterparts, twins, some combination?

Reblog for exposure please!

Definitions, for and against arguments, explaination of last option:

Doubles. Definition: exact copies of the citizens of Night Vale and of Desert Bluffs which split from them during the sandstorm. Essentially a newly created clone whose looks, personality and memories were/are identical to each other. For example: Dana is not sure if she's the original Dana or the double, due to the exactness of the memories of being Dana right up to the point of seeing the other Dana. Every double is described as looking, sounding and acting identically to the person they're a double of be it Cecil or Kevin reporting. Lawrence Lavine (Larry Leroy's counterpart but not his double) details the sensation of suddenly feeling like he had two hands scooping sand until there was suddenly two complete versions of him. Evidence for: Both Kevin and Cecil describe a picture of the other sharing their physical likeness, even down to what the other is wearing in the photo matching what the speaker is wearing now (or, posesses at least). Their likeness in looks is also mentioned when they physically meet during the Strex arc. Neither of them spawn any other kind of double, despite the fact that people indoors did still spawn one (such as Dana, and the imagined alive version of Vanessa Kevin seems to insist on manifesting). Kevin says directly that he 'thinks he saw his double' when the two cross back through the vortex. Evidence against: Both existed before the sandstorm, so unless (likely Cecil) spawned a double when he was very young and that double was taken away and raised as Kevin, this is very strange. Cecil doesn't actually say he met his double when seeing Kevin in the vortex.

Counterparts: a term not mentioned in canon but which can be used to explain the relationship between two characters with similar but not necessarily identical names, lives, personality traits and roles/jobs as somebody from the other town. For example: Dana Cardinal/Dan Cardozo, Larry Leroy out on the edge of town/Lawrence Lavine out in the Edgertown Development, Old Woman Josie (full name Josephina)/Grandma Josephine, Pamela Winchell/Pablo Mitchell. The fact that they seem to have similar jobs etc hints that whilst being different people they have made similar decisions in life. Evidence for: Cecil and Kevin share a lot of the same likes and dislikes which is more obvious in the brief glimpses we get of Kevin from before Strex changed him, even Cecil comments on this in Triptych. They both have the same job (obviously). They both didn't experience a creation of a double, but did make identical decisions to go through the vortex showing more likemindedness without being the exact same person (possibly).

Twins: two children born at the same birth (according to Google, but we all know what twins are, right?). Evidence for: If Kevin and Cecil are just twins from a seperated marriage, it could explain why Kevin mostly remembers a dad and Cecil only had a mother and why they're physically identical and somewhat similar in other ways but still different even before Kevin's brainwashing. Kevin mentions having siblings, but his memory of his past is hazy. They could have been split when they were too young to really remember each other and Abby could have her own reasons for not wanting to tell Cecil about Kevin even after the Strex arc and Kevin coming to town.

Evidence against: Although Kevin briefly and unreliably mentions siblings, Cecil doesn't except for Abby. The grown Cecil from Casettes even explicitly says he doesn't have a brother (although he's technically talking about Cal here) which doesn't necessarily invalidate the other points but could do. It seems like something Abby would have mentioned to him at some point though regardless of any reasoning I can think of but people are unreasonable all the time.

Last option: We know there's many timelines and that Cecil is a constant in all of those timelines. If there can be a timeline which is identical except instead of Abby, Cal was born OR a mini version of NV which is now under the bowling alley then why couldn't there be a timeline where Cecil was favoured by a Smiling God and not Huntokar and was raised in DB as Kevin? In the newer episodes, Kevin, refreshed to a child by Carlos' meddling science, has no idea who he's supposed to be and is completely lost. I don't know if that's completely related to this theory but it is interesting.

Facts to possibly ignore for meta reasons: Kevin and Cecil having different names and voices.