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midnight-in-town · 1 year

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Frances Midford : The Mentor, a summary

To follow with my post about fighting against misinformation, here’s a first topic.

Ciel’s remaining aunt is often viewed by the fandom as a mean lady who doesn’t care, because of a) all the mysteries around the family that Ciel doesn’t know about and b) the use of comic relief in Kuroshitsuji often used to hide some relevant clues, as previously demonstrated in this post. This is actually far from what her character really is about and I intend to demonstrate it now with a (long) recap post.

I have talked about Frances a lot in the past, about her caring about our!Ciel and about her possibly knowing, like Tanaka, that he was lying about his identity. While the former is undeniably true, the latter is still up for debate. [X][X][X][X] However, with the upcoming adaptation of the Weston arc (probably) in 2024, I don’t want the old discourse to come back, so without further ado...

What Yana has said about Frances’ character

Besides our!Ciel, Frances is the last remaining Phantomhive (not counting real!Ciel as a BD). She’s Vincent’s younger sister, they both have the same parents (that is to say Claudia P and Cedric K. Ros) and she married out of the family (implying that maybe the Phantomhives have distant relatives still alive), becoming Lady Midford.

According to Yana, Frances takes after their dad while Vincent takes after their mom and the same is true for her kids, meaning Ed takes after her (thus takes after his maternal grandfather) while Liz takes after Alexis.

As far as her relationship with our!Ciel is concerned, here’s what Yana said in the guidebook : “Frances' strength of character is why Sebastian chose her as a role model Ciel should follow”. Since her relationship with Lizzie is sometimes also viewed negatively, I’d like to add that both in the guidebook and on twitter, Yana said that “Liz thinks her mom is kind and strong so she looks up to her mom as a role model she aspires to become”, hence the similar hair style.

TL;DR Yana’s overall description of Frances is that a) she’s kind and strong which is why b) she’s Lizzie’s role model, as well as the role model Sebastian thinks our!Ciel should follow.

Now that this is established, here’s what the canon story gives us, to illustrate Yana’s words. Spoilers for the entire manga series and long read below the cut.

Frances’ introduction

Frances is introduced in ch14 and, boy, what a generally misunderstood chapter by some parts of the fandom. xDD

Contextually, ch14 is Ciel’s birthday, meaning it is also the anniversary of the massacre of the previous household and Madam Red just died, after trying to kill him. For those who might wonder, the guidebook confirmed that our!Ciel was quite saddened by Ann’s death (obviously), so really, what a fun 13th birthday in perspective. Cue Liz and Frances.

The comments on her strength aside, Frances’ introduction is otherwise often misread as her nagging being inappropriate but I beg to differ. As mentioned by @akumadeenglish and @chibimyumi, Yana is Japanese author who likes to explore writing tropes in depth. Though it’s also important to remember that, before the curry arc, Yana didn’t know how long the series would run so everything had less intent, because the story was initially supposed to end quickly.

In other words, Frances’ introduction really is initially to be read as the severe mother-in-law (based on Japanese comical stereotypes) coming to check on how he handles his household, which is why Seb is so stressed out when everything goes bonkers. But that’s only the surface.

Most importantly though, Frances showed up because it is Ciel’s birthday and, as said above, there’s a lot of negative and dreadful memories associated with this day. So...

...let’s change his mind, shall we?

Phantomhives love games and Frances is a Phantomhive too, the last one besides our!Ciel, so she knows her nephew and chooses an activity she knew he wouldn’t be able to resist.

Ch14 also introduces two important facts that are still relevant as plot points, especially as far as the Blue Revenge arc is concerned. The first one is that our!Ciel protected Lizzie from that bear, so Frances said she owes him.

Secondly, as stated by Frances herself, she knows the ropes of the “game” (aka acting as the Watchdog) better than our!Ciel (”you’ve still got a decade to go before you can even think of winning against me”).

In fact, like our!Ciel with real!Ciel, Frances was probably raised as Vincent’s spare [X][X], but compared to our!Ciel who knew next to nothing about his father’s real job until 3 years ago (at the time of ch14), Frances is an experienced veteran...

And that’s why Seb chose her as a role model for our!Ciel.

Therefore it is my opinion that ch14, despite being written back when Sensei didn’t know how long the series would be published, is still relevant as heck when it comes to Frances’ role in the series, aka acting as a mentor for our!Ciel (and for Lizzie, as Yana also stated). Kuroshitsuji is a slow story though, with a lot of build up and it’s why some fans still fail to see how significant Frances is to the plot and to our!Ciel’s development.

