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phantom-le6 · 7 months

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Ramble of the month March 2024: Phase 5 of the Batman Begins-Led DCEU

With April set aside for an autism-centric monthly ramble and February utilised for phase 5 of my 90’s-based alternate MCU, March takes on the role of show-casing phase 5 of my hypothetical Batman Begins-led DC film-verse. As DC is more prone to content reboots than Marvel, this latest phase will actually ramp up to just such a reboot, with “phase 6” actually being phase 1 of a new DC film-verse. Unlike the real DCEU, that reboot will be better planned, but first let’s re-cap the previous four phases.

Phase 1:

2005: Batman Begins

2006: Man of Steel

2007: Wonder Woman

2008: The Dark Knight, Green Lantern

2009: The Flash, Man of Steel 2

2010: Aquaman, Justice League

Phase 2:

2011: Wonder Woman 2, Green Lantern 2, Green Arrow

2012: Hawkman, Batman/Superman, Aquaman 2

2013: John Constantine, The Flash 2, Suicide Squad

2014: Justice League 2, Green Arrow 2, Batman: The Long Crusade

Phase 3:

2015: Shazam, Man of Steel 3, The Atom

2016: Wonder Woman 3, Batgirl, Teen Titans

2017: Green Lantern/Green Arrow, Shazam vs Black Adam, Suicide Squad 2

2018: Justice League: Darkseid Rising, Aquaman 3, Doom Patrol

Phase 4:

2019: Superman: Doomsday, New Gods, Teen Titans: The Judas Contract

2020: Suicide Squad: Arkham, Knightfall, Green Arrow 3

2021: Reign of the Supermen, Green Lantern: Twilight, Knightsend

2022: Justice League: Armageddon, Teen Titans 3, Justice Society

Phase 1, of course, acts as a means of establishing the DC Universe for film fans prior to forming the Justice League. Phase 2 then builds on that foundation while also causing a schism within the Justice League by adapting the “Tower of Babel” story arc into Justice League 2. Green Arrow 2 then proves Batman’s point about safeguarding against rogue heroes, which some films in phase 3 follow up on. Phase 4 then focuses on the falls of many heroes, some of which stay down and some of which return. However, as phase 4 ended, Hal Jordan was revealed to have gone rogue, which phase 5 will pick up from. This is how the phase 5 slate would shape up overall.

Phase 5:

2023: Justice League: World’s Finest, Nightwing, The Killing Joke

2024: Supergirl, Birds of Prey, Flashpoint

Compared to past phases, phase 5 is only half the size, and while the opening film deals with the issue of Hal Jordan becoming Parallax, most of the other films are one-shots or sequels to tell some interesting stories ahead of the Flashpoint film. So, let’s start by taking a look at these various phase 5 films.

