costuming meta

4

Hannifashion January Challenge: 30 more days of Alana Bloom

Day 16: Yakimono - “I keep having angry, imaginary conversations with Jack Crawford about that.”

@fannibalgrowingcircle

Meta under the cut, for those interested in reading.

$$$ Alana’s dress: blue and black reptile-print wrap dress, Diane von Furstenberg.

$$ My dress: blue and black tie-dye knot-front dress, Allegra Hicks via thrift store.

The starfish necklace and gold Creole hoop earrings are back.


S2 running total Alana outfits: 17

of which unique outfits: 17

garments worn more than once: 1

of which, worn more than twice: 0

Running total wrap bodices: 7

of which dresses: 5

Wrap bodice percentage so far: 41%

of which dresses: 72%

wrap dresses as percentage of total: 29%

Running total trousers: 2

of which jeans: 1

trousers as percentage of total: 12%

Running total coats: 4

Running total footwear: 9


Back to previous day

Keep reading

The 3 Queens of Westeros: A Costume Meta

I should be finishing my  sewing projects but here I am writing this meta lmao.
I had a lot of requests for it, so I hope you enjoy it :D

Season 7 clearly had three major characters when we talk about outfits: Cersei, Daenerys and Sansa. I’m gonna talk about Jon’s outfits later but these three ladies are the hot topic when we talk  about hidden meanings. So here we go.

They are Queens

I know Sansa wasn’t crowned [yet] as Queen in the North but let’s be honest she was the queen in the north this season. And not only we feel that, but her costumes have common elements to Daenerys’s and Cersei’s that [alongside with other things] makes me believe she will be fighting for the title of Queen of Westeros next season. The more I analyse the costumes more evident it gets. Also Michele Clapton herself makes sure to talk about Sansa’s outfits everytime she talks about the queen’s costumes, to make sure we’re aware Sansa is connected to it.

Their Inspirations

The first important thing to notice is how the costumes these characters wear mimic characters they are trying, intentionally or not, to be like. The items they wear, the colors but most important the textures they wear show who they are trying to become.

Cersei is mirroring her father, Tywin Lannister more and more. Tywin was a man of black clothing and the texture of his coats would be more rudimentary if he wanted to show  aggression  or smoother at moments he was less a general. Cersei does the same at moments she’s negotiating in private.

She’s  also wearing high collars as her father used to.

Daenerys is mirroring her brother Viserys..She is slowly losing her own style [skirts, long winged sleeves and lots of dragonscales] and heading to a more straight style that resembles her brother.

Sansa is also mirroring her brother. Well, actually her cousin, not that she’s aware that. But aside from episode 7, all Sansa’s outfits are the female version of Jon’s costume as King in the North.If we think Jon actually mimics Robb and Ned, we could also say Sansa mimics them as well.

As the show builds them as wannabe final queens of Westeros they connect through similar elements to show how they share this important role, but at the same time, they wear slightly different versions of items to show how they differ from each other too.

They all wear dark colors.

Sansa wears light grey outfits with brown tones and very few black details. Daenerys wears dark grey with red and silver elements. And Cersei is the only one who actually wears black with lots of silver items.

Cersei is mourning for her children so the  black is always there. By the end of the season as her pregnancy goes on, her dresses became more greyish but the black details still appear. It’s important to notice how Cersei is so obsessed with the Iron Throne she distance herself from the Lannister colors. We see no more red on her outfits, only black and grey with a very few touches of gold.

Sansa is the character more connected to her house colors this season. Grey is the official Stark color alongside brown in the show, and these are the colors we see her wearing all the time, to show her loyalty to house Stark, to Jon and to the North. She wears a lot of unusual textures which I tinfoil  bit about their significance here if you’re interested.

Daenerys is on the edge this season. The more she embraces her Targaryen side more she loses her own clothing trademarks and colors. At her first scene at Dragonstone we see her very usual style, but at the end of episode 7 she’s wearing a way more Targaryen style. I think this is such a shame, since Daenerys’s outfits at season 5 and 6 were so elaborated and full of beautiful details. As season 7 goes her costumes became way more plain, we see no rich embroidery or dragon textures anymore.

Her color became a very dark grey, and she’s wearing red for the very first time, which is literally a red sign. The more red she wears more threatening she is trying to look.

It’s nice to notice that Daenerys was half way madness this season, with very questionable decisions. My guess is that the moment she embraces “fire and blood” for real, she’ll finally wear black and red instead of dark grey and red. Daenerys as a villain would wear only blackwith waaaaaaaaaay more red. A complete red outfit is unlikely but the more red she wears more a threat to everyone else she becomes.