Campania arc

Liz is the one who comes to ask our!Ciel to come with her whole family (thus introducing Alexis and Edward) on a cruise, but it’s also very important to note that she conveyed that Frances thought that our!Ciel should take time off of work:

This led some of us fans to theorize that maybe Tanaka used to send updates to Frances about our!Ciel’s wellbeing and how he fared as the Watchdog: the timing of the cruise works well with Frances’ remark, considering that the Queen just sent Charles Grey as a merry punishment for Ciel’s deeds during the Circus arc.

This arc mostly highlights Frances’ bravery and strength : she didn’t hesitate to fight for countless of passengers unrelated to her (something that UT said isn’t very typical of Phantomhives, during Weston)...

More importantly, we finally get into Lizzie’s personal motivations and we indeed have the confirmation that...

...Frances is a big key to Lizzie’s strength, confirming the role model/mentor position that she holds in Lizzie’s eyes. I’d like to also point out that Frances completely trusts in her daughter’s abilities, which highlights a very positive mother/daughter dynamic.

Lizzie’s flashback gives us this very important bit...

...a part that’s unfortunately often overlooked by the fans complaining that Frances is too severe with our!Ciel and Lizzie. This scene however makes way more sense once we find out, after the Weston arc, that Frances lost her mother Claudia (the Watchdog before Vincent) when she was probably about 12 or 13 years old (Vincent being 15 years old then).

To me, this is a big explanation as to why Frances is as serious about training as she is:

Indeed, she lost at least her mom (and later her brother) so, since her daughter is betrothed to the future Watchdog, she wants Liz to be strong enough to survive. All I see in the former panel is a mother saddened by the burden on her child’s shoulder and desperate to imagine that she will be exposed to a lot of danger as an adult.

Side point there, but it’s likely there’s a very relevant reason Frances’ only daughter was betrothed to Vincent’s heir when they were young kids. We’ll dive into it later, but I believe the answer is tied to the Phantomhive lineage introduced in ch103.

Lastly, our!Ciel’s flashback also gave us another important bit to explore...

...which is that our!Ciel directly applies what Frances once told him to his current path for revenge:

Also note the allusion again to Vincent “losing the game”, creating a parallel with Frances telling our!Ciel in ch14 that “he still has a decade to go before he can even think of winning against her”, because he has a lot to learn from her, especially since even he admits that he knows next to nothing about his own family.

The previous spare teaching the spare. How fitting. :D

Weston arc

Even if Frances only appears in this arc during the cricket game, I think there is a lot to be deduced from it. First, I’ve said it long ago and I’ll say it again: I strongly believe Frances played a part into Vincent’s victory during the first blue miracle.

Mind you, Tanaka basically confirmed that Vincent cheated to win (since he knew what Seb and Ciel were up to) and I could totally see Vincent asking his strong little sister to crossdress in order to destroy the Green team. xDD Besides, she certainly seems uneasy whenever the topic is brought up and she also wasn’t fooled by Ciel’s act when he won, haha!

This is silly, but this shows (imo) that Frances and Vincent had a good sibling dynamic, with Frances supporting her brother as the Watchdog as much as she could, which is heartwarming because this means Frances would have no reason not to support her brother’s sons after his death.

Tanaka (who, according to Yana, was already in the household taking care of Vincent and Frances as children) and Frances happily dancing together at the end of the tournament also confirms this. Vincent and Frances having a strong sibling bond would also explain why, despite Claudia’s death, Frances would agree to the betrothal between Lizzie and Vincent’s heir (and would keep it that way, even after Vincent’s death).

All that to say, I’m sure the cricket game confirmed to Frances how similar our!Ciel is to Vincent on some aspects (the second blue miracle attests to that), which probably makes him somewhat predictable (and reassuring?) to her.

One thing that I also believe is important is Ed’s mini flashback during the game. On this topic, Yana has said that she couldn’t draw his backstory in detail, so she’ll probably expand on that in the future, which makes me think that there is some foreshadowing in there.

TBH I think it’s ironic that Ed would consider himself as “ordinary”, considering the whole lineage thing introduced one arc later. xDD But also, if we consider that the tale of Vincent’s first blue miracle is supposed to hint that Vincent and Frances were close as siblings, it’s nice that Ed, who takes after his mom the most, would also have his own flashback about loving and looking up to his sister a lot, despite his small inferiority complex. Considering that Liz sees their mom as her role model though, I guess that means Ed also sees his mom as a role model (though the Campania arc already made that pretty clear).

During the Weston arc, Frances also managed to surprise Sebastian, both by recognizing him (lol) and by stopping him despite his intent to leave, which is, according to the demon himself, no small feat:

Like the usual nagging she does towards Seb though, it’s played for laugh, but as introduced in this post, I believe overused comic relief is a way to foreshadow some hints and we’ll dive into it with the next arc.

