#the emperor and the nightingale

[laurasimonsdaughter]

Images from Andersen’s literary fairy tales that have been burned into my mind since childhood:

The swindlers in The Emperor’s New Clothes stuffing their pockets full of the fine silk and gold thread they were meant to be weaving with

The witch combing the memories out of Gerda’s hair with her golden comb in The Snow Queen

The little bird in The Nightingale singing so beautifully of the silent churchyard, which is like a garden with evergreen grass, elder trees and white roses watered by the tears of those left behind, that Death himself becomes homesick and leaves the dying emperor be

The prince in The Little Mermaid having a page’s outfit made for “his little foundling”, besides her silk dresses, so she can go horseback riding in the woods with him

Little Thumbelina sleeping in a polished walnut shell, on a mattress of violets, under a rose petal blanket

Andersen’s fairy tales are full of guilt, cruelty and suffering, and I tend to prefer the retold or abbreviated versions to his originals, but in between the troubles they are so charming

[mirellabruno]

alexandre-benois Dancer in the procession of the Chinese emperor. Costume design for Stravinsky’s opera “Nightingale”, 1914, Alexandre Benois Medium: graphite,watercolor,paper

[thebdelliumlady]

The Emperor and His Nightingale

Chapter 13: The Jade Serpent's Happily Ever After (ZZL/SY Alternate Ending)

Like most fairytales, there is more than one ending. In one version, the Jade Serpent is killed by the emperor, but in this one, the Jade Serpent prevails in his endeavor to save the Nightingale. Just as it says in the title, this is the alternate ending in which our snake boi gets his happy ending. It picks up right from the end of chapter 11. This is NOT THE OFFICIAL END for the story, as that ending is BingYuan endgame, merely on alternate ending. The next chapter will pick up where 12 left off. Link to Chapter 11:

[synergysilhouette]

Disney's post-Renaissance: An alternate Timeline

Round 3 of my alternate universes involving Disney eras. I should note, though: given that I made the AU for the revival era first, it exists independent of my AUs for the renaissance and post-renaissance eras, which exist together here. BE WARNED: as someone who lived during this era, it's one I am not a big fan of, so I'm making a bunch of changes based on my own opinion; while the renaissance era AU had additions, the post-renaissance AU has deletions/replacements.

Fantasia 2000--The film turns out the same as it did in the OG timeline (perhaps better box office, though), but in this version, the animation style for "The Firebird Suite" leaves an immediate impact on audiences.

Kingdom of the Sun--In this AU, "Pocahontas" (named "Amonute" in my AU) had more financial returns and the screening of KOTS had better audience feedback, so the concern of a serious, ambitious film wasn't a problem for Disney--though they did replace Huaca with Kronk for some light-heartedness. Despite all odds, Disney is able to crank out an original Incan musical epic. A spoiled king trades places with a lookalike peasant, but when the king is kidnapped and the peasant is blackmailed by the royal vizier to become a figurehead for her to rule through, they must get help from a kindhearted noblewoman and a tough female guard. If they fail, the kingdom could very well become the Kingdom of the Shadows. While the casting of non-Indigenous or Latino actors did earn some negative press (unless you want to imagine that they made this a priority to cast Latino actors), the film received overall praise and comparisons to renaissance-era films which hadn't been seen for a little while now. The film grossed roughly $400 million at the box office and gained positive critical reception, with a sequel series focusing on more twin hijinks, and Yzma's nephews Zim and Zam are used a bit more to balance them out. The king (called Manco) and his love interest join the Disney Princess/Disney Prince lineup.

Atlantis: The Lost Empire--Due to the success of "Kingdom of the Sun," "Atlantis" was retooled in two ways: it was to be made a musical, and more focus would be put on the magical aspects of Atlantis instead of the technology aspects. Needless to say, this caused quite a bit of ruckus in production one year out, but they pulled through with $350 million at the box office and received a sequel direct-to-video film shortly after. Kida and Milo joined the DP lineup, but James Arnold Taylor dubs most of Milo's subsequent appearances. That said, it was surmised that the film might've made more had it been 3D, given the growing demand for the style.

Lilo & Stitch--Mostly the same, but Nani and Lilo's relationship gets more attention (in the OG film, it was important, but the B-story to Lilo and Stitch's relationship), as well as more Disney references and appearances as shown via the parody trailers. The latter detail set the stage for the cameos in "Ralph Wrecks the Internet." The film meets roughly the same success, but it gains a little bit more thanks to previous films being more successful.

Treasure Planet--Mostly the same, but a crucial change is made. Given the ambition the film had already with it's story and plans to combine 2D and 3D animation, the developers noted the change in atmosphere in the animation landscape (notably with the feedback from "Atlantis") and decided to make the film completely 3D instead. While this disappoints some fans, it's financially a smarter decision, making $300 million at the box office and Disney greenlighting a straight-to-DVD sequel (and a rumored TV series that never materialized).

Brother Bear--Given that "The Lion King" is with humans in this AU and "Amonute" got more praise, CEO Michael Eisner suggested a combination of the films, making another Native American musical and using animal motifs. Seeing how all their musicals had been 2D up to now, this art style was kept to not risk losing the core audience. Noting the positive feedback of the sibling relationships in "Kingdom of the Sun" and "Lilo & Stitch," they push forward with a story about three brothers who go on a journey for Kenai, the youngest, to discover his true self after being bestowed a bear totem, which he attributes to being a premonition of a poor future. In a flip to the common trope of female leads being able to speak with animals, once the brothers receive their totems, they are able to do so as well--except for Kenai, who vehemently resents and rejects his totem. The film grosses over $350 million with praise for it's depiction of Native American culture, though there was concern about the use of spirit animals being misconstrued.

Rumpelstiltskin--In 2004, Disney released a powerful tale of motherhood, focusing on a young queen named Aurelia who finds her fairy tale happy ending thanks to her ability to spin straw into gold and save the kingdom from poverty. However, things go awry when a clever warlock appears and reveals that the queen isn't as graceful, clever, or skillfull as she had pretended, as he had helped her gain the king's favor, and now was taking their child as payment for it. Paying homage to classic Disney films (the animation style and storytelling is reminiscent of "Sleeping Beauty,"), the musical concerns Aurelia racing to find this creature who stole her child, as well as the name that could banish him once and for all. The film has been labeled "twisted Disney" due to Rumpelstiltskin changing his form to several darker versions of iconic Disney characters. Like with "Beauty and the Beast" (in my AU), they took influence from the film "Labyrinth," with the writers for the film researching child abduction for a more authentic and moving piece. The film's darkness made it a dark horse at the box office, grossing similar numbers to the other musicals, though it's still viewed as underrated; Aurelia was originally placed within the Disney princess line, but subsequently removed due to her physical similarities to Princess Aurora and their similar names, as well as the fact that Aurelia was a queen and controversially referred to as "too old" to join the line (both points are a source of contention among fans).