Justice League: World’s Finest (2023) Directed by The Russo Brothers

Superman/Kal-El/Clark Kent = Brandon Routh

Bruce Wayne/Batman = Christian Bale

Diana/Wonder Woman = Kate Beckinsale

J'onn J'onzz/Martian Manhunter = Chiwetel Ejiofor

Arthur Curry/Aquaman = Chris Pine

Kyle Rayner/Green Lantern II = Taylor Lautner

Wallace "Wally" West/Flash II = Calum Worthy

Green Lantern/Hal Jordan/Parallax = Ben Affleck

John Stewart = Derek Luke

Guy Gardner = Damian Lewis

Fire/Beatriz Bonilla da Costa = Selena Gomez

Ice/Tora Olafsdotter = Kristine Froseth

Dinah Lance/Black Canary = Malin Akerman

John Henry Irons/Steel = Aldis Hodge

Kara Zor-El/Supergirl = Dakota Fanning

Connor Hawke/Green Arrow II = Levon Hawke

Lex Luthor = Kelsey Grammer

Mercy Graves = Scarlett Johannsen

Koriand'r/Starfire = Elle Fanning

Dusk = Ella Balinska

Blackfire/Komand'r = Virginia Gardner

Ferro/Andrew Nolan = Garrett Wareing

Mon-El/Lar Gand = Milo Manheim

Brainiac-5/Querl Dox = Karan Brar

Saturn Girl/Imra Ardeen = Dove Cameron

Lightning Lad/Garth Ranzz = Tye Sheridan

Cosmic Boy/Rokk Kirnn = Dylan Minnette

Starman/Thom Kallor = Ty Simpkins

Dream Girl/Nura Nal = Sabrina Carpenter

Karate Kid/Val Armorr = Aramis Knight

Sensor Girl/Projectra = Angourie Rice

Amanda Waller = Viola Davis

Floyd Lawton/Deadshot = Christian Slater

Jaina Hudson/White Rabbit = Hayley Kiyoko

Eve Eden/Nightshade = Debby Ryan

Dr Pamela Isley/Poison Ivy = April Bowlby

Dr Niles Caulder/The Chief = Pierce Brosnan

Clifford Steele/Robot Man = Johnny Whitworth

Larry Trainor/Negative Man = Alessandro Nivola

Rita Farr/Elasti-Girl = Alyssa Milano

Mento/Steve Dayton = Nathan Fillion

Bumblebee/Karen Beecher = Kyla Pratt

Vox/Malcom Duncan = Donald Glover

This film is based on the events of the Justice League story arc The Final Hour, in which the Justice League and others try to stop an alien being called the Sun Eater from devouring Earth’s sun, only for Hal Jordan to ultimately sacrifice himself to save Earth by absorbing the Sun Eater and reigniting the sun. The film version would be slightly different in numerous details, but by-and-large the main thrust of the story would remain the same. The League would be the main focus, with Luthor, a few members of future super-team the Legion of Superheroes and a couple of others being heavily featured due to the story arc involved. The Doom Patrol and Suicide Squad are also featured to lesser degrees during scenes showing the wider crisis in what is essentially a superhero disaster film.

Direction-wise, I’d put this film in the hands of the Russo brothers based on their work for the MCU, especially Infinity War and Endgame in the Avengers run of films. Indeed, like Infinity War and Endgame, I also gave the Russos direction of Justice League: Armageddon to keep things consistent across both films. In terms of cast, most cast members have appeared on prior films, with only the characters from Dusk down to Sensor Girl being new cast members coming in fresh on this film.

Nightwing (2023) Directed by Guy Ritchie

Richard Grayson/Robin/Nightwing = Patrick Schwarzenegger

Roland Desmond/Blockbuster = Adam Driver

Lady Elaine Marsh-Morton/Lady Vic = Florence Pugh

Talon/William Cobb = Evan Peters

Amy Rohrbach = Elizabeth Olsen

Elise Svoboda = Alexandra Stan

Gannon Malloy = Max Lloyd-Jones

Comissioner Gil Maclean = Michael Ealy

Mr Nice/James Nice = Sam Reid

In the first of our one-shot films, we get a solo outing for Batman’s original protégé Dick Grayson as he tries to clean up the corruption of Bludhaven by working for their local police force. As the film progresses, Nightwing finds himself caught between local crime lord Blockbuster and a plot involving the infamous Court of Owls of Gotham legend. Outside Patrick Schwarzenegger reprising the role of Dick Grayson, the cast is completely new to this DCEU, and in honour of his great work on crime-centric films, I’ve picked Guy Ritchie to serve in the director role.

The Killing Joke (2023) Directed by Christopher Nolan

Bruce Wayne/Batman = Christian Bale

Barbara Gordon/Batgirl = Bella Thorne

Tim Drake/Robin II = David Mazouz

The Joker = Willem Dafoe

Lucius Fox = Morgan Freeman

James "Jim" Gordon = Gary Oldman

Jeannie/Becky Moore = Georgie Henley

Comedian/Young Joker = David Corenswent

Patrolman Robert Moore = Grant Gustin

Mitch = Scott Eastwood

Murray = Drew Powell

Det. Harvey Bullock = Donal Logue

Det. Renee Montoya = Penelope Cruz

When DC and WB did an animated Killing Joke adaptation, they had the right idea in terms of expanding the story beyond the Alan Moore-written graphic novel. However, they expanded it incorrectly by having an unrelated preceding 30 minutes that served more to facilitate Bruce Timm’s shipping of a Bruce-Barbara relationship than to make a well-expanded narrative. This film begins with the Joker being apprehended, hatching his scheme in Arkham, and then a short while later, we get the original Killing Joke plot in the film’s middle.

The end is then expanded, first by taking from a prose novel adaptation I’ve read where Batman laughing with the Joker turns into Batman almost giving in to the temptation to kill Joker. After this, Joker sees a woman who he thinks is the dead wife from his flashbacks and breaks out to “find the truth”. When Batman confronts Joker for a third time, the question is left hanging as to whether the Joker’s past was true or not, and a post-credits scene sets up for Barbara becoming Oracle. Direction-wise, I figure that only Christopher Nolan would do well adapting this material into a live-action narrative. Casting-wise, the film is mostly existing cast reprising past roles, with only the characters linked to Joker’s back-story being fresh castings.