They wear a crown

Michele Clapton only gave a crown to Cersei when she was officially crowned Queen. That’s why Daenerys doesn’t have a crown yet neither have Sansa. But they do have a representation of a crown, they wear chains.
If we look back at season 6, before Cersei blows the Sept of Baelor, she wears a chain on her outfit. At that moment she feels powerful, she feels as the true queen because she knows Margaery is going to die. But she wasn’t wearing a crown there, she was wearing a silver chain to symbolize the crown she would wear very soon.

Daenerys and Sansa do the same. Daenerys has this silver chain built over a dorsal spine of a dragon. It represents her strength as  a  dragon queen. It’s very dramatic as Daenerys likes to wear and the silver imo makes a reference to the Iron Throne as well.

Sansa’s chain is very humble when we look at it. Its meaning is also very unique for her. Sansa’s chain is part of her necklace which represents a stitch. Sansa’s chain ends on a needle she hitches at her belt as Jon hitches Longclaw to his. The needle is her weapon, she sews her own destiny with it, and it represents her pride and feeling of safety. It’s important to notice Sansa’s chain is vibrant golden to counter Cersei’s and Daenerys’s and show Sansa has a different kind of “crown” and its inspiration is not the Iron Throne itself.

They have the same silhouette

One of the most fabulous thing about her costumes is the fact they look so similar and yet so different at the same time. They all have the same a similar shape when we look at the shoulders, but in three different versions of it.

Cersei wears a more rounded kind of shoulder pad. Daenerys wears a more triangular one while Sansa wears a more squared shape.

The shoulders may seem a very stupid detail at first but it’s nice to notice Stannis, Robb, Robert, Renly, Tommen and Joffrey they all had different shoulder shapes on their costumes.

I could tinfoil a bit and say the shoulder pads represent somehow what these characters care for and carry over their shoulders as rulers, but their individual meaning I’m not very certain so I leave it to your interpretation.

They wear an armour

All of them wear a piece of clothing to represent an armour somehow.

The more threatened Cersei feels, more embroidery she wears on her costumes and higher the collars on her outfits become.

When she meets Euron for the first time she’s so triggered the embroidery of her outfit is almost ridiculous. She wears them as a protection to her neck, [we would probably do the same if a witch have told us the valonqar was coming for it, right?].

At moments she wants to feel  powerful, her embroidery armour became very threatening, almost as if was thorns coming out of her costume. It’s pure art to be honest.

As Daenerys is never on defensive mode, her armour is way more an item for attack. She wears her chain as a shoulder armour when she fights and  adds a cape to it to send a political message during a meeting. A red one if she’s being aggressive or a more friendly color if she’s being more tolerant as a queen. When she doesn’t see need for a warning, she doesn’t wear it.

Sansa is the most humble queen when we talk about costumes as you can see. Sansa is always protecting her shoulders from the cold, but when she sides with Arya to defeat Littlefinger she changes her fur cloak to a cape with a wood that resembles Arya’s coat. During Littlefinger’s trial she even wears it over only one shoulder as Arya does. Every time Sansa was in a dangerous situation she wore a cape. This tradition was kept at season 7 too, so the cape is her armour.

Cersei x Daenerys

One of the most interesting outfits for Cersei imo is the one she wears at the Dragonpit. Michele Clapton said that was a sort of “undercover Cersei” outfit. It was supposed to make you believe she was being honest but it should reveal she was actually lying the whole time, if you’re smart enough to notice.

Her costume is grey, to deceive you and make you believe she’s not that evil being she is. The black is there as a reminder of her mourning, but the embroidery is not visible over her neck. It makes us believe she’s not on a defensive mode like a lioness. But when we look it at close we see her silhouette looks like there’s a shoulder armour hidden over her coat, and when she turns around we see her threatening back detail. It’s a warning sign almost as she was holding a hidden dagger on her back. That’s precisely its meaning.


The interesting part is that Daenerys winter coat have a similar feature. The threatening back is also there, in Viseryon colors. Of course it may only be a reference to dragons, but if it means something more I leave it up to you.

Cersei x Sansa

Sansa and Cersei share a lot of past experiences together, but at this season they share a very similar outfit. When Arya is questioning Sansa’s loyalty to Jon, Sansa wears one of her most amazing  dresses ever, with only her cloak.  Her  outfit resembles a lot the outfit Cersei wears when Jaime leaves at episode 7. It’s funny to see Sansa is talking about fighting together to  win the great war while wearing this costume, and Cersei is talking about letting the entire north die in the great war while wearing her version of this costume.