The Lion, the Witch, and the Wardrobe--Released in 2005 and sometimes just marketed as "Narnia," Disney had been inspired to make the film following the success of "Harry Potter and the Philosopher's Stone," though they originally planned to relocate the film to America instead of England, which eventually fizzled out. The animation style is heavily influenced by the animation style for "The Firebird Suite" from "Fantasia 2000" in order to truly transport the audience. The film plays off mostly the same as the OG timeline with similar figures (and let's assume the OG cast was re-used, with singing voices when needed; it was mostly the magical creatures who sang in the film to give Narnia a fairy tale vibe while the Pevensies were "real" people), becoming somewhat of a phenomenon thanks to it's large box office and nostalgia for fans of the book. Jadis was seen as a blueprint for Elsa later on, and Lucy was seen as too young to join the Disney princess line.

Tam Lin--Released in 2006, Disney made a musical based on the folktale "Tam Lin," about a young woman who vows to rescue a man from the queen of the fairies. Given that the subject matter was similar to "Rumpelstiltskin" and this was their FOURTH musical in a row, Disney was concerned about taking on the tale and having to top (or at least meet) previous successes. As such, they did several things: the film embraces the Scottish background in contrast to previous European-esque fantasy films that went for a less clear atmosphere; the female protagonist, named Máirín, is a shy loner in comparison to the outgoing Disney females, while the male protagonist, named Sachairi, was a bit more rugged and mature than previous Disney males, inspired by video game leads like Chris Refield and Solid Snake; the story also takes influence from several other Scottish tales, such as "Rushen Coatie," and "The Sea-Maiden." The result led to a story about a woman who ventures to save the kingdom with her trusty red cow when the prince is kidnapped and imprisoned by a wicked selkie. The film earned praise for it's reliance on a specific European culture (even if some details were incorrect) and grossed $400 at the box office. Along with this, Máirín was originally intended to be a redhead, but her design eventually opted for dark brown hair, with Snow White and Natalie Portman as influences (though Pixar did use this for their own Scottish princess). As one might've expected, Máirín and Sachairi join the Disney royal line.

Meet the Robinsons--Pretty much the same film, though perhaps it makes a bit more money due to the fact that it's the first non-musical Disney film in 5 years and people were curious to know if musicals was all they were good at.

Night and Day--Released in 2008 after much turmoil, Disney comes up with a musical loosely inspired by "The Frog Princess" and "The Nightingale," the film revolves around a Korean prince who ventures with a magpie to find the secrets of immortality to save his ailing father. The film was more comedic in tone than previous musicals, but ironically seen as one of Disney's more intimate and emotional films, particularly between shy Prince Jiyu and Sujin (the magpie turned human), and it's praise for accuracy for Korean culture--except certain details like linguistics. It's noted that "Avatar: The Last Airbender" was a heavy influence, and while financially successful (making about $300 million), it's seen as underrated in contrast to the success reached during the revival era. But at least Sujin and Jiyu joined the Disney royal line.

Hope you don't mind me re-writing your childhood! My rewrite stuff with the Disney eras is probably done, but maybe I'll rewrite the concept of their direct-to-DVD films sometime.

[tb0zu]

[aciakatura]

The emperor and the nightingale

[arknights-archive]

New music albums

[death-and-other-myths]

The Emperor and the Nightingale

ACT 9

The Narrator:

Meanwhile, Emperor Alphonse wasn’t too pleased about the progress of his siege upon the forest.

(Alphonse stands at the throne room window, telescope drawn and jaw on the floor.)

Alphonse:

I can’t believe it! Where did all of these animals come from?!

Ophelia:

(packing her bags)

The forest— where do you think?

Alphonse:

But… but they’re just animals. There’s no reason for so many of my miraculous robot soldiers to fall at the hands of.. of..

(looks at his telescope)

… a herd of rabbits!

Ophelia:

Well whatever the case, I’m getting out of here!

(she makes a run for the door)

Alphonse:

No! Nobody leaves!

Robot servants, stop her!

(Richard and the Empress spring from their ridged positions as tea servers, blocking Ophelia’s escape. They continue to jerk against the robot armor covering their arms and legs.)

Richard:

You underestimated the strength of the forest, Alphonse.

Just give it up.

The Empress:

Yeah! You leave those cute little animals alone!

I never signed up for this type of war.

It’s so tacky!

(They unwillingly usher Ophelia back to Alphonse when the throne room doors burst open. The rightful Emperor and the Nightingale run in, weapons drawn. Everyone in the room gasps.)

Alphonse:

YOU! And what’s this?

You have your little bird friend with you.

Well isn’t this rich?

The Nightingale:

(to the Emperor, readying her sword)

I’m going to kill him.

The Emperor:

(to the Nightingale)

Wait.

(steps forward to address Alphonse)

Give me back that crown, Alphonse, and this can all stop.

Alphonse:

Oh, but we’re just getting started.

Behold, my most glorious secret weapon: The Apocalyptic Battlebot 3000!

(Alphonse pushes a red button on a remote, signaling the castle walls to open up. They watch from the tower as a robot, massive and dangerous rolls onto the battlefield. It has knives sticking out of every possible surface on its chrome body and a large, deadly cannon that is charging up to fire upon the animals.)

Alphonse:

You were fools to come here.

With you two out of the way, there will be no one left to stop my Battlebot from obliterating your army.

Robot Guards!

(Richard and the Empress squirm, standing at attention.)

Alphonse:

Put an end to these intruders.

(The Empress leaps upon the Nightingale, wrestling her to the ground beneath the weight of the robotic suit.)

(Richard tackles the Emperor, pinning him as well.)

The Empress:

I’m very sorry! I don’t want to hurt you.

Well maybe a little.

But not like this!

