#linked dicer

[midnight-art-mischief]

Work in progress Wolf Link inspired character for my Closed Species Art RPG Land of Crithit

https://www.land-of-crithit.com

[tenaciouschronicler]

Misattributed Quote Retrospectives 4

"April is the cruelest month, breeding lilacs out of the dead land, mixing memory and desire, stirring dull roots with spring rain." -American sports legend, Charles Barkley

A new quote, a new deepdive.

The Waste Land by T.S. Eliot is a central work of modernist poetry published in 1922.

The Waste Land is inconsistent in its narrative, style and structure. The poem shifts between satire and prophecy, and features abrupt and unannounced changes of narrator, location, and time. It actually alludes to alot of works considered classics in the west such as: Ovid's Metamorphoses, the legend of the Fisher King, Dante's Divine Comedy, Chaucer's Canterbury Tales, and even a contemporary song, "That Shakespearian Rag".

The poem is divided into five sections. The first, "The Burial of the Dead", introduces the diverse themes of disillusionment and despair. The second, "A Game of Chess", employs alternating narrations in which several characters display the fundamental emptiness of their lives. "The Fire Sermon" offers a philosophical meditation in relation to self-denial and sexual dissatisfaction; "Death by Water" is a brief description of a drowned merchant; and "What the Thunder Said" is a culmination of the poem's previous themes explored through a description of a desert journey.

Before the poem starts we get an epigraph, which is a quote, phrase or poem, that serves different purposes. These can be a preface, summary, counter-example or link to another work. Its in Latin and Ancient Greek from chapter 48 of the Satyricon of Petronius.

Nam Sibyllam quidem Cumis ego ipse oculis meis vidi in ampulla pendere, et cum illi pueri dicerent: Σίβυλλα τί θέλεις; respondebat illa: άποθανεῖν θέλω.

The original is untranslated however we do have the translation as follows:

With my own eyes I saw the Sibyl at Cumae hanging in a bottle and, when the attendants asked her what she wanted, she replied, "I want to die."

The quote we have is one of the more famous phrases and is the start of the poem and a part of "The Burial of the Dead". It describes spring as something to be dreaded, with the comforting static nature of winter giving way to the forcible activity of spring. I wont post the whole poem but I will post the first section of "The Burial of the Dead" so you can get a feel for the poem.

April is the cruellest month, breeding

Lilacs out of the dead land, mixing

Memory and desire, stirring

Dull roots with spring rain.

Winter kept us warm, covering

Earth in forgetful snow, feeding

A little life with dried tubers.

Summer surprised us, coming over the Starnbergersee

With a shower of rain; we stopped in the colonnade,

And went on in sunlight, into the Hofgarten,

And drank coffee, and talked for an hour.

Bin gar keine Russin, stamm' aus Litauen, echt deutsch.

And when we were children, staying at the archduke's,

My cousin's, he took me out on a sled,

And I was frightened. He said, Marie,

Marie, hold on tight. And down we went.

In the mountains, there you feel free.

I read, much of the night, and go south in the winter.

Eliot later regretted leaving notes for how his poem was supposed to interpret certain metaphors and allusions. This allowed broader interpretations- less as a work which incorporates previous Romantic ideals and more as a poem describing "alienation, fragmentation, despair and disenchantment" in the post-war period, which are considered typical features of modernist literature.

Thoughts

Reading this its obvious that, taking place in April, this story is going to go places we will not expect and will not be enjoyable (for the characters at least). Many things will occur that push them to change beyomd the comfort and stagnation of Winter. We have already seen echoes of T. S. Eliots disjointed style with Wandering Vagabonds pages literally being seperated from the main narrative. There may end up being others who will do the same.

[whimsykey]

anon was right and i’m gonna be ending my participation in this :/ it seemed cool at the start, i hope things improve and you take important feedback as the project grows cuz yeah internet safety and informing people about what the links they’re clicking on contain is pretty important.

QUID FUTUIS MODO DE ME STUPRI DIXERIS, FURCULA SCIS TE ME IN SIGILLIS SUMMO GRADUUM MEORUM, ET IN MULTIS EXCURSIONIBUS OCCULTIS IN IMPLICATUM ESSE, ET PER NECES CONFIRMATAS HABEO. EGO IN BELLICA CATUS SUM ET SUM SUMMO IN OMNIBUS COPIIS ARMATIS. NIHIL MIHI ES, NISI ALIUD SIGNUM. EGO TE IRRUMABO ADAMUSSIM DELEBO SIMILIA QUORUM IN HAC TELLURE NUMQUAM VISA SUNT, VERBA MEA STUPRI NOTA. PUTASNE TE POSSE IMPUNE CUM DICERE ME CACAS IN PENITUS COGITA ITERUM, FUTUTOR. DUM LOQUIMUR, ME CONTINGENTES MYSTERIA EXPLORATORUM PER ET RETIACULUM TUUM NUNC INVESTIGATUM EST UT TU MELIUS AD PROCELLAM VERMICULUM PARAS. PROCELLA QUAE MISELLAM DELEO REM PARVAM VOCAS TUAM VITAM. MORTUUS ES STUPRI, HAEDUS. ALICUBI ESSE POSSUM, QUISQUAM, ET TE PER SEPTINGENTOS MODOS NECARE POSSUM, ET NUDIS MANIBUS HOC MODO. NON SOLUM INERMIS IN CERTAMINE LATE EXERCITATUS SUM, SED ACCESSUM AD ARMAMENTARIUM TOTIUS HABEO ET EO UTAR AMPLITUDINE AD ABSTERGENDAM TUAM MISERAM ASINAM FACIEM CONTINENTIS, PARUM CACAS. UTINAM SCIRES QUAM IMPIAM RETRIBUTIONEM TUAM COMMENTARIUM PARVUM TUUM CALLIDUM IN TE DELATURUM ESSET, FORSITAN LINGUAM TUAM STUPRI HABERES. SED NON POTUISTI, NON FECISTI, ET NUNC PRETIUM SOLVES, INEPTE GODDAMN. FUROREM OMNEM SUPER TE EFFUNDAM, ET TU IN EO DEMERGES. MORTUUS ES STUPRI

[bestamazonstore]

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[iviarellereads]

The Great Hunt, Chapter 3 - Friends and Enemies

(THIS PROJECT IS SPOILER FREE! No spoilers past the chapter you click on. Curious what I'm doing here? Read this post! For the link index and a primer on The Wheel of Time, read this one! Like what you see? Send me a Ko-Fi.)

(Ruby-hilted dagger icon)(1) In which someone's coping mechanisms backfire magnificently.

PERSPECTIVE: Rand only runs as far as around the corner before seeing that the gate is, indeed, closed and guarded. He knows the guards, Ragan is friendly and Masema is his bad luck. Unfortunately, Ragan seems to want to let Rand out, but with Masema there, he won't risk it. Rand says he'll try one of the gardens, to escape the crowd, but really he goes to check the other gates, and finds them barred and guarded too.(2)

He finally has to admit defeat. He's trapped in the keep, with the Amyrlin Seat. He thinks she might have even sent the wind to trap him. He lets his feet take him anywhere he won't be expected, trying to avoid anywhere an Aes Sedai might be. He wonders if it wouldn't be better to be Gentled, get it over with. But no, everyone says they die soon after.