Last but not least, during this arc UT commented that our!Ciel was different from his ancestors when he willingly put himself in danger to save Joanne...

...but as presented during the Campania arc, it seems it’s a trait he shares at least with his aunt, furthering the parallels between them and the fact that she would definitely make a good mentor for our!Ciel, because they’re quite alike and can probably understand each other.

Green Witch arc

The only relevant part of this arc with Frances’ character is the introduction of a special lineage in the Phantomhive family by German Shinigamis...

...something that might explain why our!Ciel was able to notice them, when even Seb didn’t. So this begs the question: who else in his family shares this lineage? And obviously, Frances and her kids might !

My personal opinion is that the lineage thing is old and is probably why the Phantomhive family became the Watchdogs, many generations ago. But also, if our!Ciel can notice Shinigamis thanks to it, could it explain why Frances was able to detect and catch Seb during opening ceremony before the cricket game at Weston? And why she always nags him about his appearance (both hair and face)? That remains to be confirmed, but...

...at the very least Bravat in the recent arc confirmed that some gifted people like himself can “sense” that demons are different. Just like animals [x][x], apparently. Bravat is irrelevant besides being a small scale villain though, so I take it as a hint for a more plot significant character, such as Frances, whose nagging behavior towards Seb is way too overused as comic relief anyway.

The lineage thing is yet one more family topic on which Frances probably has answers to give to our!Ciel (the only other people who might know about it being Tanaka and UT).

Bonus : if what Vincent said below about strong-willed women in the family line (from a side story “With Father”) is a hint towards the lineage thing...

...then it’s probably why Vincent wanted Lizzie to be betrothed to his heir in the first place and why Frances agreed.

Blue sect & blue revenge arcs

I already mentioned that Bravat’s innate ability to recognize Seb as a demon was a hint that other characters, like Frances, might be able to guess that Seb is a demon as well, so moving on to ch151 :

This chapter confirms that UT has known Frances since she was very young (which is a hint to the UT = Cedric theory of course), which also explains why, knowing about her strength, UT went on with the whole BD massacre on the Campania despite the presence of our!Ciel and the Midfords on board.

Also, while this chapter neither confirms nor denies if Frances knew about our!Ciel lying about his identity (like Tanaka and UT did), she didn’t show anger nor disbelief about the situation, just her incomprehension.

More than anything, this chapter strongly hints that our!Ciel will at some point seek his aunt for a talk before the final confrontation with UT and real!Ciel, because both are seeking answers to their different questions (our!Ciel needs to find out about UT & his grandmother and the lineage thing, while Frances will want to know what’s the deal between the twins). Speaking of which, a talk between Lizzie and Frances is probably also in order, before Lizzie can choose our!Ciel’s side again.

Lastly, ch151 hinted that Frances doesn’t fully believe that real!Ciel’s return is “natural”...

...and, i mean, why would she? She faced the Bizarre Dolls on the Campania and, for all we know, Edward told her how the Weston arc ended so ¯\_(ツ)_/¯ considering that UT has been involved every time, the Midfords probably aren’t far from connecting the dots about real!Ciel being already dead.

To sum up !

Outside of the narrative, Yana said that Frances was Lizzie’s role model and that Seb also wanted her to be the model our!Ciel should follow. And, in my opinion, the entire series so far (as I tried to present in this post) is slowly building up to that because :

our!Ciel and Frances are very similar: both the spares & both survived their parents’ and brothers’ death

both saved folks unrelated to them despite being Phantomhives, meaning that they are a bit alike and can understand each other

our!Ciel literally built his path of revenge following the advice Frances told him about how to counterattack an opponent

Again, to understand who targeted his family, our!Ciel needs to find out about his grandmother, about the lineage and about why his dad had to be killed amongst other things. The only people who can answer him are UT, Tanaka and Frances.

I believe UT and Tanaka are more connected to Claudia, but also both are by real!Ciel’s side for now, making them less accessible for a talk. This leaves Frances for the time being and, as Vincent’s sister and Claudia’s daughter, it seems appropriate that answers would be coming from her.

Also, in shonen series, usually the hero(es) have a mentor figure who will help them “unlock their potential” through training. Kuroshitsuji is not your usual shonen and I doubt our!Ciel can become better at fighting lmao, but Frances can certainly help him better appreciate the massive scale he’s bound to face when seeking his revenge. Especially if it all goes back to events from 3 generations ago and a worldbuilding full of supernatural elements, as well as a world war he doesn’t entirely comprehend yet.