Supergirl (2024) Directed by Reese Witherspoon

Kara Zor-El/Supergirl = Dakota Fanning

Superman/Kal-El/Clark Kent = Brandon Routh

Cat Grant = January Jones

Jimmy Olsen = Rider Strong

Winslow Schott Jr. = David Henrie

Lena Luthor = Spencer Grammer

Zor-El = Henry Cavill

Alura Zor-El = Rebecca Hazelwood

Astra In-Ze = Rebecca Hazelwood

Non = Ryan McPartlin

Vartox = James Murray

Indigo/Brainiac-8 = Letitia Wright

Capt. Crispus Allen = Djimon Honsou

Det. Peter Foley = Matt Le Blanc

This film gives us a solo film outing for Supergirl that is partly based on the first season of the character’s Arrowverse TV show. In other words, we see Kara starting out on her own life in another city and having to clash with her villainous aunt and uncle, as well as Indigo, a time-displaced villain in the Brainiac family tree. For direction, I’ve picked Reese Witherspoon as I know in recent years she’s taken up production and is very passionate about female-led stories and story-telling, so I think she’d be a great fit to make a directorial debut on a character like Supergirl.

Birds of Prey (2024) Directed by Patty Jenkins

Dinah Lance/Black Canary = Malin Akerman

Barbara Gordon/Oracle = Bella Thorne

Cassandra Cain/Batgirl = Momona Tamada

Helena Bertinelli/Huntress II = Alexandra Daddario

Zinda Blake/Lady Blackhawk = Rita Ora

Det. Renee Montoya = Penelope Cruz

Noah Kuttler/Calculator = Tom Cavanagh

Scandal Savage = Katie Leung

Knockout = Ireland Baldwin

Thomas Blake/Catman = Luke Grimes

Floyd Lawton/Deadshot = Christian Slater

Bane = Rodrigo Santoro

For the penultimate phase 5 film, we’re giving the Birds of Prey super-team their chance to shine, albeit better than they did in the real DCEU. More comics-accurate castings and character selections, including leaving out Harley Quinn (who, if you remember my phase 4 ramble, is killed off in the last Suicide Squad film). In this film, we see Barbara recruit a number of street-level heroes to tackle a criminal group known as the Secret Six. The film follows up on plot threads from Knightfall, Knightsend and Killing Joke, and also uses Cassandra Cain as Batgirl like in the comics, another elements the real DCEU Birds of Prey got wrong. Patty Jenkins of the real DCEU’s Wonder Woman films helms the project from a directorial standpoint.

Flashpoint (2024) Directed by Robert Zemeckis

Barry Allen/The Flash = Matt Damon

Thomas Wayne/Flashpoint Batman = Jeffrey Dean Morgan

Oliver Queen/Green Arrow = Ethan Hawke

John Constantine = Matt Ryan

Jason Blood/Etrigan = Eddie Redmayne

Victor Stone/Cyborg = Ashton Sanders

Citizen Cold/Leonard Snart = Rob Lowe

Superman/Kal-El = Brandon Routh

Nora Allen = Cybill Shepherd

Eobard Thawne/Reverse Flash = Jake Gyllenhaal

Diana/Wonder Woman = Kate Beckinsale

Arthur Curry/Aquaman = Chris Pine

Billy Batson/Shazam = Zachary Gordon/Zachary Levi

Freddy Freeman = Chandler Riggs

Darla Dudley = Quvenzhané Wallis

Mary Bromfield = Halston Sage

Eugene Choi = Hudson Yang

Pedro Peña = Rico Rodriguez

Hal Jordan = Ben Affleck

Martha Wayne/Flashpoint Joker = Marg Helgenberger

Yo-Yo = Margot Robbie

During the events of Justice League: Armageddon, Barry Allen’s Flash became lost in the timestream. When he gets out, he enters an alternate reality where Aquaman and Wonder Woman are at war, and many heroes are missing or dead, including Barry’s speedster alter ego. Thus begins a mission to learn the truth of why events have changed, and the climax will reboot the DCEU. While this film simply uses the title of Flashpoint, it’s based more on the DC animated version from the DCAMU as that’s the main Flashpoint story I’ve seen and recall. Of course, the rest of the alternative DCEU I’ve laid out prior to this film alters some other aspects as well, including how Barry exits the timestream and why history was changed. Direction-wise, I had to pick Robert Zemeckis just because as the guy who directed the Back to the Future trilogy and the 2009 Disney version of A Christmas Carol, he is probably the best director for anything with a time travel component.

This concludes our phase 5 for the alternate DCEU, and this specific version of the DCEU. When I do phase 6 on my 90’s MCU, the first (and for now only) phase of my rebooted hypothetical DCEU will be hot on its heels. So, until next time, ta-ta for now.