(she squeaks when the Nightingale flips her. The two continue to grapple)

The Emperor:

(choking beneath Richard’s grasp)

Richard, I’m sorry.

Richard:

(stops struggling long enough to ask)

What did you say?

The Emperor:

I’m so sorry I didn’t remember you.

After all you’ve done for me.

After all the great adventures we had.

Losing you as a friend always be my…

(chokes)

…greatest regret.

Richard:

Donovan.

(Alphonse and Ophelia cackle while their robot servants continue to overpower the Emperor and the Nightingale. Outside, the Apocalyptic Battlebot 3000’s cannon is nearly charged and poised to decimate the forest.)

(With a monumental amount of effort, Richard’s hands release the Emperor’s neck. With shuddering arms, and a newfound hope-propelled strength, the woodsman grips the sides of his helmet and rips the device off his head.)

Richard:

(panting, holds his hand out to the Emperor)

You never lost my friendship, buddy.

The Emperor:

(takes it and stands)

(Together, they run over to the Empress and rip the helmet off her head. She screams at the sudden jolt of electricity and stumbles back.)

(Richard has to hold the Nightingale back from attacking her.)

The Emperor:

It’s over, Alphonse. Hand over the crown!

(Richard, The Nightingale, and The Empress stand behind him— fists and robot knuckles at the ready.)

Ophelia:

(cowers behind the throne)

Alphonse:

It’s not over till it’s over Donnie! And your time’s up!

(he points out the window to the Apocalyptic Battlebot 3000, which is moments away from firing upon the forest)

You’ve lost! You’ve lost it all! You simpletons and your petty emotional problems will stand in my way no longer!

Welcome to the new era!

Welcome to my glorious victory!!!

(Outside on the battlefield, the Raven approaches the Apocalyptic Battlebot 3000 and punches its lights out. The robot crumples to the ground and its lights extinguish with a simpering sizzle.)

(The Raven gives a thumbs up to those observing from the throne room tower.)

The Nightingale:

Good job, babe!

Alphonse:

(falls to his knees)

OKAY! OKAY!

Don’t hurt me.

It was never my idea in the first place.

It was her!

(points to Ophelia)

She is the mastermind!

Ophelia:

(incredulously)

Excuse me?

The Emperor:

(removes the crown from Alphonse’s head and places it on his own)

I command everyone to stop this fighting now!

(Outside, the robot soldiers freeze in their tracks and collapse to the ground. The animals waste no time in standing over them and cheering uproariously. The townspeople who were mistakenly netted shake loose from the robot captors and join in.)

(The Emperor, The Empress, Richard, and The Nightingale stand on the tower and greet the kingdom.)

The Emperor:

My dearest subjects…

Human and animal alike.

Please accept my most sincere apologies.

I have not been a good Emperor for a long time, just like I haven’t been a very good husband.

(he takes the Empress’ hand)

Or friend.

(he takes Richard’s hand)

Or neighbor.

(he turns to look at the Nightingale)

But all of that changes today.

From now on, ours will be a peaceful kingdom. It will be a considerate one where we live alongside each other in freedom, harmony, and very healthy coping mechanisms!

(The animals and the townspeople cheer.)

The Emperor:

I promise to do better for you.

(he looks to his friends)

And for myself.

(The Empress, Richard, and The Nightingale smile, their expressions falling slightly as Alphonse and Ophelia attempt to creep out of the throne room. The second they open the large gold doors, they are greeted by the Raven, whose looming form and dark shadow quickly swallows the room.)

(He scoops them up by their collars, walking to join the others at the balcony.)

The Narrator:

That night, the Emperor decided to throw one last impromptu party.

The Lamplighter:

Oh mercy me.

The Narrator:

It was more like a clean-up party. But there was dancing. And plenty of food. The animals that were being held captive in the palace were released. Elks and foxes and bears enjoyed swimming in the numerous royal pools. Townspeople were invited to enjoy all of the ice cream waffles they desired. Meanwhile, The Emperor and his court helped clear the remaining robot debris.

(Beneath the glow of the towne square string lights, every inhabitant of the kingdom— whether they are two or four-legged— dances with joy.)

The Narrator:

The Emperor, who had thrown countless proper ragers in his lifetime, had never felt a joy so pure as being among his friends and subjects that night.

(The Emperor and Empress twirl around the dance floor, breaking off to do-si-do with their subjects. When the Emperor passes Richard, they high-five. When he passes the Nightingale, he gives her a little twirl before noticing the Raven and promptly putting his hands in the air.)

(Alphonse and Ophelia stand nearby, trays full of drinks at the ready. The royal entourage members work nearby to haul away robot parts.)

The Narrator:

For the first time in a long time, all was right in the kingdom.

And so, dancing beneath the stars and upon the trampled trash that used to be death bots, they all lived happily ever after.

END

Main story page

[imperatorisaureinova]

Tags

[captainkirkk]

✩ WEEKLY FIC ROUND-UP ✩

All the fics I’ve read and really enjoyed in the past week-ish. Reminder: This list features any and all ratings and themes. Please look at tags and warnings on ao3 before reading.

ATLA

Waiting on that morning sun by DustOnDaydreams

“To the Generals, Admirals, Officers, Soldiers and Sailors of the Fire Nation, Halt your advance. Pull back to your nearest military stronghold, and await further orders. Do not engage any forces unless absolutely necessary for your own defence. Put out any fires you come across. Sign it only with the full list of the Fire Lord's titles."

“Your Majesty, do you not want to put your name to the missive?” A young pimpled scribe squeaked out to the shocked silence.

“No. I want them to obey the order.”

Or Zuko's transition from child soldier to young monarch in charge of a corrupted nation

Harry Potter

The Cloak by MoonflowerMorningGlory

Harry is not going back to the Dursleys. He has been out of the cupboard for a whole year; he's not going back in. It's tricky - he doesn't really want to have to explain to anyone. But he's magic now! He has an invisibility cloak! And he's had a lot of practice lying still and pretending he doesn't exist. So he can definitely hide out and avoid being put back on the Hogwarts Express, right? Nothing can go wrong with an eleven year old by themselves for 9 weeks in a wild, magical castle, can it?