Rand feels watched. He wonders if everyone is watching him, if they'll remember seeing him when they're asked to find him. His skin prickles in an empty armorer's forge, he smells decay on a breeze and he wonders if the wind's come for him again. Eventually he finds a storeroom where Loial is watching some menials(3) play dice. Rand remembers the Ogier built Fal Dara, asks if Loial knows any way out. Loial points out that Ogier built Mafal Dadaranell but Fal Dara was rebuilt by people after the former’s destruction. Rand slumps against the wall, and Loial calls for Mat and Perrin, among the dicers, saying Rand might be ill.

One of the dicers protests that Mat can't back out when he's winning, and Mat subtly touches the dagger and says they'll have another chance to win it back. He notes Rand's clothes and says maybe he'll buy something fine, he can hardly touch dice without winning. Rand tells them all their clothes have been replaced free, and he needs to get out before the Amyrlin does something to him, because even Lan said it would be better for him not to be here. They don't understand, they still don't know he's a channeler, but he can tell them about feeling watched, and what the wind did.

Mat says Moiraine hasn't hurt them, and Rand thinks but doesn't say that something sure happened to Perrin's eyes while they were apart and Perrin's not saying anything about it. And if not for Moiraine Mat would never have taken the dagger that's killing him.

Rand turns the conversation back to wanting to leave. Mat asks, "How do we get out?" and Rand realizes they think they're going with him. Well, he uses pointed jabs and pushes them away verbally, telling them he doesn't want them along, he just needs to get out.(4) Mat, in the corruption of the dagger, gets defensive and angry. Perrin just gets sad and hurt.

Loial says it doesn't matter, they're all ta'veren anyway. Mat yells at him to stop talking about that, then storms off, Perrin following reluctantly. Rand gets angry at Loial and asks why he's still there, he's no use to Rand if he can't get him out of the keep. Loial looks almost angry.

Rand slumped against the stacked sacks of grain. Well, a voice in his head taunted, you did it, didn’t you. I had to, he told it. I will be dangerous just to be around. Blood and ashes, I’m going to go mad, and. . . . No! No, I won’t! I will not use the Power, and then I won’t go mad, and. . . . But I can’t risk it. I can’t, don’t you see? But the voice only laughed at him.(5)

The dicers all stare at Rand, judging him. They don't make a move, but he stumbles out of the storeroom like they're chasing him. He looks in all the storerooms, but everywhere he imagines hiding, he can also imagine someone finding him. Eventually he stumbles on Egwene and feels even worse than when he snapped at the boys.

He ignores the feeling and snaps at her that she should go moon over the Aes Sedai, now there are plenty for her to admire, and Egwene knocks him over and sits on him.(6) He threatens that she knows what he is and what he can do. She says he would never, he'd never hurt anybody, and besides, she knows he can't channel whenever he wants.

Egg knows why he's pushing everyone away: so he won't hurt them if something happens to him. But if he does as he should, then there's no reason for him to hurt anyone. Why is he lashing out at everyone and pushing them away and hiding when he doesn't even know if there's reason to fear, yet?

Rand tells her what Lan said and she thinks a minute before suggesting he hide in the dungeon. She goes there sometimes to talk to Fain, but nobody else bothers. He wonders why she talks to Fain, and she says she likes to talk about home, and the longer he's here, the more he seems to go back to himself again, telling funny stories and talking about Emond's Field. Rand remarks that if Moiraine dubbed it safe enough for Egg it’s safe enough for him, but from Egg’s reaction he realizes Mo doesn't know Egg is visiting Fain and gets angry at her all over again. Egg points out that Fain is caged, and she doesn't need permission for everything. He argues he could find it himself, but Egg counters that without her help, he’ll trip into the Amyrlin’s path and tell her everything while trying to talk his way out of it. Now, is he coming?

Egg takes off without waiting for Rand to agree, and he has no choice but to pick up his things and follow. The guards let them in without any real trouble, though they're ruder than any other Shienaran Rand's met, implying snidely that he’s a tame Aiel and all. Egg tells Rand privately that they seem to get worse every time she comes, Changu used to tell jokes when she came, but now he's barely letting them in before he slams the door shut behind them.(7)

When the approach Fain's cell, Fain feels Rand coming, and says so. He says some things that are reminiscent of Baa's dream messages. Then abruptly he turns, looks intently at a certain spot on the ceiling (in the fully pitch black space, except for Egwene's torch) and says Mordeth knows more than all of them.

Rand realizes that if not for the floors between, Fain would be looking directly at the women's quarters.(8) Egg notes that Fain is much worse than usual. It's not safe here after all. There's one place where nobody will look for him, it's harder to get him in, but the women's apartments will be the safest place for him.

Rand thinks you can't hide from hornets in the hornets' nest. Egwene says if he slumps and hides his weapons he'll look like he's carrying things for her, Not a problem. Rand refuses.

“Since you’re acting stubborn as a mule, you should take right to playing my beast of burden. Unless you would really rather stay down here with him.” Fain’s laughing whisper came through the black shadows. “The battle’s never done, al’Thor. Mordeth knows.” “I’d have a better chance jumping off the wall,” Rand muttered. But he unslung his bundles and set about wrapping sword and bow and quiver as she had suggested. In the darkness, Fain laughed. “It’s never over, al’Thor. Never.”

=====

(1) So, it seems fair to guess this is in reference to anything to do with either the dagger itself, or Shadar Logoth since it came from there. (2) So Rand is well and truly trapped, it's really only a matter of time before he's found. (3) I have unnameable feelings about seeing people grouped by their undervalued job. (4) He wants to protect his friends from the danger he thinks he poses, which… well, that's sweet of you, Rand, but they should get to make their own informed choices as to who they hang out with, dontcha think? (5) We saw hints of it last book, but the voice in his head really starts to become a separate entity here. Taint madness, or something else? Who's to say? Well, I could, but that's beside the point. (6) Fortunately, Egwene sees right through his prickliness and knows exactly how to deal with him. (7) That's some corrupting influence, huh? Whatever happened in Shadar Logoth, Fain is no longer just Fain. The corruption of Shadar Logoth is in him, and he's affecting the other prisoners and the guards for the dungeon just the same as the dagger affects Mat. Unfortunately for Mordeth, Fain was also a Darkfriend first, and had been corrupted physically by processes at Shayol Ghul in that incident three years ago. (8) What does he see? How?

[owlservice]

The assortment of cellular microRNAs (“microRNAome”) is a vital readout of cellular homeostasis, but the mechanisms that regulate the microRNAome are poorly understood. The microRNAome of glioblastoma is substantially down-regulated in comparison to the normal brain. Here, we find malfunction of the posttranscriptional maturation of the glioblastoma microRNAome and link it to aberrant nuclear localization of DICER, the major enzymatic complex responsible for microRNA maturation. Analysis of DICER’s nuclear interactome reveals the presence of an RNA binding protein, RBM3, and of a circular RNA, circ2082, within the complex. Targeting of this complex by knockdown of circ2082 results in the restoration of cytosolic localization of DICER and widespread derepression of the microRNAome, leading to transcriptome-wide rearrangements that mitigate the tumorigenicity of glioblastoma cells in vitro and in vivo with correlation to favorable outcomes in patients with glioblastoma. These findings uncover the mechanistic foundation of microRNAome deregulation in malignant cells.