Frances acting as a mentor/role model for her own kids also foreshadows that they’ll follow our!Ciel on his journey and, like him, they’ll definitely need her wisdom/knowledge to be able to reach the necessary level for survival by his side.

As to when all that is going to happen, well, I’d say Frances will probably take on a more active role in the plot when, to quote Seb in ch14, "[our!Ciel] will overconfidently believe that he cannot lose and that it will be necessary for him to carry himself with humility while striving for his goal". Because by then, "an adult who will be firm with him is what he'll need".

If that doesn’t foreshadow the current conflict between the twins, I don’t know what does. xD

Thanks for reading!! As always, let me know if I’ve forgotten anything !

#kuroshitsuji #frances midford #ciel phantomhive #sebastian michaelis #tanaka #undertaker #elizabeth midford #edward midford #2CT #vincent phantomhive #phantomhive dynamics #claudia phantomhive #yana toboso #kuroshitsuji theory #my analysis #as of:#kuro202

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sugar-phoenix · 4 months

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Intro + Masterlist 📖🌱✒️

take two on my big intro post

Introduction

Hello! I'm sugarphoenix (you can call me sugar or phoenix) and I'm a writer and aspiring author from the US. Here's the basic rundown:

19 years old

she/her pronouns

aside from writing, I am an aspiring UX/UI designer. I hope to one day be a pioneer in the industry.

feel free to tag me in anything! I enjoy being tagged in tag games, even if I might not have the time to get around to all of them.

Genres I often write in:

fantasy/romantasy

animal elements i.e. at least one character is an animal shifter/has animalistic traits/characters are compared to animals metaphorically

finding oneself in the mess

dark fantasy/ethereal vibes

You can also find me on ao3 with the same name + here's my kofi if you ever want to tip me <3 taglist: @ashirisu

Current WIP(s)

The Blood That Bonds Us: A fantasy novel that can be succinctly summed up as Rapunzel with Red Riding Hood elements; where Rapunzel is also the Wolf, and the Prince is also Red Riding Hood.

Summary:

There is a prophecy in the kingdom of Venatoria that a Black Wolf will rise from the forest and bring destruction and a new reign to the kingdom. Because of this, generations of royals have hunted down and killed most of the Wolves that reside in the surrounding forest.

Prince Rhydian's father was no different, and he died in a hunt when Rhydian was only a child. But now Rhydian is no longer a child, and he's old enough to prove his worthiness to the crown and possibly take the kingdom back from the greedy crown regent, Alaric. Alaric, however, sets a heavy task for the prince: he must go and rescue a maiden that has been locked in a tower by a witch near a neighboring village. Many young men have tried and failed to rescue her, and the witch is ruthless. But Rhydian will do anything if it means he can reclaim his father's crown and throne.

Daciana has spent all her life in a tall tower. She is protected and held captive by the witch Dame Gothel, who found her in the forest and recognized her for what she is: the Black Wolf. Dame Gothel doesn't hold back on telling her this, and Daciana knows of her fate. She is a monster, a bringer of destruction, and one of the most hated enemies of Venatoria, who are blissfully unaware of her existence. Daciana doesn't feel like a monster, and perhaps life outside the tower isn't that bad, despite what she's been told. But although Dame Gothel has done all she can to keep Daciana within the tower, it's often ill-advised to try and fight destiny. And it will only be so long before the beast is freed from her prison.

CHARACTER TAGS: #♚ . rhydian / #✧ . daciana / #◦ . vincent

This is my main WIP, and the one I'm working the most on.

POSTED WRITING

Blood That Bonds Us Snippets -- screenshots taken directly from my scrivener that give you a little peek into the first draft

Chapter 1 snippet -- snippet of chapter 1 of the first draft

rhydian. -- short character exploration for Rhydian

mourning your captor, your only mother -- short snippet of Daciana's POV (spoilers)

Fanfictions

As of 6/22/2024, any further fanfiction will be posted on my fanfiction blog @sugarphoenixlovesfanfic !!

Fandoms that I'm in:

Honkai Star Rail

Wuthering Waves

My Hero Academia

Deponia

Honkai Star Rail Fics

the new barista -- a super short drabble about a college au in which Dan Heng is the cute barista at your college's cafe.

Death of a Cowboy -- in which I rewrite and expand upon Boothill's past.

𖥔 . overheating . 𖥔 -- Boothill overheats in your getaway vehicle.

cowboy, you have a hard time wrapping things up neatly. ✦ -- Boothill is loud and messy but he grows on you. One day he does something unexpected.

I think I'll take my noodles spicy -- You stop by Jiaoqiu's stall to try his noodles. They are very. Spicy.