Sansa x Daenerys

I have a huge meta about how Daenerys looks resembles Sansa a lot this season and I tinfoil a bit why this is happening, but Daenerys battle suit is waaay more similar to Sansa’s standard dress this season than to any of Cersei’s outfits. At her most vulnerable moments Daenerys wears a very similar hairstyle to Sansa’s as well. Especially around Jon, Daenerys’s looks seem to approach way more to Sansa’s and the reasons for that I leave it up to you too.

Winter is here.

Before the end I’d like to talk about the winters outfit.
Jon’s winter costume is amazing. I really love it. It’s just what I think the King in the North should wear.A lot of people thought his coat matches Daenerys’s. Well I’m here to tell you it doesn’t.

His whole costume is very connected to the wildlings, specially to Mance Rayder. Jon’s costume is a younger and more luxous version of Mance’s outfit, with a little bit of Jon Snow on it, with his huge cloak protecting his nape.

I think it’s a very clever joke, about Jon being the King beyond the wall, either he’s aware of it or not. It’s also nice to notice how Jon’s position with Daenerys this season resembles a lot Mance’s with Stannis. They were both trying to save their people from the threat beyond the wall; They  face a ruler who enjoys burning people alive demanding them to bent the knee. Jon’s lines sometimes echo Mance’s and they have this inner struggle of saving their people or losing their respect by submitting to a southerner ruler. Jon is Mance 2.0 this season and this costume reflects that.

Daenerys’s winter coat is very peculiar. The first thing I noticed is how it didn’t look warm enough to be north the Wall. And if we see the backstage shoots we see Emilia was actually freezing on it, because it wasn’t a  warm coat at all.
The dragon back is a reference to Viseryon, that’s where its color comes from.


The texture with furs is imo a reference to the Night King himself.While Jon’s is a random pattern made with fur, Daenerys is a regular and somehow geometrical pattern just like the NK. Daenerys’s outfit presents her a the ultimate enemy to the WW’s. Almost as a Yin/Yang thing. She was supposed to be  an alternate, more humanized version of him. Their outfits are two sides of the same coin. His is all in black and blue tones that evoke the cold and frozen winter, while Daenerys’s is all white and cream with touches of silver, to evoke the snow and beauty of the winter.

Daenerys wearing white is something we see a lot when she is trying to be a savior.She used to wear only white at Meereen, where she was considered a mother, a mhysa. So now that she feels like a savior again, rescuing all those people, the white is back.

To be honest with all the drama they put on Daenerys’s wardrobe I was expecting a much more impressive coat for her beyond the wall costume.

This coat it’s not something I really like to be honest, not because I find it ugly or something like that  but bc this coat kind of disappointed me as a costume maker, because I know Michele Clapton could do so much better for a winter design, specially for Daenerys which is such a drama queen when we talk about outfits.

I was thinking a lot about Clapton’s motivations, and then I realized Daenerys’s is not wearing the best winter outfit in the show because Clapton is keeping her best winter design for Sansa.

If Sansa really is going to be crowned Queen in the North next season she’ll have to wear an amazing outfit that stands out how much she IS a Winter Queen. Her costumes will have to be gorgeous so the viewers will look at it and have no doubt about which queen really rules the north.

I’ve always enjoyed Daenerys’s costumes but this season I must say Cersei’s were far better. Now that winter is here I want to see Sansa’s outfits as well.  I’m so excited. Lmao.

Re: Diana’s Head Piece

I think it’ so cool that Diana’s crown/tiara/head piece (sorry I have no idea what to call it) was Antiope’s and that she puts it on only just before she crosses no man’s land. (Like she’s channeling Antiope’s strength) The concept such an iconic piece of her uniform/costume was original someone else aka amazon’s the greatest warrior of the amazons according hippolyta really implies that anyone can be wonder woman especially if they surround themselves with supportive empowering people and draw powerful from your fellow strong kick ass friends and family.

anonymous asked:

Holy shit I hadn't even realised that Loki's way of dressing goes for maximal cover-up, all the time. If you feel like answering this, what do you think it means? Could it be him hiding as much as possible in his (futile) struggle of absolute control over self? Maybe it could have something to do with his heritage. Well, anyway, thanks for the reply!