Why?

[lodlinked]

Deus Ex Machina

At the last moment of the battle, what came across Luciella's mind was what Lucifer told her -Survival is the most important matter. She witnessed Michaella running in front of her and calling out her name. She did not let out a scream even after her body was totally shattered, because she was a war machine after all.

We were born to be a pawn for the war of the gods - that was the last word from Michaella. But where was the king responsible for the pawn? Why did Lucifer instill fear of death in me? Why do I have to feel this pain? She could not remove the feeling of a cold blade slashing her. Should I regret my ultimate fate he caused, the failure to survive?

Despair and regret surged up within her. She could realize that the cause of their defeat was disgrace and wrath against the god who had abandoned them, but her eyes could never open again as if they were sealed tightly.

Nothing will stop her rage when she is awakened for the second time.

Arthur: Where are we? This place looks new. I don’t see any monsters around here, too!

Armeria: This place… It’s filled with a strange energy.

Clara: I told you this tower is creepy. Are we going up by the way?

Arthur: Oh! There’s something over there!

Philip: This is… A book…! But it’s locked. 

Arthur: Hmm? It’s open.

Armeria: No, don’t touch it so recklessly! 

Restoring memory…

Luciella: I still remember the day I opened my eyes for the first time. Our father was behind the bright light and Michaella sleeping by my side. And one mission carved on our mind…

Michaella: Get rid of Gramaton in place of Sariel, the fallen archangel. That is our ultimate mission. 

Michaella: Anything that lies in the way must be destroyed and obliterated, even if it’s ourselves. 

Luciella: Aren’t you afraid, Michaella?

Michaella: Of what? What is there to be afraid?

Luciella: The future where you will never open your eyes again.

Michaella: I don’t understand what you are saying. Such feelings do not help me carry out the mission.

Luciella: Carry out the mission? What becomes of us afterwards?

Michaella: …?

Luciella: And that was the cause I had.

Luciella: What’s going to be left for us after the war?

Luciella: We are merely pawns designed by our father. The false god who came down on a machine to resolve the twisted reality.

Michaella: At that precise moment you made a crucial mistake because you were seized by the fear of death. I witnessed you fall as my eyes glazed over.

Luciella: Oh Lucifer! Why did you inscribe fear on me?

Luciella: Why would you give me such disgrace?

Luciella: If I open my eyes again in the remote future, I swear that I’ll…

Storing memory…

Arthur: This is…?

Clara: Could it be the memories of Dicers?

Philip: It seems not every Dicer had participated in the war of the tower. 

Armeria: Who was that girl by the way? Is there something we haven’t unveiled?

Armeria: Maybe we can find out more if we find other Dicers’ sealed memories! 

Arthur: Interesting! This tower is filled with so many secrets! 

Philip: Don’t let your curiosity ruin everything, Arthur. 

Clara: But who knows if they have the information of the hidden treasure? 

Armeria: Right! Or we can possibly find the clue to Erakis!

Philip: More likely the clue to the top of the tower. 

Arthur: Whatever it is, let’s go find them!

[losononessuno]

https://dantebus.com/concorsi/opera/200503

Mi farebbe molto piacere se mi aiutaste a far salire questa mia poesia, anche io come voi sono un ragazzo di 24 anni che è stato ferito diversamente da molte persone ed in questo brano mi medesimo parecchio, spero vi possa piacere.

Non vi costa nulla aprite il link e premete su vota, ve ne sarò molto grato ❤️‍🩹

Nel frattempo giù vi lascio il testo sia in dialetto napoletano che in italiano

O’ Core

Si o putisse sentere e parlá, stu core mio

quanta cos te vulesse dicere,

annascuse dall uocchie tuoje,

ca so cultellate p chest anema mia,

e ij cchiu vicino a tte, tra sti braccia toje

me cunsolo e trov piacere.

Pur si m’accire e me faje male

tu pe mme si na cosa carnale

E comme a mme tu o saje

ca a chiustu core fragil

Tu nun to scuord maje.

N’avimma passate tante

E o saje che nun è stat semplice

Quand p turná a rirere

T faceva mal pur o core

Pcché nun può annasconnere chell ca tien dint

E o daj a vre, e chest te fa sta buon

Può pure continuá a pazziá

Tant nun sent niente cchiu, stu core.

In italiano

Il cuore

Se potresti sentirlo parlare, questo cuore,

quante cose vorrebbe dirti

nascosto agli occhi tuoi

che sono coltellate per la mia anima

ed io, più vicino a te , tra le tue braccia

mi consolo, e trovo piacere.

Anche se mi uccidi e sento dolore

tu per me sei una cosa carnale(che fai bene al cuore)

e tu come me, lo sai

che questo cuore fragile

non può dimenticarti.

Ne abbiamo passate tante,

e lo sai che non è stato semplice,

quando per tornare a sorridere,

il cuore ti faceva ancora male,

perché non puoi nascondere le cose che hai dentro,

e lo fai vedere, perché ti fa star bene.

Puoi anche continuare a giocare,

tanto non sente più niente, questo cuore,

[shallyne]

Feysand Month Day 31: Holiday

grateful for you

Last day, more fluff and a new family member! + a little bit of Elriel

Words: 1,544

TW: none

Feysand Thanksgiving family fluff

Feyre watched her husband as he got ready for the day. And as she emptied her Capri Sun, Rhys met her eyes through the mirror. When he saw that Feyre was already watching him, he smirked. "Like what you see?" Feyre chuckled as she thew the empty pack in the trash. "I can't complain." she said. Rhys smiled as he grabbed his shirt.

"Wait!" Feyre said. Rhys turned around, waiting for Feyre to say something. She didn't. She watched him as he stood before her, shirtless, and then she sighed. "Okay, continue."

Rhys laughed "Or we could stay-"

"Nah-uh!" Feyre interrupted him, shaking her head. "We promised Elain we would be earlier there to help for the Thanksgiving preparations."

Rhys stepped closer. "And what do you want to help? You can't cook, Feyre darling. Actually I am very sure that Elain wants you far away from her kitchen."

"Rude." Feyre huffed "I can still slice vegetables!"

Rhysand crouched before her, taking her hands. "Feyre, love of my life, the last time you tried to help slicing vegetables we ended up in the emergency room."

"First of all, we had really tasty pizza after-"

"-that we ordered."

"Doesnt matter, we got a great meal because of me." Rhys snorted. "And second, I am a great vegetable slicer. Some people call me a vegetable slicing...machine."

"Oh my god." Rhys murmured. "Feyre-"

"I am known as the nicer dicer in some circles."

"You're a hazard when you have a knife in your hand." Rhys said, grinning. "I am sure there are horror movies about you!"

"Rude." Feyre repeated.