Nine Worlds

East First by fire_eyes_chica

"East first, then west and home"

Before they can settle into their well-deserved retirement, first Kip and Fitzroy need to return to the Palace of Stars for the Jubilee celebrations. It's harder than it seems.

these unfaithful hands by rattyjol

His feet were moving again, though he did not recall deciding to go anywhere. He crossed the room, past his desk, past the plinth with the asymmetrical vase, past the tapestry map and the golden nightingale in its cage. Past the terrace, where he had been pleased to break his fast with his Radiancy—only this morning? It felt a thousand years away.

He was standing before the ivory door to the inner apartments, which he had passed through only a handful of times before. His hand raised of its own accord, and the door fell open beneath it.

He became aware, with a creeping dread like tendrils up his throat, that something was terribly wrong.

The Goblin Emperor

Falling (Please Catch Me) by mabonwitch

Maia gains a wife, a lover, and a dav.

Or: "He needs affection, and closeness. He is all but starved for it, and we would see him glutted on it instead.” She raised her chin. “However that happens.”

The Imperial Salon by mabonwitch

The Imperial salon is full of marnei. Vazhik gets a firsthand look at why that might be.

Alternate Title: The Emperor's Gay Lover

the first long welcome by wizardcake

Just a few little conversations and scenes on the topic of Maia becoming, and being, a parent. Fluff with a couple shavings of angst on top for flavor and texture.

[thebdelliumlady]

The latest chapter of The Emperor and His Nightingale is up on AO3! Have some art of the Imperial Couple looking so very happy. lmao Their relationship is a mess.

[cjrae]

Tragedy of the Jade Nightingale. Or: My thoughts on Vol. 11 of the Apothecary Diaries.

Given that this volume just came out in English a few days ago, spoilers under the cut!

I usually think of the Apothecary Diaries volumes as pairs - usually two volumes make up an arc. If so, Volume 11 will be the first half of the arc with 12, but it also functions beautifully as a tragedy in it's own right.

** I will be only discussing information appearing officially through Vol. 11. Yes, I have read the fan translations of the web novels, but given that details can change, until it appears in official English translation, I won't yet be including it here.

The Hero

Gyoku-ou. Talk about someone who thinks he's smarter than he actually is. We knew this guy was a threat all the way back in Vol. 8, with how Gyokuyou reacted to her brother's letter and his veiled insult of sending a younger version of herself to catch either her husband's attention or the Imperial Brother's. Now we get to see him in action and he's scary - right up until he's not.

This man is charismatic as anything - he understands what makes people tick on both an individual level as well as a social level. His ability to wield a mob effectively makes him extremely dangerous, but I'm oddly put in mind of Lakan's initial impression of Fengxian. "This woman is strong, but she only knows how to fight in her own, small world."

The world Gyoku-ou inhabits is a very small, petty one. You can see it in his conspiracy theory about Jinshi's birth.

Jinshi is one of two people Gyoku-ou fails to read. When he brings Lakan and Jinshi to his puppet council to gauge support for attacking Shaoh, he thinks he's got a young malcontent in his hands, someone who wants power and is prone to the flashes of temper and insult that often drive young men. Someone who is easily manipulated. Instead, Jinshi mops the floor with him in that meeting, cutting Lakan's support out from under Gyoku-ou and making it clear that his priority is peace above war.

This doesn't take away from Gyoku-ou's political genius - this meeting teaches him that Jinshi has to be maneuvered around, rather than maneuvered directly. If the Imperial Brother doesn't want to play his part, then too bad. Gyoku-ou will see to it that Jinshi is hedged in all directions except where he wants him to go - which is to war. And even then, he's got a fight on his hands as Jinshi fully takes advantage of Empress Gyokuyou's information to undercut Gyoku-ou's support within his own family.

It's a mark of Jinshi's political skill that Gyoku-ou's move in that family council is to flirt with treason. If he can't maneuver the Imperial family through Jinshi, then he shifts tactics to turn Jinshi (and the rest of the Imperial Family) into the villain of his piece - a prince born and raised into utter depravity.

Let's just sit with what Gyoku-ou suggests to the rest of his siblings (minus the Empress) in that meeting. He implies that the Emperor impregnated his own mother in order to produce an heir. A son that he loves so dearly (and unnaturally) that he would willingly look the other way while Jinshi murders his other children in order to make sure that his brother-son-lover succeeds the throne.

This is a brilliant examination of how the bare facts of the situation can be construed by people with very different motivations to fit whatever worldview is most convenient for them. I'm a fan of the palace politics in this series because they feel very real.

Gyoku-ou doesn't lie once. But boy does he create a narrative that suits his purposes and dares anyone (namely Rikuson) to tell Jinshi. He is escalating the situation and he's doing it fast, while also challenging the legitimacy of the Imperial Family. A fact which, if it does get back to Jinshi (or the Emperor), could get the entire new You Clan wiped out just as fast as the Yi Clan was. This scene functions as a microcosm of Gyoku-ou's two fundamental character flaws; his short term thinking and his utter self-absorption.

Becoming The Wind

Since Rikuson was introduced in Vol. 5, he's been a mirror for Jinshi. He's a "pretty boy," calm under pressure, fundamentally kind and decent to other people while also being extremely competent at his job. Unlike Jinshi, he's also a bit older and more mature. He also clearly admires Maomao and sees the qualities that make her exceptional, despite her various masks.

As it turns out, Rikuson mirrors Jinshi in another important sense too - he also has a secret identity. The Yi Clan were the de facto royalty of the Western Capital and Rikuson is one of the direct survivors of the clan. He was never in the line of succession given the Yi Clan's matrilineal structure. But they were quick enough to save some of the children, namely Rikuson and Empress Gyokuyou's three ladies in waiting, Haku'u, Koku'u and Seki'u.

Rikuson, who was Gyoku-ou's excuse to trick His Former Majesty into giving him the authorization to destroy the Yi Clan. Rather than truly being an bastard Imperial prince, he's a young pawn in Gyoku-ou's hands to whip up an armed mob to hunt Rikuson down - and his mother and sister give their lives to ensure his survival - not for vengeance, but so that the Yi Clan's mission of protecting the west will live on even if the named clan itself dies. So, like Jinshi, he is dedicated to the welfare of the people above all else.

The trouble with relying on an unruly mob is that it's sloppy. Gyoku-ou left multiple survivors and they have absolutely no love for him. He's left weapons at his back.