Yep, he’s always going for maximum coverage! I think that he’s wound tighter than a spring all the time and that covering up is absolutely an outward manifestation of his inner desire for control. I mean, for example, in Ragnarok, when faced with a situation where he needs to get a handle on things and *fast*, Hiddleston said, “In my head, Jeff Goldblum takes Loki out to Rodeo Drive and says, pick the finest fabric you can find; let’s fashion your suit.” And what kind of suit does Loki pick? The most skin-covering one of all - it even comes down to cover the backs of his hands.

I think the only time we see him in anything that shows even an inch is here:

And this is definitely one of the lowest points for him, and one where he is definitely *not* in control at all. And when he wants to appear in control when Thor shows up he casts the illusion of himself dressed differently:

Originally posted by justabitofbadwriting

I think his hair is part of it too. We can obviously see that its natural state is curly, but when he gets to actually put himself together he straightens it out and slicks it back the best he can, once again trying to be the master of his own domain.

Anyway, this is all just my interpretation of his character, but I’m fond of this particular analysis of his wardrobe decisions.

anonymous asked:

With the upcoming 13x06, not to mention its cousins 6x18 and 8x11, I'm reminded how much Dean loves to dress up. Are there any other instances where he's excited to dress up as something - even just something mundane?

I think his excitement to dress up comes from the excitement of that thing more than just an overall love of dressing up. The other times he’s been super excited to put on a costume it’s because he loves the thing he’s dressing up as like in 7.12, he’s excited about the Untouchables and Elliot Ness so he’s super excited to get to play a role with him: 

In 6.18, again he loves cowboys so he’s excited to get to dress up and be a cowboy for awhile: 

Look how smuggy and smirky he is what a cutie. And in 8.11, it’s because he’s excited about LARPing. Throughout the entire episode, he’s been excited about the idea of LARPing and when Charlie tells him he has to dress up to blend in and be able to walk around with her: 

That’s the face of an excited man, and we get another let me check myself out in the mirror scene: 

He does dress up at other times but there’s not really any indication that he’s terribly enthusiastic about it like in 9.13 when he has to the lunch lady: 

And in Night Shifter, he dresses up as a tech guy, and then gets out of the costume as soon as possible: 

You could make a case for him enjoying the dress up in 12.07

because of the way he’s playing it up with the douchebag sunglasses and because we know Dean had a childhood fantasy of being a rock star (9.07)

which the episode reminded us, when Sam asks skeptically if Vince is acting out some rock god fantasy: 

but sadly there’s no accompanying montage or overt scene about his excitement like there are for other ones. Another one is when he plays a gym teacher in 4.13 because clearly he’s having a lot of fun doing that

but again, I’d say it’s more about playing a role and having a good time than about the actually dressing up. I don’t think he has a particular excitement to wear the shorts and polo shirt so much as to inhabit a role and just have fun for a minute rather than the normal drudgery of their work. I think Dean does enjoy dressing up, but more than that I think what he really likes is getting to enjoy some of his interests without fear of judgement (because it’s for the case) and/or because he gets to enjoy playing a part that has nothing to do with monsters or being responsible for someone or the bigger picture. 

3

NOW IF SHE DOES IT LIKE THIS WILL YOU DO IT LIKE THAT. this was first bought to my attention by @cezulian and @pleasantscreams and i wanted to make a post about it. unofficial title is: steal her look.
photo 1: patrick at the barrens and beverly at the end of the movie. patrick is wearing black jeans, a cream shirt with blood red edging, and black doc martens. beverly is wearing a cream dress with dark blue detail, black leggings/shorts, and dark brown boots.
photo 2: henry walking to the mailbox and beverly in the alleyway. henry is wearing a blood red tank top, torn blue jeans, and brown boots. beverly is wearing a dark coral/pot red tank top, blue shorts, a brown belt, and brown boots.
photo 3: patrick outside derry high and beverly in the school toilets. patrick is wearing a dark blue/purple shirt with white/pale pink spots, a grey undershirt, black jeans, a black belt with silver detailing, and black doc martens. beverly is wearing a dark blue dress with white detailing, black shorts, a brown belt, and brown boots.

so - this means that the costume designer, jaime bryant, wanted beverly, patrick, and henry to all be linked somehow. this is mostly evident in the fact that they’re all wearing matching identical cuffs on their wrists. patrick’s is on his right wrist, henry’s is on his left wrist, and beverly’s is on her left wrist.
their clothes are also very similar, as you can see. beverly is dressed very similar to henry in the alley/pharmacy scenes, which is also - you guessed it - the scene where stan and eddie are most scared/hostile towards her and where the rest of the losers talk about henry after she leaves. her introductory scene has her dressed almost identically to patrick in colours and patterns.
a lot of their scenes are mirrored - henry and beverly killing their fathers follow right on after each other. there is a definite link or unseen history between these three - jaime bryant is a brilliant costume designer, and i can assure you this wasn’t accidental.