"These hands..." Rhys said, holding her hands up and kissing both before he said "...are made to hold a paintbrush. Not a knife."

"Actually, you're wrong. I can hold both, I have two hands." Feyre said. Giggling when Rhys rolled his eyes. She put her arms around him and kissed him on the cheek. "You'll see."

"I don't doubt it." Rhys said. "I am scared to see it."

Feyre laughed and stood up. "Get ready!"

Feyre already put her shoes and her coat on as she waited for Rhys. She smiled at him when he did the same and they finally were on the way to Elain.

As they sat in the car, Feyre turned up the music like she always did. Rhys smiled as she did so. They drove mostly in comfortable silence until they drove past a meadow and Feyre excitedly said "The sheep are out!" she quickly got her phone and took a picture.

Rhys laughed. "How often do we visit Elain?"

"Too often to count." Feyre answered.

"And you get excited everytime we drive past sheep." he said, smiling.

"Does it bother you?" Feyre asked.

"No." Rhys answered. "I love it."

Feyre grinned and pressed a quick kiss to his cheek.

It didn't take long until they arrived at Elains and Feyre ran to the front door, excited to see her sister again after three months. She turned around, waiting for Rhys. "Come!"

"I'm getting the wine!" Rhys said as he closed the door of his car. In the same moment the front door opened and she stumbled into Azriel. "Oops!" Feyre laughed. She hugged her brother in law as greeting. "Hello!"

Az chuckled. "I'm also happy to see you."

Feyre snorted "Where's Elain?"

"I'm here!" Elain said behind Azriel, who made space for Feyre to greet her sister. They hugged each other and Feyre said "I hope you're ready to tell me all about your trip."

"I hope your ready to listen to it all, I have a lot to talk about." Elain laughed and they linked arms as they went to the kitchen. She heard Rhys and Azriel talking about something.

"So, where do you need me first?" Feyre asked. "I am ready to slice vegetables like no one ever sliced vegetables."

"Actually-" Elain started but then Azriel and Rhys entered the kitchen. Rhys greeted Elain while Azriel put the wine away.

"Actually?" Feyre asked her.

Elain grimaced. "I don't need your help in the kitchen. Rhys is going to be enough help."

"I can do it for Rhys." Feyre answered. "He can sit down and relax. You know. Because he's working so hard, already."

"You work hard, too. And I made you a drink-" Elain said, pressing a glass in Feyres hand and pointed to the couch in the living room. "How about you sit down and I tell you all about my trip while we prepare the turkey?"

Feyre sighed. "I was excited to help you."

"And I am incredibly grateful for that!" Elain said, putting hand over her heart. "I don't want you to hurt yourself again."

"That was one time." Feyre murmured.

"You know that's a lie." Elain said softly. "I also need you later, for the table decoration."

"You know THAT is a lie." Feyre said, taking the drink and walking towards the couch. Elain never needed her help for decorating. She was way better at it than Feyre. Feyre and Cassian were actually forbidden to decorate since they tried it a few years ago. Drunk. "I can't believe you let Rhys help but not me. He manage to make a toaster burst into flames."

"That toaster was broken!" Rhys responded.

Feyre shrugged. "That toaster was perfectly fine until you touched it." Although Feyre could only see Rhys's back, she knew he was rolling his eyes. They had this talk a lot of times since the toaster incident.

"Maybe you should both keep away from kitchens, there shouldn't be so many fires." Azriel said and Elain giggled in response.

"At least I never burnt soup." Rhys answered and Feyre could hear the smirk as he spoke.

"At least I am trying to cook for you." Feyre responded, taking a blanket from the back of the couch and covering her legs.

"We can order takeout." Rhys answered.

"That's too expensive over time." she countered. Rhys looked over his shoulder. "We can afford it."

"Why should we when I can make a meal at home?" Feyre asked him. Elain looked between her and Rhys.

"To keep our home pretty and unburnt."

Feyre snorted. "You act like I am trying to burn our house down on a weekly basis."

"You know that's not what I mean." Rhys replied.

Feyre just huffed and took a sip of the drink Elain gave her. It was pretty good, honestly. She placed it on the low table in front of her and leaned back. She watched as Elain, Azriel and Rhys worked in the kitchen. Her eyes growing heavier the longer she watched them until she couldn't even understand what they were talking. Their voices becoming a background noise as Feyre drifted away in a dreamless sleep.

"Feyre." someone tapped her softly. "Feyre darling." she opened her eyes, looking at Rhys. He smiled softly at her. Feyre looked around. Somehow she was laying on the couch now, the blanket covering her fully. "Hm?" she asked.

"You fell asleep, love." Rhys said quietly. "I'd let you sleep but the others are arriving soon."

Feyre looked out of the window. It was already getting dark. "How long did I sleep?" she asked, sitting up. Rhys helped her and answered. "Maybe five or six hours."

"You let me sleep that long?" she asked him.

"You barely slept last night." he answered. Feyre groaned and leaned her head on his shoulder. "I'm still tired." she whispered.

"I know." Rhys answered. "We won't stay long, I know how exhausted you are."

Feyre nodded as she rubbed her eyes when the scent of all the food hit her. Especially the turkey. "It smells good."

Rhys chuckled. "It does." he looked at her, worry still dancing in his eyes. "Maybe we should tell them-"

"No." Feyre answered. "Not yet, it's too early. I can't-"

"I know." Rhys said. He smiled up at her. "I just thought it might make sense if anyone is asking why you're always so tired but we tell them after the next appointment like we already planned."

Feyre nodded, placing a hand over her belly. Rhys eyes wandered to the drink that Elain gave her that morning. "Don't worry." Feyre said quietly. "Elain is the only one who knows, there wasn't alcohol in it."

Feyre folded the blanket as Rhys nodded. "I know, I know."

She laughed. "I can't wait for the food, I'm starving."

"Your starving? I can get you a snack-" Rhys stood up but Feyre catched his wrist. "Calm down you motherhen, I don't want a snack. I can wait until dinner."

"I thought you're hungry." he said.

Feyre smiled and kissed him. "I love you."

Rhys sighed smiling. "I love you, too."

To Feyres delight it didn't take long until the whole family was there and they could finally eat. As they said their prayers and what they were all thankful for, Feyre met Rhys's eyes. "I'm very grateful you." she whispered as Cassian loudly explained how grateful he was for Elains pie. "And for the little pumpkin."

Rhys smiled and kissed her cheek. "I'm really grateful for you and the little pumpkin, too."

She squeezed his hand under the table and laid her head on his shoulder as they listened to Cassian.

Taglist: @reverie-tales @unofficialfeysandmonth2022 @feysand-month @elentiyawhitethorn

[bluewhale52]

Dopegirl.com

Summary: Someone is a big fan of Cypher Pt. 2

Pairing: Yoongi x camgirl

Rating: Mature, NSFW. No minors allowed.

Genre: idol!au, camgirl!au

WC: 1.7k

Warning: OC is a camgirl, voyeurism, masturbating (f and m), use of a toy, cursing

Playlist: Cypher Pt. 2 (obviously)

A/N: I dont’ know where this comes from, all I know is that Cypher Pt.2 just brings out the inner hoe in me. Also this is my submission to @btscreatorscorner summer games (Song challenge).