Rikuson is the other person Gyoku-ou utterly fails to read. He spends well over a year back in his homeland, working for Gyoku-ou as an aide ostensibly from the central region, patiently waiting for an opening - even as Gyoku-ou, who knows that Rikuson has to be assigned to the west with some kind of ulterior motive, is so blind that he thinks he must be a secret member of the La Clan, rather than the Yi boy he tried to kill seventeen years earlier.

Rikuson represents the culmination Gyoku-ou's short term thinking in that he doesn't bother to think about the threat of any surviving Yi clan might pose to him.

He will not insult his mother's memory, or his sister's. But if his mission of protecting the west coincides with vengeance for his family? Sure enough, Gyoku-ou's insistence on going to war (and dragging the Imperial family's legitimacy into his motivations) gives Rikuson his opening; especially because he isn't a vigilante.

He is acting under orders.

The New You

Rikuson's point about Gyoku-ou's life being a tragedy hits home when you consider Gyokuyou's thoughts of how she knows her father loves her - but would also abandon her in a heartbeat if she is no longer valuable to him. Unlike her older brother, she has a very clear-eyed view of how their father operates and focuses on making sure that her value never drops in his eyes.

Gyoku-ou's value to Gyoku'en plummeted the day he destroyed the Yi Clan - Gyoku'en's family. He was given a second chance to show that he could still perform the single function of the men of the Yi Clan - to protect the west. When he endangered it instead, Gyoku'en sent the weapon he'd spent seventeen years preparing (Rikuson) with an execution order.

By first destroying the Yi Clan and then following it up with a proposed invasion of Shaoh, Gyoku-ou proved to Gyoku'en that he was no son of his. Given how desperate he was to be his father's son, this whole book is a tragedy in the classic sense. The Jade Nightingale was so desperate to reinvent himself as a Jade Eagle that he destroyed himself in pursuit of the one thing he never lost - his father's love. But, to be his father's heir, what he needed was Gyoku'en's trust and respect, not his love.

And he killed that seventeen years ago along with the Yi Clan.

Ironically, the foreign born girl that he despised and attempted to undermine at every opportunity, emerges as their father's true heir and mother of the nation, with the rest of the surviving Yi clan as part of her loyal retinue.

In her triumph, the Yi Clan is reborn as the You Clan as Gyoku'en, a Yi man, is given a clan name on the strength of Gyokuyou's role as Empress. So much of their history has been lost, down to the matrilineal succession and family records, but their mission lives on through the Yi men who will continue to protect the west, no matter the personal cost to themselves. There is no room for self-absorption here, therefore Gyoku-ou has no place in their new clan.

Also, a parallel to pay attention to is how the destruction of the Yi Clan and the Shi Clan are mirroring each other with the children being saved. The Yi Clan is reborn with a new name, which leads one to wonder what the consequences of saving those Shi children will be long term.

A Dagger In The Dark

Gyoku-ou sucks up a lot of air in Vol. 11 because he is driving the action - Jinshi, Maomao and their party are all stuck reacting to him, except for one character; Chue.

We see Chue attach herself to Maomao starting with the ship and it's not difficult to guess that just as Lihaku is serving as a discreet bodyguard for Maomao on Jinshi's orders, Chue is also there as protection. Chue doesn't try to conceal that she is clearly trained in espionage either.

Rikuson's proposal to Maomao is not a serious bid for her hand, but nor is it a joke - it's a message to Chue that Jinshi needs to tighten security around Maomao. As he puts it, he knows the "hyper protective" elements around her will close ranks. Because he's foreseen a strategy that may not have yet occurred to Gyoku-ou (who tends not to pay attention to the bit parts of the play), but if it does would almost certainly push the country into war.

Maomao is the lever that could move both Lakan and Jinshi.

All he has to do is kill her and make it look like a foreign attack. Lakan's instinctive ability to read a situation and Jinshi's formidable investigative skills would likely be dulled in the face of their rage and grief. Especially since they are technically Gyoku-ou's guests and don't have freedom of movement to push the issue.

Rikuson seizes his opportunity before Gyoku-ou can continue to escalate, but he realizes quickly that Chue arranged the stage and was there as both spy and backup assassin. (I think it's safe to say that Gyoku-ou's conspiracy theory AND that Yi family ledger will be reported, given that we know there were ladies-in-waiting at the meeting and that's how Chue was disguised - and she didn't actually promise to dispose of it).

Gyoku-ou doesn't bother to think that while the Emperor may be far away and the Imperial Brother is a manageable threat, that the people surrounding Jinshi may not be bound by his strictures. Hence, Chue was on standby. No matter what, Gyoku-ou was never going to make it to that ritual. He was never smart enough to realize that his crossing the line would be never be forgiven.

While Jinshi would order an execution if necessary (and has in the past), he would never order an assassination. Therefore, it's evident that Chue reports to someone else. Who that someone is, we don't know, but there's only one person further up the Imperial tree than Jinshi, so it would be reasonable for Rikuson to assume that the Emperor has placed additional protection around not just Jinshi, but Maomao.

Exclusive: Baby Swap!

Jinshi's birth is not a secret to the audience and while Maomao doesn't have confirmation, she's pretty certain of her suspicion. This volume made it patently obvious that there are others out there who are perfectly capable of putting the pieces together, even if the details are twisted.

Let's return to Gyoku-ou's conspiracy theory.

He's put together all the correct pieces. The Emperor's attitude toward Jinshi makes no sense in a traditional palace setting - a much younger, handsome, charismatic and competent brother? That's a threat to the Emperor and his direct line. But Jinshi is never treated that way - instead he's indulged on many fronts.

He's allowed to duck most of his official duties as Ka Zuigetsu (except for a few he can't, where he appears masked).

He's allowed to pretend to be a eunuch for six years and run the Rear Palace.

When he finally reveals himself to the court to put down the Shi Rebellion, he's described as "hale" and "just as proficient in the military arts as the administrative." (More proof that Jinshi is NOT the best judge of his own abilities). He emerges fully formed into court politics - a perfectly trained Crown Prince - only to have a newborn given the title instead.

Gyoku-ou deliberately put the worst possible spin on these facts. I suspect the rest of the You siblings are going to keep their mouths shut about Gyoku-ou's ugly theory, but if he could think of it, if Maomao could think of it with just seeing Jinshi standing next to Lady Ah-Duo, then so can others.