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keynewssuriname · 1 year

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Prodo waka is ode aan Afro-Surinaams erfgoed en vrijheid

Met veel barbari en mekmeki verlaten de dames van NAKS, samen met de Haïtiaanse groep ‘Chou Chou band’ het terrein van het directoraat Cultuur. Een korte prodo waka op weg naar een koto dansi aan de Sommelsdijkstraat. De zon is fel, de koto zijn mooi en kleurrijk. De prodo waka is een samenwerking tussen NAKS, Centraal station met logistieke ondersteuning van het directoraat Cultuur. “De mooie dingen van ons tentoonstellen, die mooie koto en angisa. Dat is de bedoeling van deze prodo waka. Het is erfgoed dat niet verloren mag gaan”, zegt Clifton Braam, onderdirecteur van het directoraat Cultuur, die leiding geeft aan het event. Blik op de toekomst Hij stelt dat op 1 juli er duidelijk stilgestaan moet worden bij het verleden, maar dat nu de blik vooral gericht moet worden op de toekomst. “We moeten niet bang zijn om te denken aan de toekomst. Die vrijheid waarvoor onze voorouders hebben gevochten mogen we niet als vanzelfsprekend gaan beschouwen. We moeten er goed invulling aan geven.” Vrijheid van doen en denken moet positief gebruikt worden om Suriname op te bouwen. Volgens Braam moet er meer geïnvesteerd worden in overdracht over het ontstaan van de koto en angisa, zodat de jongeren er met meer respect naar kijken en het daarom ook meer zullen dragen. Slavernij issues "Wat is vrij? Mentaal vrij, economisch vrij? Ik voel me vrij om mijn klederdracht aan te trekken en mijn taal te praten”, meent NAKS-lid Pamela Karg, die meedoet aan de prodo waka. Er zijn inderdaad issues die afstammen van de slavernij en volgens Karg zouden we daarover vooral moeten ‘durven’ praten. Het zijn moeilijke onderwerpen die de groep niet uit de weg moet gaan, omdat die alleen kan leiden tot ware vrijheid van ziel en geest. “We weten dat we verder kunnen. We zijn een sterk volk. We moeten met alle andere groepen die hier zijn verder optrekken. Geen muren optrekken, maar kennisnemen van elkaars gewoonten en cultuur. En dan samen verder werken aan die mooie bromkidyari.” Clifton Braam, onderdirecteur van het directoraat Cultuur. Foto : Horacio Stjeward We zijn vrij in fysieke zin Volgens Karg spelen erkenning en omhelzen van de eigen cultuur daarin zelfs een leidende rol. “Alleen zo worden we een nog grotere bloementuin.” Ook directeur Cultuur Roseline Daan is enthousiast over de schoonheid van de vele prachtige koto die zij ziet. “We zijn vrij in fysieke zin, maar die mentale vrijheid daar zien we nog de struggles. We moeten doorgaan met de discussies die rondom dit onderwerp plaatsvinden door diverse organisaties.” Er moet volgens Daan wel een punt komen waar een stuk van het willen en kunnen beheersen van ‘wie we zijn’ krachtig naar buiten kan komen. Ook zij is de mening toegedaan dat cultuur daarin een grote rol is toebedeeld. “Cultuur verbindt. Je zal samen moeten werken en elkaar in hun waarde moeten accepteren. De regering heeft daarin de taak om te zorgen dat eenieder, ongeacht afkomst, zijn gelijk deel krijgt toebedeeld, zodat ze in welvaart en welzijn kunnen leven in dit vrij en mooi land.” Daan stelt dat de groep zich niet langer in de rol van slachtoffer moet presenteren. “Maar als mensen met kansen, potentie en mogelijkheden om succesvol te zijn in deze natie om zo ook een bijdrage te leveren aan de opbouw en groei van ons land.” Read the full article

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thegoblincourtier · 5 years

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Top Ten Tuesday | My Autumn 2019 TBR!

Top Ten Tuesday is a weekly feature hosted at That Artsy Reader Girl. Each week you compile a list of ten books which coincide with that week’s theme. You can find everything you need to know about joining in here!

This week’s theme is all about the books on our autumn TBR! There are some new releases due out this autumn that I am so unbelievably excited for, and there are also some eARCs and…

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dwellordream · 3 years

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“In court records of defamation suits, a common neighborhood jest was to pretend that a suspected cuckold actually wore gigantic horns, with neighbors warning him in mock concern that his horns threatened to break doorways and walls. This street jape has its parallel in printed jests. In one, a jealous husband always sticks his head out the window to check on his wife when she leaves the house, "which she taking in great endugine [dudgeon], roundly told him that if hee used continually to looke after her shee would clappe such a paire of horns upon his head that from thenceforth he would not be able to put his head out of doores." Her spatial manipulation requires theatrical projection: he seeks to control her access to the outside world and thus her sexuality, so she uses an imaginary scene of neighborhood humiliation to control him.