“Joon, what did you send me?”

Namjoon looks up from his phone and grins. “Just check it out, Hyung.”

Yoongi looks suspiciously at his phone. “This isn’t one of your questionable links, is it? Do I need to back my phone up before I click it?”

“Geez, Hyung, that was just one time and it was years ago.”

Yoongi narrows his eyes. “Just making sure.”

“Oh,” Namjoon suddenly remembers, “I suggest you put on your headphones when you, um, enjoy it.”

“Now I’m really worried.” Yoongi sighs.

@

Yoongi plops down on his bed. He should be tired after practice and rehearsal, however the adrenaline is still high and he finds himself unable to sleep. He grabs his phone and starts mindlessly looking at cooking videos. Normally it makes him sleepy but tonight, he is feeling especially restless.

Then he remembers the link Namjoon sent him earlier.

He opens the message and for the first time, he reads the URL.

www.dopegirl.com

He tilts his head; there is an odd familiarity about the name.

“What the hell,” he mumbles, tapping the link.

A browser window immediately opens and he is taken to your page. It’s just a dark blank page, but for an embedded video screen in the middle. He scrolls up and down, finding no information whatsoever about the page. How mysterious. He really hopes Namjoon isn’t trying to infect his phone with viruses.

Yoongi’s eyes move to the video. It’s dark, but for the luminous play icon in the middle, taunting him. A thought briefly crosses his mind, to close the browser and go to sleep, but he is in too deep now. His curiosity is piqued, he knows he cannot not find out what the video is all about.

He presses play.

Static fills the screen, and slowly a music beat starts, echoing in the background. Yoongi immediately recognises it as the opening beat for Cypher Pt.2.

The moment J-Hope’s verse comes on, the static disappears to reveal you, naked on a plain bed. The camera angle is such that your face is not visible; only your legs and the part in between, and the peaks of your nipples are in view.

우린 일곱 마리 늑대, 함성이란 양들을 몰이 We’re seven wolves, herding the sheep that are the applause

지금부터 보이는 고장 난 랩들 견인해가지 We tow away the broken raps we see from now

우린 계속 진격, 비트 위의 거인 We keep advancing, a giant on the beat

You are writhing along to Hoseok’s voice, your hands travelling up and down your body, before resting on top of your nipples, plucking them. A particular hard tug elicits a moan that Yoongi hears loud and clear amidst the rap. One of your hands reaches out of sight, only to return with a vibrator. Yoongi is hypnotised.

난 랩 와이퍼, 완전 싸이코 I’m rap wiper, a total psycho

내가 다이서라면 임마 난 다이스 다 있어 If I were a dicer, hey, I would have all the dice

Your legs open up right on time with RM’s first words. Both your hands reach down, one to part your folds, the other to place the toy on your sex. Your body jerks up at the first contact, your gasp loud enough to mingle erotically with Namjoon’s rough voice.

히히하하 뛰뛰빵빵 시속 300 나가

Heeheehaha beep beep, I go at the speed of 300km/hr

Your back arches as you run the vibrator along your slit. Your legs keep parting wider and wider, as your moans get louder. Yoongi gulps. He has gotten hard and he cannot resist anymore. Keeping his eyes glued on his phone, he shuffles to pull down his pyjama pants, freeing his erection. He wraps his fingers around it as you insert the tip of your vibrator in.

“Fuck,” he groans, at the same time as you whine at the breach.

You start to pleasure yourself with the toy, your legs in an erotic V for your viewers’ vouyeristic enjoyment. As RM’s rap picks up, so does your hand, and Yoongi strokes himself faster, keeping in rhythm with the pace of your wrist.

I’m da king, I’m the god so where ma emperors at?

I parachute on my Neverland,

I’mma peter pan, so this will never end

You know when I ride on my G5 you sit first class and satisfy and I keep giggling

You plunge the vibrator in, your body jerks almost violently, your other hand gripping your thighs so tight your fingernails leave marks. Your hand then freezes, leaving your sex pulsating around the toy, squeezing out your juices down to the sheet underneath you.

Yoongi has to stop stroking, he has subconsciously decided he will only orgasm along with you. He squeezes the base of his shaft, half smirking when you pull out your toy and your body shudders at the edging you give yourself. He imagines you are breathing heavily, your breasts heaving beyond your shaking legs.

누구 때문에? 제이홉 때문에 Because of whom? Because of j-hope

누구 때문에? 랩몬 때문에 Because of whom? Because of Rap Mon

다시 누구 때문에? 슈가 때문에 Again, because of whom? Because of SUGA

우리 셋이 모여서 새 시대를 외쳐 Three of us, gathered, shout the new generation

Yoongi’s part is next, and you are so whiny now, your lusty moans sound more desperate. He somehow knows you have been working yourself to his verse. There is a sick sense of pride blooming in him that you are pleasuring yourself to a song he co-wrote.

Your free hand releases your thigh, the marks your nail leaves on your flesh are so red and raw he cannot take his eyes off of them. He is gripping his phone tightly, his veins blue against his pale skin. His breath catches when he hears a whisper from you the moment his own verse starts.

Did you just moan his name?

Yoongi suddenly remembers Namjoon’s advice. He pauses the video then scrambles to get his AirPods from his desk, then he kicks off his pyjamas pants completely. He has half a mind to ensure the Bluetooth is connected properly, before he turns the volume all the way up. Sitting back on his bed, with his fingers back around his shaft, he rewinds the video and presses play.

내 도메인 dopeman.com My domain is dopeman.com

마이크로 여럿 혼냈지 I scolded many with my mic

언행은 족쇄 같어 Your speech and actions are like shackles

내 죄명은 혀로 폭행 The name of my charge is “assault with tongue”

“Fuck,’ he breathes out as he throws his head back against the headboard. He did not hear wrongly, you did moan out his name. It was such a soft whisper, but so sensual that it burns his body even more. He feels his climax coming again, and gritting his teeth, he holds it at bay. He forces himself to slow down and levels his breathing.

The vibrator returns to assault you. You shove it right in and Yoongi swears he hears a squelching sound when you do so. He has never been so envious and jealous of an inanimate object. You continue to pump yourself, your pace matching Suga’s flow and rhythm in the track.

Yoongi licks his lips. He does not miss the way your thighs fell sideways to open yourself up to your viewers. He does not miss the little shakes that jiggle your flesh. He definitely does not miss how your moans getting louder by the second, and how he wishes you would say his name again.

니 여친도 홀리는 내 목소린 좀 꼴림 My voice, which bewitches even your girlfriend, gets them horny

There it is, Yoongi gets his wish. You WHINE out his name, and he groans, wanting to close his eyes to fantasize himself being there, replacing that vibrator with his own shaft. Fuck, he’d even please you on camera if that was what it would take. But he forces his eyes open, focusing on your ministrations you are doing to your own body and the carnal sounds coming out of your sweet mouth.