My Hero Academia Fics

unfinished hawks x oc fanfic (ao3 link)

"there's this thing I want to say to you" -- short fluffy drabble about Hawks confessing his love to unnamed fem character

Deponia Fics

maudlin -- a short fluffy fic that expands a scene in Deponia Doomsday (spoilers)

All fanfiction can be found under the tag #✤.fanfics .

Short Stories / Miscellaneous

All my writing can be found under the tag #✎ . writings

drabbles in red

complete short stories in pink

Masterlist:

she was a monster (monster) -- short drabble that uses experimental writing

Flash Fiction Friday Prompt "On The Edge" -- short drabble that follows the prompt. it may or may not be somewhat connected to "she was a monster (monster)."

I wrote that one tumblr post -- i wrote a couple of one shots of that one tumblr post with a crow and a cat being familiars and trying to find their witches.

dagger queen -- exercise where I write a drabble using two prompts. dark fantasy/romantasy vibes.

un-satyr -- COMPLETE short story about a satyr who is different from the rest.

vampire x poisoned werewolf -- COMPLETE (?) short story about a vampire and a werewolf putting aside their differences (and perhaps getting a bit too close) in order to save one of them.

cherry red -- flash fiction about a girl and what she leaves behind.

my roommate is a vampire -- currently unfinished short story about a college roommate who is, well, a vampire.

dividers by cafekitsune!

#writeblr #writing #writing community #writing intro #writer intro #writers on tumblr #fantasy writer #aspiring writer #creative writing #novel writing #writerscommunity #introduction #intro post #pinned intro

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riverblossom-valley · 8 months

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happenings at the Jocque family ♥️

#the sims 2 #sims 2 #ts2 #riverblossom valley #riverblossom valley redo #round 5 #desiderata valley #marcel jocque #fred the dog #curtis jocque #francine contrary #vincent aspir #sophia jocque #violet jocque #random happenings

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amicus-noctis · 1 year

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legionnaireslover · 4 months

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New Interview with BC in The Times!

Stephen Armstrong

Sunday May 19 2024, 12.01am BST, The Sunday Times

When did Benedict Cumberbatch go from aspiring actor to a star with the world at his feet? For some it was Sherlock, which started in 2010 and won him an ardent following of “Cumberbitches”. For others it was his Marvel films, including Doctor Strange, which was when the money started to roll in. But for his father, also an actor, it was a play his son did while at Manchester University.

“After Dad saw me in Amadeus at university, he put his arm around me and said, ‘You’re better at this than I ever was. I cannot wait to support your career. I’m so proud of you,’” Cumberbatch tells me. There’s a pause as he gathers himself, touched by the memory. “For a man to say that to his son is absolutely huge.” He grins. “And it’s not necessarily true … But the generosity to go, ‘Your turn now.’”

In previous interviews, for Sherlock and his Sky drama Patrick Melrose, I found Cumberbatch chatty, amusing and curious. Today, wearing a T-shirt, grey hoodie and cream cords, he is in a more sombre mood. He is prone to embarking on long trains of thought that sound as if he’s debating his answer as he delivers it. Perhaps it’s because he’s very tired, he says. When we last met, in 2018, his second son was barely a year old. Now he is a 47-year-old father of three boys, aged eight to four, with his wife, the theatre and opera director Sophie Hunter.

In his new television series, Eric, he plays Vincent, a dad in 1980s New York who loses his son, aged nine, near a dodgy disco with a history of child prostitution. He wasn’t sure about taking the job at first — filming was in Budapest and he worried about time away from his family, but he found the script compelling so flew back and forth.

Lucy Forbes, the director of Eric, says Cumberbatch drew on his own experience of fatherhood for the role. “We were filming a scene where he’s standing outside the school, he’s been drinking, and a single tear falls from his eye,” she says. “Five minutes before that he’d been kicking a football around. He stepped on set and wept. I said, ‘How did you manage that?’ He said, ‘Because I have three boys.’”

I relay this to Cumberbatch and he stirs uneasily. “I think drama can teach you an awful lot about yourself. If they knew where my mind was going in that scene, good luck, because even I don’t know. And I don’t need to play a bad father to realise my shortcomings as a dad.” He gives a brief laugh and shrugs. “I can’t escape myself completely. There’s always going to be elements of me at play.”

This may be why he loved the puppet work he had to do in Eric. His character is a puppeteer who runs a Sesame Street-style show called Good Morning Sunshine and Cumberbatch performs song and dance numbers with the aid of a marionette (he can sing well). “Puppets are like masks, they say the things that we can’t,” he explains. “They’re like jesters in a medieval court able to expose truths, lies, hypocrisies and idiocies. And they can risk things that we can’t.”