Maomao can be mad about Jinshi branding himself all she wants, but it's currently looking like an absolutely BRILLIANT move on Jinshi's part. Whatever doubts Gyoku-ou managed to plant about Jinshi and the Emperor's motives with the rest of the You clan siblings, Empress Gyokuyou is not likely to entertain it.

Also, it got the Emperor to essentially "banish" Jinshi to the edges of the Empire shortly after his new Crown Prince was born, which makes it look to other members of the court like the Emperor is taking steps to rein in his younger brother and balances the factions that have to be forming back in the capital.

This is not a secret that can be kept forever. No matter how careful Ah-Duo and Anshi were, the information is starting to leak out around the edges, as we see that the Empress' ladies in waiting that were dismissed clearly had eyes and ears - and in at least one case, a loose tongue.

The next arc is being seeded and Jinshi is inching closer and closer to that throne. He ran the Rear Palace for years (essentially managing the nation in microcosm) and as of the end of Vol. 11, he's now stepping up to govern a province and gain actual ruling experience while also having suppressed a war.

I've said before that Jinshi ascending the throne is the bad ending - if there is a single person who is more trapped by the palace than the prince, it's the emperor. We'll see what happens!

[youryurigoddess]

A nightingale sang in the London Blitz

When exactly was that certain night, the night Aziraphale and Crowley met — and spoke for the first time in 79 years in the midst of the London Blitz?

And what’s the deal with the nightingale’s song, really?

Grab something to drink and we’ll look for some Clues below.

The night they met

The Blitz, short for Blitzkrieg (literally: flash war) was a German aerial bombing campaign on British cities in the WW2, spanning between 7 September 1940 and 10 May 1941. The Luftwaffe attacks were carried out almost non stop, with great intensity meant to force a capitulation and similarly strong impact on British life and culture at the time.

Starting on 7 September 1940, London as the capital city was bombed for nearly 60 consecutive nights. More than one million London houses were destroyed or damaged, and more than 20,000 civilians were killed, half of the total victims of this campaign.

The night of 29 December 1940 saw the most ferocity, becoming what is now known as the Second Great Fire of London. The opening shot of the S2 1941 minisode is a direct reference to recordings of that event, with the miraculously saved St Paul’s Cathedral in the upper left corner.

The actual raid lasted between 06:15 and 09:45 PM, but its aftermath continued for days. The old and dense architecture of this particular part of the city turned into a flaming inferno larger than the Great Fire of 1666. Multiple buildings, including churches, were destroyed in just one night by over 100,000 bombs.

Incendiary bombs fell also on St Dunstan-in-the-East church that night, the real-life location of this scene as intended by Neil. It was gutted and again claimed by fire in one of the last air rides on 10 May, when the bomb destroyed the nave and roof and blew out the stained glass windows. The ruins survived to this day as a memorial park to the Blitz.

Such a delightfully Crowley thing to do: saving a bag of books with a demonic miracle adding to the biggest catastrophe for the publishing and book trade in years. 5 million volumes were lost, multiple bookshops and publishing houses destroyed in the December 29th raid alone.

Even without this context, judging by the seemingly unending night, overwhelming cold and darkness, broken heating at the theatre, and seasonal clothing (like Aziraphale and Crowley’s extremely nice winter coats), it’s rather clear that it was the very beginning of the year 1941.

Everything suggests that Aziraphale and Crowley’s Blitz reunion happened exactly 1900 years after their meeting in Rome — which, according to the script book, took place between 1 and 24 January 41 (Crowley was right: emperor Caligula was a mad tyrant and didn't need any additional tempting; there's a reason why he was murdered by his closest advisors, including members of his Praetorian Guard, on 24 January 41).

Interestingly, both events involved a role reversal in their otherwise stable dynamic, with Aziraphale spontaneously taking the lead instead of letting the demon be the one to do all the tempting and saving, and ended with a toast.

The S2 Easter Egg with the nuns of the Chattering Order of St Beryl playing table tennis at the theatre suggests that the Blitz meeting happened on a Tuesday afternoon, which doesn’t match any of the above mentioned days, but sets the in-universe date for 7 January 1941 or later.

The Chattering Order of Saint Beryl is under a vow to emulate Saint Beryl at all times, except on Tuesday afternoons, for half an hour, when the nuns are permitted to shut up, and, if they wish, to play table tennis.

The nightingale

January means one thing: absolutely no migratory birds in Europe yet. They’re blissfully wintering in the warm sun of Northern Africa at the time. But, ironically, when the real nightingales flew off, a certain song about them suddenly gained popularity in the West End of London.

It might be a shock, but A Nightingale Sang in Berkeley Square wasn’t a hit from the start — even though its creators, Eric Maschwitz and Manning Sherwin, were certainly established in their work at this point. The song was written in the then-small French fishing village of Le Lavandou shortly before the outbreak of the Second World War with first performance in the summer of 1939 in a local bar, where the melody was played on piano by the composer Manning Sherwin with the help of the resident saxophonist. Maschwitz sang his lyrics while holding a glass of wine, but nobody seemed impressed. It took time and a small miracle to change that.

Next year, the 23-year-old actress Judy Campbell had planned to perform a monologue of Dorothy Parker’s in the upcoming Eric Maschwitz revue „New Faces”. But somehow the script had been mislaid and, much to her horror, replaced with the song A Nightingale Sang in Berkeley Square. She had never professed to be a singer but even so, she gathered her courage and went out onto the moonlit set dressed in a white ball gown. Her heartfelt rendition of the now evocative ballad captured the audience’s imagination and catapulted her West End career to stardom.

It was precisely 11 April 1940 at the Comedy Theatre in Panton Street and the revue itself proved to be a great success — not only it kept playing two performances nightly through the Blitz, but also returned the next year. And the still operating Comedy Theatre is mere five minutes on foot from the Windmill Theatre, where Aziraphale performed in 1941, and not much longer from his bookshop.

Now, most Good Omens meta analyses focus on Vera Lynn’s version of the song from 5 June 1940, but it didn’t get much attention until autumn, specifically 15 November, when Glenn Miller and his orchestra published another recording. And Glenn Miller himself is a huge point of reference in Good Omens 2.