Your hand is moving faster pumping that stupid toy into you. He knows it, he can feel it, you are working to get to your release at the same time as his rap climaxes. He pants, the anticipation builds more and more pressure in his sack.

내가 어디까지 가나 봐라 Watch how far I go

썩은 뿌릴 싹 다 갈아엎어 I plow the rotten roots out completely

“Aaah, Yoongi!”

Fuck, fuck, you sound so fucking whiny, calling him like that. 

“Cum for me, come on,” he eggs you on. It is getting to the best part, the part where ARMY cheers the loudest and his brothers hype him the most on stage. Now it is also the part where you are going to reach your ecstasy, because of his rap, and his name your only chant of lustful bliss. Fuck.

“Yoongi! Yoongi!” Your other hand goes to rub your sensitive button viciously as you wail his name over and over,

“That’s it, cum for me, cum.” He orders you with a firm voice, but his hand is shaky. He is stroking himself fast and hard, the liquid leaking out from his tip providing the lubricant and he pretends it was your juices instead.

아껴 쓰고 나눠 쓴 flow를 받아쓰고 또 그걸 다시 쓰는 너 You, who uses someone else’s the flow that was used frugally and shared and yet again reuses it

hey beat 쪽 팔린 줄 알어 너 Hey bitches, you should know your shame

Your shriek fills his ears as you finally tip over. Your hand that is holding the vibrator stops pumping, but Yoongi is certain your inner walls are pulsating wildly around the toy. Your body convulses, your legs kick out a few times, and it is at the loudest and final scream of his own name that Yoongi finally lets go.

He does not know how, but he keeps his eyes open and on you as white liquid spurts and stains his tshirt. He pants as he watches your hands crumple to your sides, and your legs shudder. And your toy, shiny and slick from your fluids, rolls off to the end of the bed. He can hear you breathing shakily, recovering from the short but intense orgasm. He tugs himself, squeezing out his own release to the last drop. The song is drawing to the end.

난 니 음악의 커리어 동맥에 마침표를 그어 I draw the period onto the artery of your music career

“Fuck, Yoongi.” You breathe out, followed by a sweet chuckle, making it Yoongi’s turn to whine.

Then the video goes back to black.

@

Thank you so much for reading!! Did you enjoy it? If so, please reblog! Reblogs would bring this fic to a wider audience and it would mean the world to me!

💜💜💜💜💜💜💜

Song translation from doolsetbangtan.  Published on 25062021.

the SEQUEL is finally here >> dopegirl.com/theauction

[midnight-art-mischief]

This Dicer is available to win in a raffle!

Ends July 1st

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Send a claim on site with links to the posts and earn up to 3 entries!!

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[unscharf-an-den-raendern]

Spam-Analyse: Regina will mir einen Messerschärfer verkaufen

Heute hatte ich diese Mail von Regina Bünsdorf im Spam-Order. Beziehungsweise von Regina Qzsbakkbunstorf

Wer auch immer diese Adresse eingerichtet hat, hatte wohl einen schlechten Tag bei der Arbeit. Oder hasst seine Arbeit. Verständlich.

Die Domain alexparen.com führt auf eine “Under Maintenance” Seite.

Und auch in dieser Mail gibt es versteckte random Wörter. Perfekt für die nächste Runde Galgenmännchen! Demoskopenhysterie errät bestimmt niemand!

Überraschenderweise führt der Link wirklich zu einem Messerschärfer. Haben die schon mal beim Teleshopping angefragt, die verkaufen doch nur so Zeug? (Kaufen Sie jetzt den neuen Nicer Dicer Plus!)

Die Leute in den Amazon-Rezensionen (dort kann man das Ding nämlich auch kaufen), sind nicht so begeistert.

Merke: Wenn eine Firma Spam-Mails verschicken muss, damit überhaupt irgendjemand ihr Produkt kauft, kann man sich zu 99% sicher sein, dass dieser Produkt absoluter Müll ist und.

Außerdem kann man nur mit Nachnahme zahlen. Merke: Wenn du in einem Shop nur mit Kreditkarte oder Nachnahme zahlen kannst, solltest du dort eher nicht bestellen - außer es ist der offizielle Kraftwerk Fanshop der ironischerweise im Jahr 2021 immer noch keine anderen Zahlungsoptionen anbietet.

Und hier kann man sehen, wer wohl wirklich dahinter steckt: Nyugta und Szalma sind Ungarisch für “Quittung” und “Rechnung”.

Kommen wir zurück auf diese angebliche “Under Maintenance” Seite. Dort findet man diesen Link versteckt:

Auf den man leider nicht zugreifen kann, weil die Seite nicht erreichbar ist. Was ist das für eine Liste? Warum ist die da? Was steht da drin? Knapsport ist bzw. war ein slowenisches Sportgeschäft. Ihre Domain ist nicht mehr erreichbar und ihr letzter Instagram-Post war am 24. August 2020. Wer bist du Knapsport-Server? Was hast du gesehen?

Gut, immerhin gibt uns die Under Maintenance Seite einen Aufschluss:

“Bulk email marketing” meinten Sie “unerwünschte Spam-Mails”?

Ich bin mir ziemlich sicher, das ich den “Newsletter” damit nicht abbestellt, sondern bestellt habe. Ja, bitte schickt mir noch mehr Werbung für billige Produkte, die nach drei Mal benutzen auseinanderfallen!

[aion-rsa]

BBC/Netflix Dracula’s Behind-the-Scenes Set Secrets

https://ift.tt/3eYLfrL

Contains Dracula episode 1-3 spoilers

Bela Lugosi’s aside, Castle Dracula can often be a let-down, says Arwel W Jones. Tasked with creating his own take on the Transylvanian fortress for 2020 three-part adaptation Dracula, the production designer rewatched countless versions of the story. “You’d see this magnificent castle from afar, and then, due to budget restrictions I assume, you’d end up disappointed by the interior. As you get closer to the front door and the entranceway, it always tended to be a slightly smaller deal.”

For the BBC/Netflix series written by Steven Moffat and Mark Gatiss and starring Claes Bang in the title role, Jones had to make the castle a big deal. “Scale was one of my mantras. I wanted to convey the scale of the castle, to give a sense of awe, and then for it to carry on inside with a feeling of unease.”

The exteriors were already there, thanks to filming at Orava Castle in Slovakia, a location for 1922 silent film Nosferatu. Inside, it took a monumental dragon-shaped staircase, candles in their thousands, skulls, taxidermy, and some extremely clever design work to conjure up the vast and unsettling world of the Count.

Unveiling Easter Egg secrets and tributes paid to other famous screen horror, as well as one or two links to Gatiss and Moffat’s Sherlock, here’s how it was done…

Celebrity Portrait Artist

Mark Gatiss is a man of many talents. The co-writer of Dracula and actor behind Frank Renfield (the Count’s thrall and, in this version, lawyer), is also an artist whose love of horror finds expression on the canvas. In preparation for Dracula, Gatiss showed production designer Arwel W Jones a portrait he’d painted of Peter Cushing in character as Hammer Film Productions’ Doctor Van Helsing.