Cumberbatch is guarded about his family — “and this is where we come to my privacy”, he says to deflect any questions about his personal life. It’s something he has been careful about since becoming a father, and with good reason. He has been the subject of intense attention since he broke through as Sherlock Holmes — the former chef Jack Bissell was given a three-year restraining order in 2023 after he attacked and vandalised the Cumberbatch home while the family were inside.

Stephen Moffat, the co-creator of Sherlock, says Cumberbatch has always been conflicted about stardom and the attention that comes with it. “Stars need talent, appearance, the right role at the right age but also ambition,” Stephen Moffat, who was a writer on Sherlock, explains over the phone. “Benedict is not ruthless — but he wanted it. He was getting impatient. Everyone was saying he was the coming man in his mid-thirties. At the time we cast him, Martin Freeman was the show’s big name. And [Benedict] became a star in one night. He was on a motorcycle coming over to my house as the first episode went out and by the time he arrived he was a celebrity. Our phones were jumping off the table.”

Cumberbatch’s mid-thirties impatience was understandable. He’s from a family of actors — his father, Timothy Carlton, has a long career on stage and small screen while his mother, Wanda Ventham, converted early roles in Carry On films into regular comedy work in Minder and Only Fools and Horses. They played his parents in the third series of Sherlock.

Since Sherlock, however, his career has outstripped his parents’. He’s played Doctor Strange in six Marvel films, voiced Smaug and the Necromancer in three Hobbit movies, the Grinch in two and Shere Khan in Mowgli: Legend of the Jungle. He was never entirely of that blockbuster world, though, also playing Dominic Cummings in Brexit: The Uncivil War and Henry Sugar in Wes Anderson’s version of Roald Dahl’s story. As the superhero franchise world falters, his Eric performance delivers with the intensity of The Power of the Dog or Patrick Melrose, his 2018 drama about a posh Englishman struggling with addiction after his father abused him.

Eric is an emotional thriller written by the screenwriter and playwright Abi Morgan, whose previous work includes The Split and Suffragette. She was inspired by her time as a teenage nanny in New York and wrote it with just one actor in mind. “I thought [Cumberbatch] has got to be an asshole,” she says. “The surprise for me was that he genuinely wasn’t.” It co-stars Gaby Hoffmann (who played Adam’s sister Caroline in Girls), superb as Vincent’s increasingly estranged wife, and McKinley Belcher III as Detective Ledroit, a gay cop in a homophobic force investigating the boy’s disappearance.

The longer his son is missing, the more Vincent loses his hold on reality. He conjures up an imaginary giant puppet, Eric, to help him to find his son. Cumberbatch provides the voice for the beast and there’s rich, dark comedy in his battles with the plodding fluff monster, who trails him through the city offering dumb plans or mean critiques.

The New York we see is beset by problems, grappling with the Aids epidemic and widespread homelessness, which Cumberbatch got his teeth into.

“Mental health, homelessness, racism, sexism and a host of prejudices.” He ticks them off on his fingers. “We’re always told to arc away from that, or pivot is the term, I think, in PR talk. But drama should always have relevance, however sad.

“It has to speak to the world and have resonance. It doesn’t have to be worthy, but it has to be worthwhile.

“We may not have an Aids pandemic today, but we’ve had Covid, which created fear, it created isolation and created intolerance,” he points out, noting the battles over masks and vaccines. What’s unique to the here and now is the disconnect between us all as people welded to our phones, says Cumberbatch, who has said he subscribes to Buddhist philosophy. He sighs as he speaks about “the electric babysitter we carry around in our hands, which feeds a disconnect through the promise of connection. I mean, that’s a whole other conversation.”

Morgan based the show on her time as a teenage nanny in the city when New York looked just like it did in the movies — and the production captures that era’s look with precision. She wrote her story of “two little boys lost in the city” with just one actor in mind.

“We were pretty far down the line in terms of the scripts, and I knew Benedict had range,” she says. “He can do Doctor Strange, The Imitation Game, The Power of the Dog, Patrick Melrose. But I thought he has got to be an asshole, hasn’t he? The surprise for me is that he genuinely wasn’t. I suddenly understood why those actors get the big bucks they do because they get on stage or camera and there’s an alchemy.”

Cumberbatch has his pick of parts but says, “You gravitate towards things that mean something to you or the zeitgeist. It has to speak to the world and have resonance. It doesn’t have to be worthy, but it has to be worthwhile.”

He adds, “If there is a choice …” but he’s at that rare stage in an actor’s career where he can not only pick the roles he wants, but studios will wait for him. The Doctor Strange director Scott Derrickson recently revealed that Marvel postponed the movie’s release date from the profitable summer to the less bankable autumn to ensure they could cast Cumberbatch as the eponymous lead.