According to the official commentary the infamous credits scene is establishing Aziraphale and Crowley’s final resolve for the next season using the same narrative device The Glenn Miller Story (1954) does in its most crucial scene. It starts with the tune (and audio in general) totally flat, then adds a piano on one side, and gradually becomes fully multidimensional. The Good Omens credits not only emulate the same sound effect, but bring it to the visual side of the narrative by literally combining the individual perspectives of the two characters together. Even though they’re physically apart, their resolve — and love to each other — brings them even closer than before. Aziraphale smiles not because he’s being brainwashed, but because he knows exactly what to do next.

Some of you might have noticed that Tori Amos’s performance for Good Omens is actually a slightly shortened version of Miller’s recording — much less sorrowful than Vera Lynn’s full lyrics that include i.a. this bridge:

The dawn came stealing up

All gold and blue

To interrupt our rendez-vous

I still remember how you smiled and said

Was that a dream or was it true?

Which is a huge hint when it comes to what we can expect from the main romantic plot line in the Good Omens series. The original song introduces an element of the doubt — it seems like there was no nightingale at all, only the mirage woven by the singer clearly intoxicated with love, much like Aziraphale and Crowley for the length of the last six episodes. Crowley’s comment in the season finale might allude to that interpretation, stating that there are no nightingales — never have been. It was all a dream. But the version we’re working with here is short and sweet, and devoid of that doubt. In the Good Omens universe angels were actually dining at the Ritz, the streets were truly paved with stars (or will be shown as such in the next season), and a nightingale really sang in Berkeley Square, as the omniscient, omnipresent, and omnipotent narrator, God Herself, had shown us.

All in all, it’s not an accident that the “modern” swing ballad activating Aziraphale’s memory and opening the 1941 minisode is the Moonlight Serenade by Glenn Miller. It’s a track naturally associated with A Nightingale Sang in Berkeley Square when it comes to music style and the sentiment in the lyrics.

But why the sudden popularity? In the great uncertainty and hardship of the Blitz, A Nightingale Sang in Berkeley Square provided solace and escapism for listeners, offering a glimpse of hope and love amidst the darkness of war. It became a universal anthem of resilience and a reminder of the power of love transcending difficulties. By January 1941 the whole city knew this tune by heart, including a certain West End aficionado with a cabinet full of theatre programs in his bookshop. Thanks to Maggie’s grandmother, he most probably had a record at hand to play during his spontaneous wine night with Crowley. We can only suspect the details, but it was was mutually established as their song exactly at that time or soon afterwards. Pretty sure we will see a third installment of that minisode for many, many reasons, but especially because of this “several days in 1941” answer by Neil:

The Man Hunt

In 1941 A Nightingale Sang in Berkeley Square gained even more popularity as the romantic theme of the Fritz Lang’s newest film Man Hunt. The 1939 story by Geoffrey Household first appeared under the title “Rogue Male” as a serial in the Atlantic Monthly Magazine where it received widespread comment, soon becoming a world-wide phenomenon in novel form. Its premise criticizes Britain's pre-war policy of appeasement with Germany, ready to sacrifice its own innocent citizens to the tentative status quo. Sounds a bit like Heaven's politics, right?

Yes, I'm trying to make you watch old movies again — like all the other classics, Man Hunt (1941) is easily available on YouTube and other streaming websites.

The next part will include spoilers, so scroll down to the next picture if you prefer to avoid them.

The plot of the movie seems simple enough: the tall, dark, and handsome Alan Thorndike, who nearly assassinates Hitler, narrowly escapes Germany and back in London continues to evade the Nazi agents sent after him with the help of a young trench-clad “seamstress” named Jerry, bridging the class divide and becoming unlikely friends-partners-romantic interests. It doesn’t end well though.

Jerry's small London apartment serves as a hideout for Alan when he was being followed by Nazis, similarly to how Aziraphale's bookshop is a safe haven for both Crowley and Gabriel in S2. She helps the man navigate the streets and eventually out of London — by sacrificing herself and getting forcefully separated from him by a patrolling policeman. The last time they see each other, Alan watches Jerry look back at him yearningly and disappear in the fog, followed by the elderly officer.

Unfortunately in the next scene we learn that the latter is a Nazi collaborator and helps the agents apprehend Jerry in her own flat. Staying loyal to her love and uncooperative, she’s ultimately thrown out of a window to her death, but posthumously saves Alan once again — through the arrow-shaped hatpin he gifted her earlier that is presented to him as the evidence of her off-screen fate.

Long story short, thanks to Jerry’s sacrifice Alan not only survives, but is able to join the war that broke out in the meantime and go back to Germany, armed with a rifle and a final resolve to end what he started, no matter how long will it take. The justice will be served and the dictator will pay with his life for his sins.

I wouldn’t be myself without mentioning that the main villain has a Roman chariot statue similar to the one in Aziraphale’s bookshop, an antique sculpture of St Sebastian (well-known as the gayest Catholic Saint) foreshadowing his demise, and a chess set symbolizing the titular manhunt/game of tag with the protagonist.

Aziraphale’s song

Will Aziraphale sacrifice himself as well? Or has he already? If his coin magic trick can be any indicator, we should expect at least a shadow of a danger touching the angel’s wings soon.

Let’s sum up the 1941 events from Aziraphale’s perspective: the very first time they’ve interacted after almost a century, Crowley actively sabotaged his entire existence twice by stepping onto a holy ground and by being outed by agents of Hell, both on the very same night and both because of his undying dedication to the angel. That’s enough of a reason not only for performing an apology dance, but also maintaining a careful distance for Crowley’s sake for the next 26 years. Only when he heard that his idiot was planning to rob a church, he gave up since he “can't have him risking his life”.

That’s when Crowley, sitting in a car parked right under his bookshop, offered him a ride. It wasn’t even subtle anymore. It was supposed to be a date, this time both of them understood it. But Aziraphale wouldn’t risk Crowley’s safety for his own happiness, especially not when he can name his feelings towards him and knows that they are reciprocated — the biggest lesson he learnt back in 1941.

So he did what he’s best at, he cut Crowley off again, but this time with a promise of catching up to his speed at some point. Buddy Holly’s Everyday, which was originally planned to play afterwards instead of the Good Omens theme, adds additional context here:

No, thank you. Oh, don’t look so disappointed. Perhaps one day we could... I don't know… Go for a picnic. Dine at the Ritz.

Aziraphale, carefully looking around and feeling observed through the whole conversation in the Bentley, consciously used the “Dine at the Ritz” line from A Nightingale Sang in Berkeley Square, from their song, as a code only the two of them understand. Not as a suggestion to go out for a meal, but a promise. A hope for the privilege of being openly in love and together — maybe someday, not now, when it’s too dangerous — even if it leads to a bad ending.