“We thought we’d put it in the castle,” says Jones. “And then we thought it’d be nice to put one of Mark’s portraits in each of the big sets – the castle, the boat and the Harker Institute. He had to do a lot of work behind the scenes!” Four paintings by Gatiss ended up on screen in Dracula, each of an actor from a previous adaptation of Bram Stoker’s novel: Peter Cushing, Christopher Lee, Louis Jourdan and Bela Lugosi. Cushing can be seen in episode one, next to a castle stairwell Johnny is running through. Christopher Lee is hanging on the walls of The Demeter in episode two. And Louis Jourdan from the 1977 BBC Count Dracula is on display next to the portrait of John Heffernan as Johnny in the Harker Institute.

Another fun portrait fact: the faces of production designer Arwel W Jones and art director Harry Trow also found their way onto screen in Dracula. “One of our scenic artists, Jeremy Duckham, is a very, very talented portrait artist, and he did them all, including me,” says Jones. “In the back of shot in the Castle Dracula dining area, you can see me in a red smock as an old cousin of Dracula’s, the count of somewhere, it was based on so-called folklore of a cousin of Dracula. And on the boat, you might notice the face of our art director Harry in that painting as the Tsar!”

Here Be Dragons

Credit: Arwel W Jones

“The name ‘Dracula’ comes from the word ‘dragon’, so that’s why we seeded dragons all the way through,” Jones tells Den of Geek. “There are no elephants this time (a reference to Jones’ favourite animal, which found its way into several Sherlock sets), because it’s all dragons!” Look closely and you’ll see a repeating dragon motif on the door of Dracula’s carriage and on the Count’s ostentatious signet ring. It was designed by “little genius” Richard Wells, the graphic designer who created a series of Dracula family crests evolving through the centuries for the battle standards hanging on the castle walls.

There are also two stone dragons flanking the fireplace and a stone dragon’s head emerging from the lower wall. One of the fireplace dragons is currently standing guard next to Jones’ front door, he laughs. “It does help with deliveries, being able to say ‘it’s the house with the dragon!’”

One feat of dragon-related design is in Castle Dracula’s monumental staircase, which mirrors Wells’ family crest design. “The tail of the dragon is actually the same spiral as the staircase,” explains Jones. “So if you look from the top shot, the head of the dragon on the wall on the grand staircase is actually in the same position as the head and tail are. It’s another reflection of the same logo.”

Stairway to Hell

The design for Castle Dracula’s impressive staircase had been in Jones’ head for a while, just waiting for the right project. Its inspiration? The Vatican Museums in Vatican City, Italy (see ‘Here Be Dragons image above). “The way you leave the Vatican Museums is this Fibonacci spiral staircase, so when you stand at the top, it spirals downwards but inwards at the same time,” Jones explains. After visiting the museum, the image stayed with him. “When the offer of doing Castle Dracula came along, it just felt right, to spiral upwards and outwards for the entrance way, because you’d then have a central point where Dracula would come down the stairs but it would widen out as it went up, which would give you that sense of scale as you went up, and you’d be able to look up the tower.”

The Vatican museum version doesn’t have the Gothic skull motif in the stone balustrades, laughs Jones. “Theirs is a bit more high-end! I like my skulls, they tend to drop in everywhere. I wanted the interplay of light and shadows, to create that sense of unease for the viewer.”

A Tribute to Hannibal Lecter

Hanging high above Dracula’s dining table is a striking antler chandelier, which Jones included as a specific nod to another great horror icon: Dr Hannibal Lecter. “I hadn’t long binged Bryan Fuller’s Hannibal show, where there was a lot of antlers and death and rich colours,” remembers Jones. “All those two-hander scenes between Hannibal and Will, in my head, were mirrored by the scenes between Jonathan and Dracula – the kind of hunter and prey idea.” When set decorator Hannah Nicholson showed him the antler chandelier (imitation, but they look very real), Jones thought it the perfect hat tip to Fuller’s Hannibal.

Dragon’s Den

Detail credit: Arwel W Jones

Just because a vampire wakes up in a new century doesn’t mean he won’t want to surround himself by reminders of home. Dracula’s flash London pad in episode three ‘The Dark Compass’ was designed to echo his castle. “Once I started playing with mirroring what we had in the castle, it started to come together,” says Jones. “I had the window where the fireplace was, as far as the dining table was concerned, then the entrance opposite, then we dotted things around that reflected what was in the castle – artwork, sculptures – things to replace the suits of armour.”

Read more

TV

Sherlock 10th Anniversary: Behind the Scenes Set Secrets

By Louisa Mellor

TV

Dracula episode 1 review: a comic retelling with gusto and scares

By Louisa Mellor

One particular nod to Castle Dracula was so subtly done that even episode director Paul McGuigan didn’t spot it. “I’d mentioned to Paul that I wanted to get the dragon in there and he really wasn’t sure, so I didn’t tell him that I put it in the stands for the table,” Jones laughs. “I got Rebecca Gresham, my draughtsperson, to do a very, very abstract version of the dragon’s head in profile and then we divided it up into two shapes and got a lot of sheets of plywood cut out in those two shapes and then sandwiched them over and over to give us that profile.” On set, Jones pointed it out to McGuigan. “The fact that he hadn’t noticed meant it had worked – subliminal, better than in your face!”

Man in the Mirror

Part of the mythology established in the BBC/Netflix Dracula is that mirrors show ‘the truth’. For the Count, mirrors work as a kind of ‘picture of Dorian Gray’, so that when he looks into one, he sees his real self – a centuries-old monster and not the handsome man seen by the rest of the world. That’s why the glass-artwork and reflective surfaces in Dracula’s apartment are all broken up, says Jones. “Like the big window, they’re all disguised. In his reflection, he could see the real thing, rather than whatever people see, so that was a horror to him. It was all about breaking up reflections rather than seeing one very clear image.”

The rest of the apartment design was about grandeur of scale and opulence, says Jones. “Where would this centuries-old warlord live in London? There was nothing out of his grasp, he could get whatever he wanted.” While Castle Dracula was all about creating a sense of unease, this was about creating a sense of his comfort. “He was quite happy in this space. Dracula’s happy in the 21st century! They have a little joke about him putting weight on because the food comes to him, he doesn’t have to go hunting!”

Here Comes the Sun

Another repeated motif across Dracula’s two homes is his obsession with the sun. “Throughout the castle, there were lots of references to the sun because of his fascination with it and the fact that he’s not seen it in centuries. Our scenic artists painted a few bits of artwork that had the sun rising over the castle and various things to do with sunrises and sunsets, to reflect that.”

One monumental tribute to the sun was found on the wall of the Count’s modern-day apartment. “The big gold-leaf sun is a five-piece artwork made from separate canvases to divide it up. We gave the artists a few different references – a mixture of Gustav Klimt and some amazing Japanese artists.”

Scarface Easter Egg

Detail credit: Arwel W Jones

Unless your TV is higher-definition than the Hubble telescope, you won’t have seen this on screen, but it was there. In episode one, on the wall of the convent chapel where Dracula beheads the Mother Superior, is a stone tablet engraved with a Latin carving: Dicere Salve Ad Amicus Meus.