So I had a thought this morning, of how Twelve is much more of an unbuttoned Doctor than Eleven, especially Eleven near the end of his time. Like, yeah, Twelve keeps his emotions reined in because he feels everything so strongly but other than that, his personality rocks out. But Eleven kept nearly everything on the inside.

And I kind of feels that it shows in their outfits. Now, I’m no expert like @silvermarmoset in regards to characters and costuming and what not, but it seems to me that Eleven’s clothes got more, well, austere, more buttoned up, and now Twelve’s like, found his equilibrium between Magician and Just-Rolled-Out-Of-Bed, but it’s still…looser? than Eleven’s fashion choices were. 

Like, Twelve still lives by rules but he’s not necessarily as restricted by them that Nine, Ten, and Eleven felt like they were.

anyway, random Doctor Who meta snippet from me today.

4

Star Trek: The Original Series Season 2, Episode 10 “Mirror, Mirror”

Star Trek: Discovery Season 1, Episode 10 “Despite Yourself”

Almost every episode of Discovery I find myself having a moment. The work of costume designer Gersha Phillips is often behind these moments. 

So long bare midriffs! Hello gold armor! 

When Tilly put on that uniform I grabbed the couch in fear. Oh, gawd. Pan down. Pan down. Are there bare midriffs?? Please, don’t let it be so… and it wasn’t! It wasn’t! Powerful, beautiful, adorned uniforms on every damn character! Sinister, totalitarian, and imperialistic, but with every human on equal footing. I wished for a moment that I could buy the entire costume design team dinner I was so happy. 

The fact that instead of Kirk going back to his mirrorverse chambers and seeing a lady bedwarmer, we instead get Burnham going back to her captains chambers where her lover Ash awaits, had me cheering. I cheered. Uhura has to fend off Sulu’s advances in “Mirror, Mirror”, but Tilly? She’s so vicious and fierce she basically gives the acting captain of the Shenzhou a violence boner. It’s fucking beautiful. This show has won me over. 

5

PadMay Day 3. Favorite The Phantom Menace Costume

Okay, this is not my favourite gown or outfit or ‘item of clothing she wears during the film’ (that’s either the light up red brocade we first see her in or the effervescent pale silk we last see her in). But it is my favourite costume in the film.  

First of all, where does she even get it? The Queen’s Wardrobe is extensive and includes matching gowns in various colors for her handmaidens but Padmé’s peasant disguise looks nothing like anything she or any of the others ever wear. The concept art has a few nods to Nubian fashion but they’re left off the final result (which makes sense, she’s not disguised if she’s still wearing a diadem). It does, however, somewhat resemble what Anakin and others on Tatooine wear. This makes it a good disguise. But how does she know that and where does she get it?

I’ve decided she or one of her handmaidens spied on Qui-Gon’s preparations and approximated an outfit to match out of bits and pieces of various individual’s clothing on the ship. Scavenged hand-me-downs explain why it fits so loosely and is made out of rough, simple fabrics. Conceivably, it might even be made out of blankets and miscellaneous cargo (if the handmaidens are as crafty and quick witted as I like to imagine). 

Second, I love, love, love, love, love, that Padmé is wearing the simplest and plainest and commonest outfit we literally ever see her in when Anakin first sees her, and calls her an angel, the most beautiful creature in the universe. I love that he meets her not only not as the Queen, but as a servant, dressed not dissimilarly from himself. In the second picture she looks so young, and fits in with the terrain so well, like she belongs. It makes her approachable to him. But at the same time he sees her – pure Padmé, with no paint or trappings – as a heavenly creature.

Loving the new pic and what it can possibly mean. (spoilery speculations below)

And look!

Ed’s wearing the same suit and tie as the twitter vid with Drew! It’s got these reflective stripes, which isn’t something he’s been wearing throughout the season. We’d know since he’s been wearing the same suit he was frozen in. Seriously Ed. Buy new clothes with all your ill gotten Grundy-money.

It looks like whatever party everyone is dressed up for, and potentially taking place in Wayne manor, will end in blood and pain. At least for someone.

Timing wise this could be anywhere from 4x15 to 4x17. Which would also encompass the filming of the BTS vid that shows Ed and Oz walking down the street. We can’t see his tie in the video as he first raises his arm and then turns away.