…In Berangier du long cui ("Berangier of the Long Ass"), an unhappy lady is married to a craven knight who only pretends to go out and fight. When he returns from these faked bouts, he kicks her and reviles her. One day she has had enough. She crossdresses as a knight in full armor and follows him into the forest, where she spies on him hacking his own sword. Accosting him, she challenges him to joust. Cowering before her, he cravenly begs for mercy. She forces him to kiss her bare ass. Bending over, he is shocked to see only a long cleft, with no testicles. She tells him in a rough voice that "All other men are beneath my class. / I'm Berangier of the Long Ass / Who puts to shame the chicken-hearted."

The fabliau culminates in the wife's confrontation with him at home, where she boldly sits in bed with her new lover. When he rages, she silences him by saying she knows all about his meeting with Berangier of the Long Ass and that she will tell the world if he says another word: He felt checkmated. He felt ill. And from that day, she did her will: She was no common girl or fool: When the shepherd's weak, the wolf shits wool. Such tales about tails are short and sharp, a feature that has led Howard Bloch to argue that the analogous French pun on tale/tail (con(te}/con) functions as more than an apt quibble. Accepting the Aristotelian rule that comedy is rooted in the defective, he locates that defect in the voice of the con (cunt/fabliau), whose "illogical" and "scandalous" speech cuts meaning short.

Logic is phallocentric: every child believes in "the ubiquity of the phallus [which] by analogy accounts for the presupposition of logic." Laughter produced by a joke or conte disrupts this logic and therefore cuts or castrates. His theory has its own shortcomings. Bloch fails to address the peculiar dramatic form of the fabliau, which is less punchline-focused and more hermeneutically demanding than a modern joke. In Berangier du long cui a new kind of logic plays out for a full forty lines beyond what he reads as the curtailing "punchline" of the anal kiss, which, rather than ending the narrative, spurs a denouement focused on the wife's triumph and mirth.

Indeed, Bloch discounts everything outside the castrating moment; he cannot allow that the con may also result in laughter that is its own logic, issuing from certain hearers for whom the phallus is not "ubiquitous." If the joke brings forth a "rule ready-made in words/' as Freud ordained, the rule of the fabliau is that laughter is already present: if it symbolically cuts some, it somatically pleases many others. In song, jest, and verse, women certainly do take special delight in hacking away at phallic pretensions. The topic figures large in gossips' literature, such as the early Tudor A Talk of Ten Wyves on Their Husbands Ware. A group of wives drinking in the alehouse vie to outdo each other in belittling their spouses' equipment.

The first wife sets the terms of the debate: Talys lett us tell Off owre hosbondes ware, Wych of hem most worthy are To-day to bear the bell. And I schall now begyn att myne: I knowe the [measure] well & fyne, The length of a snayle, And ever he warse is from day to day. All ten have a go. One wife moans in anguish that her husband is "the length of four beans" even when "he was in his most pryde/' another compares her mate's parts unfavorably to those of her cat Gyb, and a third says her spouse's ware is long enough but as weak and thin as her little finger. Narrators in some tales do call lusty women whorish, but in general jests do not; and on closer inspection many are more accurately about women satirizing men, especially for inept lovemaking.

Such tales often circle back to cuckoldry because a man who cannot pay his marriage debt is inviting horns. It is too easy to dismiss a narrative such as Talke of Ten Wyves, in which women express sexual desire or connoisseurship, as nothing but formulaic satire on vulgar female tongues and women's frightening insatiability. In her foundational study of cheap print, Margaret Spufford takes a minority view by arguing against reading an automatic tone of disapproval or satire in all such references to women's sexual desires: "Women were depicted in the chapbooks ... as taking positive pleasure in lovemaking. Certainly, the whole tenor of the merry books conveys that seventeenth-century women enjoyed their own sexuality and were expected to enjoy it."

Whatever women's experience of their own sexuality-and Spufford's comment raises more issues than it answers-most women would have been familiar with jesting literature that held men responsible for providing them with a degree of pleasure in bed, expressing that expectation through shrewd criticisms of sexual performance. When placed in a social context of neighborly surveillance, cultural discourses about cuckoldry elicit judgments about female duplicity, to be sure. But as these texts show, the conversation also recruits female pleasure and involves negotiations about the limits of male violence and criticisms of male stupidity, impotence, and hypocrisy. Many tales recruit women's laughter at drunken, jealous, and hateful husbands; and some attempt to discipline men by teaching that such behavior will result in horns.