“When we film in real locations, especially in chapels, sometimes you have remembrance stones or things with real people’s names on, so we have to make something to cover them up,” explains Jones. “Because I’d done a little gag in Sherlock many years ago – at the end of ‘A Scandal in Belgravia’, when Irene Adler is about to get decapitated and Sherlock rescues her, there’s a gun on the back of a Toyota pick-up truck and on the side of the truck it says ‘Say hello to my little friend’ from Scarface in Arabic – I got them to do a Latin version of the same line. The gag was that there was a big gun on the pick-up truck, and in this scene it was Dracula with a big sword.”

Another movie reference came in the form of the wallpaper (an Arwel W. Jones speciality!) at the flat of Harker Institute scientist Jack Seward. “It’s another nod towards being uncomfortable and uneasy,” says Jones, “and a little tribute to The Shining.”

Mark Gatiss specified a particular sequence from cult director Roger Corman’s back catalogue as the reference for Dracula’s theatrical vision in episode two (there’s a definite The Fall of the House of Usher feel). “This was meant to be a nightmarish set-up due to the fact that he was being poisoned. It was all about those silhouetted trees. The blood on the floor was my idea, to give those perfect reflections. It was quite a feat to be honest with you!”

And finally, who spotted the name of the AD 72 laboratory at the Harker Institute and saw the link to the cult Alan Gibson-directed Dracula Hammer picture?

There is No Baby, Johnny

The feeding machine Jonathan Harker discovers on his manic exploration of the castle was built according to detailed specifications from Steven Moffat’s script. “He’d had this idea in his head of these feeding bowls where the brides were trapped in boxes and he was feeding them on different things in order to see what would happen, as an experiment. There’s flies in one, rats in another and obviously, the baby in the third…”

The baby is a grotesque highlight of episode one – first introduced unseen but squirming and squalling inside a carpet bag as Dracula deadpans to his houseguest that “there is no baby, Johnny.”

“There are some videos that may come to light one day of us doing various things to try and get that bag to move like there’s a baby in it,” laughs Jones. “It was very funny. We had electric drills with things attached to them, some of those baby doll toys that crawl along the floor, we had little jumping toy dogs…”

Dracula’s Cell

Director Paul McGuigan’s original mood board for episode three included a picture of a silhouetted Dracula within a lit triangle, an image recreated for the night club scene, lit by lasers. “Triangles were a theme throughout episode three,” explains Jones. Dracula’s triangular cell was designed as a reflection of that – thematically and literally. “By having glass in three walls, it means you get lots of refraction and reflection with lights without them necessarily reflecting straight back into camera, even though I’m sure the cinematographer Tony [Slater Ling] would say it’s an absolute nightmare to light,” laughs Jones. “It did look great in the end, because every little light we had on the walls pinged around everywhere.”

The Game is Afoot!

With Sherlock and Dracula both written by Steven Moffat and Mark Gatiss, produced by Hartswood Films, and employing many of the same creative teams, a little bit of one was bound to bleed into the other. In addition to Sister Agatha’s “I have a detective acquaintance in London” reference to the man himself, some costumes found their way across the border. Costume designer Sarah Arthur recycled the coat from Martin Freeman’s Victorian John Watson look from Christmas special ‘The Abominable Bride’ to use in Jonathan Harker’s travelling outfit. Look closely at the photograph Harker takes out of the zombie boxes and you’ll recognise the wedding dress as that worn by the Emelia Ricoletti, the titular bride herself.

Not only that, but look at the kitchen units at Bob and Katherine’s house in Dracula episode three, and you might recognise them as formerly belonging to a landlady of Baker Street. “You recognised the kitchen?” asks Jones. “It’s Mrs Hudson’s kitchen!”

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Dracula is available to stream now on Netflix. Design detail photos courtesy of Arwel W Jones.

The post BBC/Netflix Dracula’s Behind-the-Scenes Set Secrets appeared first on Den of Geek.

from Den of Geek https://ift.tt/34os1Zf

[coyotesqrl]

I'm not even clicking a link to the test, as I assume it is either an adware (or worse) vector or a demographic slicer/dicer.

I'm a coyote.

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Bamboo Cheese Board With Cutlery Set - 2020

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The Azure Ocean

Along with Poseidon, Amphitrite became the protector of humans, ruling seas calmly and often violently with her children.

However, the vortex of abyss was about to devour dearest children. Even her mightiest wave could not stop it. She might be able to demand an explanation for such incident, but the truth of the defeat scathed her even more since she already knew the answer. Despite the situation she gave herself to the flow of the vortex, in order to save all life under the sea.

Arthur: Where are we? This place looks new. I don’t see any monsters around here, too!

Armeria: This place… It’s filled with a strange energy.

Clara: I told you this tower is creepy. Are you sure we’re going up by the way?

Arthur: Oh! There’s something over there!

Philip: This is… A book…! But it’s locked. 

Arthur: Hmm? It’s open.

Armeria: No, don’t touch it so recklessly! 

Restoring memory…

Redkoom: My Lady! 

Bluekoom: My Lady!

Amphitrite: Redkoom, Bluekoom!

Dolphin: You were safe! I, Dolphin, have returned safely as you ordered, my Lady! I’m glad I can serve you once again.

Amphitrite: Dolphin! Thank you all for holding out until now. 

Dolphin: Poseidon… Have you seen him yet?

Amphitrite: No… Ever since I lost my power I can’t see where he is. He might have the same problem, too. At least I’m happy to reunite with you.

Bluekoom: As long as we are with you, we can find Poseidon and all others sooner or later!

Redkoom: Let’s bring them back and get revenge! 

Amphitrite: But we need to recover our power first. Perhaps the humans here can help us.

Dolphin: You mean the fighters of the tower. 

Redkoom: That Gramaton, I find him very despicable ! He exploits ordinary humans on this kind of matter!

Bluekoom: Exactly. Come to think of it, I also feel sorry for both Evil and Libe…

Redkoom: Huh? You went too far.

Dolphin: But… Do you think they will listen to us? Human beings have forgotten everything. 

Amphitrite: Well, I certainly feel like I’m back to the sea as I’m watching you having a conversation. I do believe in humans. After all, our power comes from their belief. 

Amphitrite: For now, I’m only able to support them indirectly because I don’t have enough power. But the truth will be revealed some day. 

Amphitrite: Come now, my children. Let’s all join forces to make it come true. 

Redkoom: At your disposal!

Bluekoom: At your disposal!

Dolphin: At your disposal!

Storing memory…

Arthur: This is…?

Clara: Could it be the memories of Dicers?

Philip: It seems not every Dicer had participated in the war of the tower. 

Armeria: Who was that girl by the way? Is there something we haven’t unveiled?

Armeria: Maybe we can find out more if we find other Dicers’ sealed memories! 

Arthur: Interesting! This tower is filled with so many secrets! 

Philip: Don’t let your curiosity ruin everything, Arthur. 

Clara: But who knows if they have the information of the hidden treasure? 

Armeria: Right! Or we can possibly find the clue to Erakis!

Philip: More likely the clue to the top of the tower. 

Arthur: Whatever it is, let’s go find them!