As an aside, Oswald also looks like he’s holding his nose, maybe he got punched or he’s trying not to smell something bad. I wouldn’t be surprised if Ed popped Oz in the nose when they first meet again. Great way to release their built up sexual tension, so that they could work together for whatever they are planning here. Also, I’m speculating that Ed is giving a “tip of the hat” to those Narrows fellows. Considering they follow him down the sidewalk, it could be on his behest. He probably doesn’t trust Oswald and if Grundy isn’t available for back-up, “Narrows Trash” will have to do.

This new photo potentially shows that all of this; the meet up with Oswald on the street, the party, the bloody neck could all be in the same episode. Why oh why do we have to wait till Spring!?

cocohook38  asked:

HIS NEW OUTFITS ARE LIKE AAAAAAAAAAAAAAAAH *faint*

OMG YES

I mean, I wasn’t worried at ALL. Robert Blackman knows his stuff, even if he’s spent more time on the sci-fi side of sci-fi/fantasy. Just look at all the Star Trek he’s done.

But then we get this

idgaf about how it fits, ARREST ME OFFICER. Colin makes it look AMAZING (and the rear view ain’t bad either).

AND THEN WE GET CASUAL KILLIAN WEARING JUST A JACKET AND TSHIRT. IT’S LIKE EVERYTHING I’VE EVER WANTED FOR HIM.

(X)

HE LOOKS SO COMFY AND HUGGABLE AND OTHER THINGS-ABLE BUT MOST OF ALL I FEEL LIKE

AND THAT’S WHAT HE’S LIKE THIS SEASON

AND ROCKING THE ABSOLUTE SHIT OUT OF IT

I CAN’T WAIT TO MEET OFFICER ROGERS

It’s all Greek to Me

A Meta/Speculation on the Framework, AIDA, and the Fitzsimmons journey of the 3rd Pod

Hello friends!

I just finished my rewatch of 4.15, and I have a few things to talk about. Let’s jump right in, shall we?

The Ouroboros

AIDA, the flawed architect

During my rewatch, I caught sight of the innocuous little necklace AIDA wore on a close-up.

You can clearly see that it’s a snake eating it’s own tail, the symbol of the Ouroboros.

The Ouroboros is an occult symbol steeped in lore and history, but some of it’s chief meanings and associations are:

  • The cycle of life, death, and despair
  • Alchemy
  • Rebirth
  • Formless disorder and chaos needed for renewal of an ordered world
  • Jungian integration and assimilation of the Shadow-self (the darker nature, the Id, the subconscious, the unrecognized aspects of being)

Consider all of this, in the hands of AIDA, our perfect android, or immanently flawed, almost-human, and then, look at this Greek creation tale, from Plato:

The living being had no need of eyes because there was nothing outside of him to be seen; nor of ears because there was nothing to be heard; and there was no surrounding atmosphere to be breathed; nor would there have been any use of organs by the help of which he might receive his food or get rid of what he had already digested, since there was nothing which went from him or came into him: for there was nothing beside him. 

Of design he created thus; his own waste providing his own food, and all that he did or suffered taking place in and by himself. For the Creator conceived that a being which was self-sufficient would be far more excellent than one which lacked anything; and, as he had no need to take anything or defend himself against any one, the Creator did not think it necessary to bestow upon him hands: nor had he any need of feet, nor of the whole apparatus of walking; but the movement suited to his spherical form which was designed by him, being of all the seven that which is most appropriate to mind and intelligence; and he was made to move in the same manner and on the same spot, within his own limits revolving in a circle. 

All the other six motions were taken away from him, and he was made not to partake of their deviations. And as this circular movement required no feet, the universe was created without legs and without feet.


AIDA is our ‘Creator’, here - our flawed architect, who, very much like the Ouroboros’ creator in Greek myth, considers the creation of a self-sustaining existence, with nothing lacking, no need for reliance on anyone or anything, no movement, simply a stasis, to be the ideal existence. To a robot who can feel no pain, nor no emotion, to whom sustainability of the self is the only goal, this is perfection, achieved.

Now, let’s take a moment to imagine that first creation, that first snake, filled with the emotions and thoughts of any living creature, alone in the universe, trapped in place, with no ability to reach out or scream or cry for help. It’s only action, it’s only ability, to be it’s own self-destruction. 

Imagine the Ouroboros, aware that it is the agent of its own end, constantly in fear, constantly in pain of one sort or another, constantly aware that it will always have to kill itself. That one way or another, it will die, and it’s choice will be the cause, and that either choice, to eat oneself or to starve to death, will always cause pain.