Fast forward to 2023 when for one dreadful moment Crowley’s “No nightingales” robbed Aziraphale even of that semblance of hope. He looked away, unable to stop his tears anymore. Only their kiss helped him pull himself together and make sure that a nightingale did sing the last time he turned — just like in their song — this time without a smile, as a goodbye.

[k-looking-glass-house]

What if Crowley uses "bird" vocabulary like Floyd with his marine nicknames....

Yes he's a crow ... Just imagine if he sees us as biiiiird~

Of course it's just my point of view, I am not a professional in ornithology, you might have your own idea about this one and I would definitely want to hear about it!

Mostly they are birds we could see in my country...

Let's go:

Ombrorio

Grim(m) -> Grey catbird (grey like Grimm, striped wings and can make cat noise....yes)

Yuu(sona) -> Sparrow (Crowley would definitely call Yuu a little sparrow....)

Night Raven College staff

Sam -> Painted bunting (small, vibrant, colorful, a rare sight to view)

Mozus Trein -> Eurasian skylark (classy, well known literally a french song about this bird "he sung it to Lucius as a kitten")

Ashton Vargas -> Pheasant (....the irony as his Disney counterpart is an hunter, but vibrant color)

Divus Crewel -> Great spotted woodpecker (literally screaming I am Cruella, fashion red, black and white bird)

Heartslabyul

Ace Trappola -> Nothern cardinal (red... funky feather style, fights their own mirror reflection...)

Deuce Spade -> Blue slaty bunting

Riddle Roseheart -> Robin (Hi Ciel Phantomhive...I mean Kuroshitsuji ref but look that little red face)

Trey Clover -> Nightingale (sorry Trey...Crowley is implying you can either sing...or can't...but you do have a perfect voice!)

Cater Diamond -> Pyrrhula (I love this little bird too....they became very rare by now, look this tiny orange one)

(Heartslabyul are literally the birds of Aurora in 2d "Sleeping beauty")

Savannaclaw

Jack Howl -> Owl (....this one is pretty obvious)

Leona Kingscholar -> "Savanna" eagle (yes... definitely a strong bird)

Ruggie Bucchi -> Speckled mousebird (listen to that bird you'll understand, also....that feather hairstyle!)

Octavinelle

Jade Leech -> Emperor penguin (tall...classy ...can't fly pfff)

Azul Ashengrotto -> Nothern gannet (verrryyy big, analystic-smart one, can't walk on land...)

Floyd Leech -> Snare penguin (unique appareance, multiple various vocalized sounds)

Scarabia

Kalim Al Asim -> White falcon (precious, royal bird in a "maybe similar related country in our world")

Jamil Viper -> Red Parrot (or macaw) (obviously because of Iago)

Pomefiore

Epel Felmier -> Snow bunting (a "petite robuste" bird living in snow)

Vil Schoenheit -> Peacock (beautiful, handsome literally The Evil Queen's bird)

Rook Hunt -> Mallard (another irony for an hunter...but this bird is beautiful I mean it, and is found everywheerrre (like a stalker bird ha ha))

Ignihyde

Idia Shroud -> Blue jay (blue, black and blue stripes, funny enough the bird is stated to be noisy ha ha, Idia can be supah noisy sometimes too when setting his boundaries, GG Idia!)

Ortho Shroud -> Eurasian blue tit (a little fluffy bird, blue and yellow doing a very cute melodious sound, I love watching them...)

Diasomnia

Sebek Zigvolt -> Egyptian plover (yes....the bird on the crocodile's back...yes)

Malleus Draconia -> Great eared nightjar (it's a dragon bird....look at him)/I could have chosen Casoar too... but nope...

Lilia Vanrouge -> Anna's hummingbird (it's small, pink and changes color with light...like his hairs)

Silver -> Nine-primaried oscines (a cute lovely bird in our woods, pink and blue)

Thanks National Geographic....

It's just pure fanon brainstorming... I'm sorry...

bird photos were mostly took from "Wikipedia"

[fictionadventurer]

Details:

1940s Hans Christian Andersen shorts: Intended as animated segments within a live-action film about the author's life, these would have adapted The Little Mermaid, The Fir Tree, Through the Picture Frame, The Emperor's Nightingale, and The Steadfast Tin Soldier. (Yes, I know we got adaptations of several of these, but I still want to share the concept art for old versions).

Gremlins: A film they worked on a lot during WWII but couldn't crack the story (or find money to make it)

Don Quixote: They tried to adapt the story in various ways in the '40s, '50s, and '00s, which is too long to get into here, but it led to some interesting concept art.

Chanticleer: A story about an arrogant rooster who thought his crow made the sun rise, and used this to rule over the other farmyard animals. Reynard the Fox was a villain who tried to take advantage of the discontent in the farm animals to take over as their leader (with plans to eat them), which leads to Chanticleer saving them and learning humility. Work started on it in the 1940s, and it was so close to being made in the 1960s, but they decided to go with The Sword in the Stone instead. Some of the animators loved it, though, and some of the character concepts were later adapted into Robin Hood.

Catfish Bend: I haven't found much about the story beyond "talking animals in the South", but the concept art intrigues me. It would have been released in 1981, but after it was shelved, some of the concepts went on to inspire The Rescuers.

Mistress Masham's Repose: An adaptation of T.H. White's novel, pitched in the late 1980s

Fraidy Cat: 2009 film about a pampered housecat named Oscar who is falsely accused of kidnapping another pet and has to team up with a cockatoo and try to find the real culprit to clear his name. Shelved because they figured kids and general audiences wouldn't understand the Hitchcock references (which seems like a terrible reason, but alas).

King of the Elves: Announced in 2009, it was a 3D animated film scheduled for 2012, before being shelved in 2016. Adapted from a Philip K. Dick story, it was about an ordinary man who saves some elves from a troll and (apparently reluctantly) gets declared their king.

Gigantic: A retelling of Jack and the Beanstalk set during the Spanish exploration, it involves Jack meeting an 11-year-old female giant who treats him like a doll, and eventually fighting much larger Storm Giants. Would have had songs written by the team from Frozen and was set to be released in 2018, then moved to 2020 before being cancelled because apparently they couldn't figure out the story.