Some jests can almost be considered primers in verbal evasion for harassed women, while others seem calculated to heat hostilities to the boiling point. Sometimes the language of play translates struggles ending in blows and blood to contests for linguistic mastery, especially in the jest topos of the forced oath, which turns on the unanswerable riddle of chastity. But the threat of violence is not always hidden. Pasquils Palinodia paints an unforgettable picture of cuckolds as sadists and blowhards, egging each other on:

And what is then his prattle with his mates, His fellow drunkards, sitting o'er the pot? There he begins the story, and relates What an infernal! fury he hath got, An everlasting scold that's never quiet, But checks him for his company and his ryot. Why bang her well, quoth one, for by this quart, If she were my wife, I would break her heart. Well, quoth another, fill a cup of Sacke, And let all scolds be damn'd as deep as helli Abridge her maintenance, and from her backe Pull her proud clothes, for they doe make her swell. And thus in divellish counsell there they sit, Til of Sherry they have drowned their wit. The anonymous narrator concludes this remarkable passage by observing that it is "too great a wrong, and most unjust/ The weaker to the wall should thus be thrust" and "deny'd the favour of the laws".

Perhaps it is this antimasculinist edge in cuckoldry humor-that utter lack of sympathy for the "wronged" husband-that led later generations of critics to disdain cuckoldry so completely. Norbert Elias, Keith Thomas, and others have ascribed the shift in taste to the massive change in manners that occurred in the later seventeenth century. What is less clear is how much this change depended on establishing new standards of female respectability and on restricting the kinds of stories they should hear and tell. In any case, it is important that the vast field of early modern cuckoldry narrative not be dismissed as rank misogyny. Any given tale may be heard as a lesson in amorality, a fable about the subordination of patriarchs, and prime laughing matter for all-but especially for women. Subject to sexual attacks, slurs, and scrutiny, they knew danger in a physical as well as psychological sense. They were, therefore, even more likely to enjoy a simulacrum of mastery that proved a stage husband wrong or wronged, again and again.”

- Pamela Allen Brown, “Between Women, or All Is Fair at Horn Fair.” in Better a Shrew than a Sheep: Women, Drama, and the Culture of Jest in Early Modern England

#history #sexuality #renaissance #tudor #elizabethan #jacobean #pamela allen brown #better a shrew than a sheep

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adamsvanrhijn · 4 years

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downton abbey related research reading list

Anonymous said:

What resources/databases etc do you use for your research? I've occasionally seen you link something, but often you say something that makes me want to go poke around in your sources, and I never know where to go. I'm super curious!

a lot of it is actually.... not online because i graduated and no longer have database access! but!

i’ve been using FindMyPast.co.uk for census data & Royal Household archives & occasionally i’ll poke around on JSTOR or Google Scholar using my handy dandy database search skills. but mostly i’ve been reading & flipping thru like, actual books, so here’s a ref list. this actually isn’t like... everything i’ve used or looked at in the last ten (!!!) months but it is like. the bulk of it lol.

GREAT HOUSES & DOMESTIC SERVICE

Evans, Sian. Life Below Stairs: In the Victorian and Edwardian Country House. 2011. National Trust.

Horn, Pamela. Life Below Stairs: Real Lives of Edwardian Servants, the Edwardian Era to 1939. 2013. Amberley Publishing.

Horn, Pamela. Country House Society: The Private Lives of England's Upper Class After the First World War. 2013. Amberley Publishing.

Hyams, Jacky. The Real Life Downton Abbey: How Life Was Really Lived in Stately Homes a Century Ago. 2011. John Blake.

Lethbridge, Lucy. Servants: A Downstairs History of Britain from the Nineteenth Century to Modern Times. 2013. W. W. Norton & Company.

Maloney, Alison. Life Below Stairs: True Lives of Edwardian Servants. 2012. Thomas Dunne Books.

Musson, Jeremy. Up and Down Stairs: The History of the Country House Servant. 2010. John Murray Publishing.

Muthesius, Hermann. (trans. D. Sharp) The English House. 1904/1987 (English ed). Rizzoli International.

Paterson, Michael. Private Life in Britain's Stately Homes: Masters and Servants in the Golden Age. 2012. Robinson.

Powell, Margaret. Below Stairs: The Bestselling Memoirs of a 1920s Kitchen Maid. 1968. Peter Davies.

Powell, Margaret. Servants Hall: A Real Life Upstairs, Downstairs Romance. 1979. St Martin’s Griffin.

Sambrook, Pamela. Country House Servant. 1999. The History Press.