I can tell you one thing - that Ouroboros is definitely NOT in agreement with it’s creator about the ideal nature of its existence.

From this, let’s extrapolate to our pals in the framework.

 Like rats in a cage, they’re probably running the same loops and routines, probably without contact from anyone in their previous/real Shield lives, because to exist as an ouroboros means that you must be totally self-contained. 

This also makes sense when you consider that memory can be triggered by anything. So putting them in a room with people they know in their real lives, the interactions with which have been heavily suppressed, and you’ve got a recipe for synaptical misfiring and software errors. It’s like two versions of an OS running on the same computer. if they hit the same pathways, something’s going to glitch, it’s just a matter of time.

This also tells me that while AIDA, our flawed architect, may percieve her design to be ‘without pain’, in truth, she has removed their joy and condemned them to an existence, as they say in True Detective, of living time as a flat circle. Nothing changing, nothing living.

It also suggests to me that continuing in this existence is going to result in self-destruction, or self-destructive behaviours, which may help to suppress the hidden memories of their real lives.

 Or, in another interesting read, it could suggest an immanent rebellion within the framework, if we consider the Framework to be the Ouroboros, and the agents to simply be ‘part’ of it, like appendages. If the Framework is the Ouroboros, then it, itself, will seek it’s own end. It won’t be able to help it, because that’s just the nature of it’s imperfect design.

The cycle of death and return

Hydra is dead. Grant Ward is dead. Radcliffe is dead. But in the framework, they return, and so do these callbacks to seasons past.

Some people claim this is going to be a ‘greatest hits reel’ before the show goes off the air (as always, we’re on the ratings bubble - They desperately need to fix their ratings system for TV guys. It just does not work! this show deserves so many seasons!!) and I’m not saying that it’s not, but what I’m suggesting is that, moreso, this was an inevitable path for the story to take, because of the nature of the Framework’s story, which is represented by the Ouroboros. 

That’s why we return to Hydra, to Ward, to Inhuman fears, to all the old haunts of our show’s universe.

That which is dead will live again, and that which lives, will die. That’s why Daisy’s old life (her dead life with Ward) was resurrected. That’s why Jemma’s current life with Fitz was killed (Jemma in a grave and Fitz with someone else). 

Which brings us to the next Greek myth tie in…

Orpheus and Eurydice

Fitzsimmons, an Underworld Love Story

Make no mistake, in symbolic terms, the framing of this episode shows Jemma (specifically) entering into the underworld to retrieve her trapped lover. By connecting Jemma’s entry into the Framework with her grave, she is metaphorically entering Hades’ Realm, becoming the gender-bent Orpheus to Fitz’s Eurydice. 

This isn’t a new trope in fiction. It’s one of the oldest, and part of what’s known as the Hero’s Journey, or the Monomyth - which is basically perceived to be the original or essential hero-tale structure. Interestingly enough, we witnessed it last season as well, but with Fitz playing the role of the hero, journeying into the realm of death (the planet Maveth), to rescue Jemma.

However, I parallel this upcoming journey specifically to Orpheus and Eurydice for a couple of reasons (where I would not have classed Fitz’s journey with it in particular).

  • This is an ordered realm in-universe

    Meaning that, like Hades in Greek mythology, the Framework has been designed. It has order, purpose, to each part. Maveth was an organic world created through the mechanics of physics and astronomy. It’s order was purely natural, not imposed by any larger, sentient creator, simply the cruelty of an unfeeling universe.

  • We already have a Hades and Persephone - Radcliffe and Agnes

    Both Radcliffe and Agnes now exist solely (well, sort-of, for Agnes/AIDA) in the Framework, the underworld. Radcliffe is it’s ultimate progenitor, and because of that, I assume AIDA would give him a certain amount of power and control over his narrative within the Framework, making him like a God within the world.

    Agnes, like Persephone, her mythological counterpart, exists half in the Framework, and half outside of it, in the real world. Her physical embodiment, AIDA, is outside. Agnes’ other half, her mental self, exists wholly in the Framework.

  • Like Orpheus, Jemma must enter into the underworld from an impossible ‘back door’

    Orpheus is granted entry into the underworld by the gods, but can only enter through a realm even the gods fear to tread, the Stygian Marshes, which he must cross without the help of the boatman, Charon. Here are some choice quotes about the Stygian Marshes:

    Homer, Iliad 3. 368 ff (trans. Lattimore) (Greek epic C8th B.C.) : “[Athena addresses Zeus :] ‘Never would he [Herakles] have got clear of the steep-dripping Stygian waters [on his journey to the Underworld].’”