Eric shows Cumberbatch slowly collapsing from arrogant artist to hopeless bum in a grinding, catastrophic arc. He passes through so many states in the six episodes — does Vincent encompass themes from his entire career?

There’s the New York heroin addict of Melrose, homelessness as in Stuart: A Life Backwards (2007), where he plays a writer creating a memoir of a homeless alcoholic, and with the complex and unlikely solving of clues from a map scrawled on a wall, Vincent even resembles Sherlock Holmes.

“I see where you’re going,” he says. “But look, at one point I was the clever outsider scientist with problems communicating. The next, I was the know-it-all arrogant lead. Next, men wrestling with homosexuality, then posh people. Around the Oscar campaign for The Power of the Dog I was giving an interview at a film festival and somebody said, ‘You’ve played over a hundred characters on film alone.’ I was like, ‘Bloody hell!’ So there’s bound to be crossover.”

Many of his roles — including Vincent — are also troubled men with unsupportive parents, but he’s keen to stress his loving upbringing.

He muses for a moment and concludes: “I suppose that’s one of the best things about my career … I love that I make my parents proud.”

Eric is on Netflix from May 30

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The Haters aren't going to like this one little bit. BC as a father and a husband (as well as many more things) is heavily featured in this article. There are DIRECT QUOTES from BC and the director of Eric referencing his sons.

It's a Haters' nightmare!

#benedict cumberbatch #sophie hunter cumberbatch #cumberfamily #haters #haters just can’t stand to see bc happy!#haters are liars!#morons the lot of them

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vidcundcuriousgoth · 1 year

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The marriage however was filled with rich people that idk when Luis befriended

#ts2 #the sims 2 #the sims #sims #sim #luis aspir #jane harlow #mortimer goth #vincent moore #sherman boggle #Maximillion Oglethorpe #nanoplaysuber #desiderata valley #four corners #bitville #pleasantview

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beggars-opera · 2 years

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There’s actors out there who are Very Serious and that’s commendable, but I’m here for the ones who don’t give a damn and are just having fun. Vincent Price, Alan Cumming, Tim Curry...I aspire to this level of shenanigans and tomfoolery. Nom nom nom, this scenery is delightful

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dailyanarchistposts · 5 months

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A.1.5 Where does anarchism come from?

Where does anarchism come from? We can do no better than quote The Organisational Platform of the Libertarian Communists produced by participants of the Makhnovist movement in the Russian Revolution (see Section A.5.4). They point out that:

“The class struggle created by the enslavement of workers and their aspirations to liberty gave birth, in the oppression, to the idea of anarchism: the idea of the total negation of a social system based on the principles of classes and the State, and its replacement by a free non-statist society of workers under self-management. “So anarchism does not derive from the abstract reflections of an intellectual or a philosopher, but from the direct struggle of workers against capitalism, from the needs and necessities of the workers, from their aspirations to liberty and equality, aspirations which become particularly alive in the best heroic period of the life and struggle of the working masses. “The outstanding anarchist thinkers, Bakunin, Kropotkin and others, did not invent the idea of anarchism, but, having discovered it in the masses, simply helped by the strength of their thought and knowledge to specify and spread it.” [pp. 15–16]

Like the anarchist movement in general, the Makhnovists were a mass movement of working class people resisting the forces of authority, both Red (Communist) and White (Tsarist/Capitalist) in the Ukraine from 1917 to 1921. As Peter Marshall notes “anarchism … has traditionally found its chief supporters amongst workers and peasants.” [Demanding the Impossible, p. 652]

Anarchism was created in, and by, the struggle of the oppressed for freedom. For Kropotkin, for example, “Anarchism … originated in everyday struggles” and “the Anarchist movement was renewed each time it received an impression from some great practical lesson: it derived its origin from the teachings of life itself.” [Evolution and Environment, p. 58 and p. 57] For Proudhon, “the proof” of his mutualist ideas lay in the “current practice, revolutionary practice” of “those labour associations … which have spontaneously … been formed in Paris and Lyon … [show that the] organisation of credit and organisation of labour amount to one and the same.” [No Gods, No Masters, vol. 1, pp. 59–60] Indeed, as one historian argues, there was “close similarity between the associational ideal of Proudhon … and the program of the Lyon Mutualists” and that there was “a remarkable convergence [between the ideas], and it is likely that Proudhon was able to articulate his positive program more coherently because of the example of the silk workers of Lyon. The socialist ideal that he championed was already being realised, to a certain extent, by such workers.” [K. Steven Vincent, Pierre-Joseph Proudhon and the Rise of French Republican Socialism, p. 164]