White, David S. and Deb H. Beyond Downton Abbey: A Guide to 25 Great Houses. 2012. White & Associates. [Two volumes]

THE ROYAL HOUSEHOLD

Gorst, Frederick John. Of Carriages and Kings: A Royal Footman’s View of Edwardian Elegance. 1956. New York, Crowell.

Healey, Edna. The Queen’s House: A Social History of Buckingham Palace. 1997. Pegasus Books.

Hoey, Brian. All the Queen’s Men: Inside the Royal Household. 1992. Harper Collins.

Hoey, Brian. At Home with the Queen. 2002. CB Creative Books.

Hoey, Brian. Working for the Royals. 2014. CB Creative Books.

Hubbard, Kate. Serving Victoria: Life in the Royal Household. 2012. Harper Collins.

Tinniswood, Adrian. Behind the Throne: A Domestic History of the British Royal Household. 2018. Hachette Book Group.

Wright, Patricia. The Strange History of Buckingham Palace. 1996. Sutton.

QUEER & LGBT HISTORY

prior knowledge from reading authors such as Lillian Faderman, Graham Robb, Eve Sedgwick, Martin Duberman, Rictor Norton, among others, those are just off the top of my head.

recent/in progress reads:

Brady, Sean. Masculinity and Male Homosexuality in Britain, 1861-1913. 2005. Palgrave Macmillan.

David, Hugh. On Queer Street: A Social History of British Homosexuality 1895-1995.

Slide, Anthony. Lost Gay Novels: A Reference Guide to Fifty Works from the First Half of the Twentieth Century. 2003. Psychology Press.

SEX

Anonymous. The Horn Book: a Girl's Guide to the Knowledge of Good and Evil. 1899.

Dennett, Mary Ware. The Sex Side of Life: An Explanation for Young People. 1928.

Long, Harland William. Sane Sex Life and Sane Sex Living: Some Things that All Sane People Ought to Know about Sex Nature and Sex Functioning; Its Place in the Economy of Life, Its Proper Training and Righteous Exercise. 1922.

Stopes, Marie Carmichael. Married Love; or, Love in Marriage. 1918.

LANGUAGE

Blakeborough, Richard. Wit, Character, Folklore & Customs of the North Riding of Yorkshire, With a Glossary of Over 4,000 Words and Idioms Now in Use. 1898.

Green, Jonathon. Green’s Dictionary of Slang. 2010. Chambers Publishing. Available online: https://greensdictofslang.com/.

Milne, David. A Readable English Dictionary, Etymologically Arranged, with an Alphabetical Index. 1888.

Robinson, Francis Kildare. A Glossary of Yorkshire Words and Phrases. 1858.

Wright, Joseph. The English Dialect Dictionary: Being the Complete Vocabulary of All Dialect Words Still in Use, Or Known to Have Been in Use During the Last Two Hundred Years. 1898. [Multiple volumes]

BOOKS I HAVEN’T GOTTEN MY HANDS ON YET BECAUSE I’M BROKE

Corbitt, Frederick John. Fit for a King: A Book of Intimate Memoirs. 1956. Odham’s Press.

Dawes, Frank Victor. Not in front of the servants: A true portrait of Upstairs, downstairs life. 1984. Hutchinson.

Gerard, Jessica. Country House Life: Family and Servants 1815-1914 (Family, Sexuality and Social Relations in Past Times). 1994. Wiley-Blackwell.

Hartcup, Adeline. Below Stairs in the Great Country Houses. 1980. Sidgwick & Jackson.

Horn, Pamela. Life Below Stairs in the Twentieth Century. 2001. Sutton.

King, Ernest. The Green Baize Door. 1963. Kimber.

Tschumi, Gabriel. Royal chef: recollections of life in royal households from Queen Victoria to Queen Mary. 1954. William Kimber.

#da resources #long post #downton abbey tag

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canadaattheolympics · 3 years

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Pamela Ware has placed fourth in the preliminary round of women's three metre springboard and will advance.

#canada #diving #olympics #tokyo #olympics 2020 #tokyo 2020

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brookstonalmanac · 1 year

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Birthdays 6.9

Beer Birthdays

Edmund Resch (1847)

Prosper Cocquyt (1900)

Michael Bowe (1953)

Pamela Evans (1953)

Larry Bell (1958)

Ray Daniels (1958)

Todd Ashman (1960)

Don Webb (1963)

Dave Wilson

Eoghan Walsh

Five Favorite Birthdays

Johnny Depp; actor (1963)

Michael J. Fox; actor (1961)

Cole Porter; songwriter (1892)

Natalie Portman; actor (1981)

Aaron Sorkin; writer (1961)

Famous Birthdays

George Axelrod; playwright (1922)

Elektra Blue; porn actor (1983)

Robert Cummings; actor (1910)

James Newton Howard; composer (1951)

Skip James; blues musician (1902)

Leopold I; Holy Roman emperor (1640)

J.E. Littlewood; mathematician (1885)

Gregory Maguire; writer (1954)

Jackie Mason; comedian (1934)

Robert McNamara; businessman, secretary of defense (1916)

Mitch Mitchell; rock drummer (1947)

Ken Navarro; jazz guitarist (1953)

Carl Nielsen; composer (1865)

Les Paul; guitarist, inventor (1915)

George Perez; comic book writer (1954)

Peter the Great; Russian leader (1672)

George Stephenson; steam train inventor (1781)

Bertha Suttner; writer (1843)

Dick Vitale; television sportscaster (1940)

Fred Waring; choirmaster, blender inventor (1900)

Jackie Wilson; pop singer (1934)

#Birthdays

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keynewssuriname · 1 year

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Prodo waka is ode aan Afro-Surinaams erfgoed en vrijheid

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inclineto · 4 years

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Books, September - October 2020

A Nice Derangement of Epitaphs - Ellis Peters [”Carve this upon Morwenna’s Grave: / NONE BUT THE BRAVE DESERVES THE BRAVE.” You know, the verse is what gives away Pargeter’s experience as a literary translator - whether it’s singing translations of Mahler, or Welsh lament, or, as here, Dryden willfully misquoted and mixed with convention and double meanings, she so clearly enjoyed its sounds and allusions. None of it is the highest art, but all of it is distinct and memorable and precisely right for its purpose.]

The Disaster Tourist - Yun Ko-Eun, translated by Lizzie Bueler

The Angel of the Crows - Katherine Addison [look, you may SAY you filed the serial numbers off your BBC Sherlock wingfic, but you didn’t file them very hard, did you??? (It is, actually, cumulatively extremely different - at least based on the first two seasons, which is all I could bear to watch before I was fed up and over it - but I can see where all the edges were.)]

The Eagle of the Ninth - Rosemary Sutcliff

Passing - Nella Larsen

The Story of More: How We Got to Climate Change and Where to Go from Here - Hope Jahren

The Quest for Saint Camber - Katherine Kurtz

The Innkeeper’s Song - Peter S. Beagle *

The Pull of the Stars - Emma Donoghue [it’s Emma Donoghue, so of course it’s gorgeously done, but 1918 + the Ryan report + many extremely graphic descriptions of labor and delivery, and you know she doesn’t believe in easy happy endings in her historical fiction, so...] *??

Hamnet - Maggie O’Farrell

Regency Buck - Georgette Heyer

Daring and the Duke - Sarah MacLean

Anne of the Island - L. M. Montgomery

H is for Hawk - Helen MacDonald

The Care and Feeding of Waspish Widows - Olivia Waite [ridiculous cover, less food than hoped for, agonizingly slow burn; also, I enjoyed this much more than Celestial Mechanics]

Transcendent Kingdom - Yaa Gyasi

The Piper on the Mountain - Ellis Peters

Never Caught: The Washingtons' Relentless Pursuit of Their Runaway Slave, Ona Judge - Erica Armstrong Dunbar

Mexican Gothic - Silvia Moreno-Garcia

The Turn of the Key - Ruth Ware

The Bird Way: A New Look at How Birds Talk, Work, Play, Parent, and Think - Jennifer Ackerman

Piranesi - Susanna Clarke *

Sorcerer to the Crown - Zen Cho * [I enjoyed this the first time I read it, but rereading made me like it even more; note that in real life Rollo would drive me up the wall, but in fiction he’s delightful]

1491: New Revelations of the Americas Before Columbus - Charles Mann [honestly, there were big chunks of this that I know well enough that I could have skimmed...but on the other hand, I don’t know much of anything about post-Pleistocene, pre-Inkan South America, so I appreciated those sections]

The Mark of the Horse Lord - Rosemary Sutcliff

Black is the Colour of My True Love’s Heart - Ellis Peters *

Tam Lin - Pamela Dean

Once Upon a Time in the North - Philip Pullman

Murder Must Advertise - Dorothy L. Sayers *

The Unknown Shore - Patrick O’Brian

Can’t Even: How Millenials Became the Burnout Generation - Anne Helen Petersen [definitely didn’t need a book-length version of this article, but I couldn’t sleep so what the hell]

The Big Six - Arthur Ransome

The Grass Widow’s Tale - Ellis Peters

Fool’s War - Sarah Zettel

The Nine Tailors - Dorothy L. Sayers

Algorithms of Oppression: How Search Engines Reinforce Racism - Safiya Umoja Noble

#books 2020 #books practical and pleasurable

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