Thus anarchism comes from the fight for liberty and our desires to lead a fully human life, one in which we have time to live, to love and to play. It was not created by a few people divorced from life, in ivory towers looking down upon society and making judgements upon it based on their notions of what is right and wrong. Rather, it was a product of working class struggle and resistance to authority, oppression and exploitation. As Albert Meltzer put it:

“There were never theoreticians of Anarchism as such, though it produced a number of theoreticians who discussed aspects of its philosophy. Anarchism has remained a creed that has been worked out in action rather than as the putting into practice of an intellectual idea. Very often, a bourgeois writer comes along and writes down what has already been worked out in practice by workers and peasants; he [or she] is attributed by bourgeois historians as being a leader, and by successive bourgeois writers (citing the bourgeois historians) as being one more case that proves the working class relies on bourgeois leadership.�� [Anarchism: Arguments for and against, p. 18]

In Kropotkin’s eyes, “Anarchism had its origins in the same creative, constructive activity of the masses which has worked out in times past all the social institutions of mankind — and in the revolts … against the representatives of force, external to these social institutions, who had laid their hands on these institutions and used them for their own advantage.” More recently, “Anarchy was brought forth by the same critical and revolutionary protest which gave birth to Socialism in general.” Anarchism, unlike other forms of socialism, “lifted its sacrilegious arm, not only against Capitalism, but also against these pillars of Capitalism: Law, Authority, and the State.” All anarchist writers did was to “work out a general expression of [anarchism’s] principles, and the theoretical and scientific basis of its teachings” derived from the experiences of working class people in struggle as well as analysing the evolutionary tendencies of society in general. [Op. Cit., p. 19 and p. 57]

However, anarchistic tendencies and organisations in society have existed long before Proudhon put pen to paper in 1840 and declared himself an anarchist. While anarchism, as a specific political theory, was born with the rise of capitalism (Anarchism “emerged at the end of the eighteenth century …[and] took up the dual challenge of overthrowing both Capital and the State.” [Peter Marshall, Op. Cit., p. 4]) anarchist writers have analysed history for libertarian tendencies. Kropotkin argued, for example, that “from all times there have been Anarchists and Statists.” [Op. Cit., p. 16] In Mutual Aid (and elsewhere) Kropotkin analysed the libertarian aspects of previous societies and noted those that successfully implemented (to some degree) anarchist organisation or aspects of anarchism. He recognised this tendency of actual examples of anarchistic ideas to predate the creation of the “official” anarchist movement and argued that:

“From the remotest, stone-age antiquity, men [and women] have realised the evils that resulted from letting some of them acquire personal authority… Consequently they developed in the primitive clan, the village community, the medieval guild … and finally in the free medieval city, such institutions as enabled them to resist the encroachments upon their life and fortunes both of those strangers who conquered them, and those clansmen of their own who endeavoured to establish their personal authority.” [Anarchism, pp. 158–9]

Kropotkin placed the struggle of working class people (from which modern anarchism sprung) on par with these older forms of popular organisation. He argued that “the labour combinations… were an outcome of the same popular resistance to the growing power of the few — the capitalists in this case” as were the clan, the village community and so on, as were “the strikingly independent, freely federated activity of the ‘Sections’ of Paris and all great cities and many small ‘Communes’ during the French Revolution” in 1793. [Op. Cit., p. 159]

Thus, while anarchism as a political theory is an expression of working class struggle and self-activity against capitalism and the modern state, the ideas of anarchism have continually expressed themselves in action throughout human existence. Many indigenous peoples in North America and elsewhere, for example, practised anarchism for thousands of years before anarchism as a specific political theory existed. Similarly, anarchistic tendencies and organisations have existed in every major revolution — the New England Town Meetings during the American Revolution, the Parisian ‘Sections’ during the French Revolution, the workers’ councils and factory committees during the Russian Revolution to name just a few examples (see Murray Bookchin’s The Third Revolution for details). This is to be expected if anarchism is, as we argue, a product of resistance to authority then any society with authorities will provoke resistance to them and generate anarchistic tendencies (and, of course, any societies without authorities cannot help but being anarchistic).

In other words, anarchism is an expression of the struggle against oppression and exploitation, a generalisation of working people’s experiences and analyses of what is wrong with the current system and an expression of our hopes and dreams for a better future. This struggle existed before it was called anarchism, but the historic anarchist movement (i.e. groups of people calling their ideas anarchism and aiming for an anarchist society) is essentially a product of working class struggle against capitalism and the state, against oppression and exploitation, and for a free society of free and equal individuals.

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