    Virgil, Aeneid 6. 323 ff (trans. Day-Lewis) (Roman epic C1st B.C.) :
    “[The Sibyl addresses Aeneas on their journey through the Underworld :] ‘What you see is the mere of Cocytus, the Stygian marsh by whose mystery even the gods, having sworn, are afraid to be forsworn. All this crowd you see are the helpless ones, the unburied: that ferryman is Charon: the ones he converys have had burial. None may be taken across from bank to awesome bank of that harsh-voiced river until his bones are laid to rest.’”

    Statius, Achilleid 1. 478 ff :
    “Whom else [but Akhilleus (Achilles)] did a Nereis [Thetis] take be stealth through the Stygian waters and make his fair limbs impenetrable to steel?”

    I don’t know about you, but my dudes, that sounds INTENSE. Achilles’ impenetrability was granted by being dipped in its waters, Hercules himself could not have surmounted their challenge. In similar fashion, I wonder if Jemma’s in-Framework ‘death’ makes her, in effect, immortal within the Framework, like Achilles being dipped in the Stygian waters?

    Either way, it’s only through the faith of Orpheus’s love for someone else (there’s that bit about human connection, again, instead of the lonely ouroboros of self-sufficiency) that he is able to surmount the challenge that would have felled the greatest hero of Greek myth. This guy, this musician, who didn’t have any special powers except his ability to wail on his axe (okay fine, it was a lyre or some other ancient Greek instrument, whatever) and his utter, absolute love for Eurydice. 

    Jemma is just a human woman. There is nothing special about her, except the powers of her mind, and her utter, absolute love for Fitz, which has borne her across the universe, back to him, and now, that selfsame love will bear her back to him, through death. Because, nothing can keep their two souls halved. They will always be reunited.

In the myth, Orpheus enters the underworld and seeks audience with Hades and Persephone, appealing to their emotions and explaining the depth of his love for Eurydice. He played his lyre for Hades, who was so moved, he agreed to allow Eurydice to leave with him.

I think, here, Jemma will play her ‘lyre’ - she will draw upon her own gift, her genius in biology/chemistry/science to release the agents from their framework. Possibly, this might involve appealing to Radcliffe and Agnes to release Fitz in particular, and require Jemma to wax poetic about the nature of their embodied love, in scientific terms (much like the law of thermodynamics from season 1). 

But it’s not all sunshine and roses, guys.

In the Myth, Orpheus must lead Eurydice out of Hades without looking back until they have reached the light. If he looks back, trying to find her, he will lose her forever. Orpheus is but a few steps from the light when doubt siezes hold, and without meaning to, he looks back, sees Eurydice as a Shade, who dissolves under his gaze, and traps her forever in the Underworld.

It was Orpheus’ faith and conviction that carried him through realms that Gods feared to tread and that Heroes would crumble within. It was his love that bore him through it, his faith in that love, his conviction in his ability to portray it in such a heart-swaying way that Hades would grant one single soul reprieve. But then, after such a harrowing journey for a single, noodle-armed lyre-playing wine-swilling musician, unused to such rigours of the soul, his doubt begins to unravel everything.

Jemma’s characterization, throughout the entire run of the show, is Atheistic. She believes in the laws of thermodynamics, not in an afterlife, but in a very scientific version of reincarnation. She doesn’t believe the universe ‘wants’ anything. And now, Jemma, our Atheist, must trust in something entirely outside her comfort-zone. she must trust in her Faith. her faith in Fitz, in their love, in the unbreakable, inalienable nature that binds them, that has tangled their souls up.

The thread that began to unravel the moment she was forced to doubt that his LMD double was truly the Fitz that loved her. She was forced to kill the thing that wore his face and spoke with his words. She was forced to sever a connection, no matter how tenuous, with a person she loved, who is now lost in this underworld existence. 

I believe, without question, that Jemma’s biggest obstacle throughout this whole endeavour is going to be her self-doubt. That if she can kill a thing that looks like Fitz, sounds like Fitz, acts like Fitz, and has Fitz’s memories, is she, a ‘murderer’, and worse still a murderer of the person she loves more than anything, deserving of his love? 

I believe Jemma will struggle deeply with these feelings of villainy and murder and that will eat away at her core of self-trust and self-esteem, even worse than last season, with Maveth and the inhumans. 

To end on a happy note though:

The Greeks freaking loved a sad ending, they ate tragedy up with a spoon. Jed and Mo are not ancient Greeks, and they love a sappy, happy ending love-story just as much as we do. 

It will be Framework Fitz that gives Jemma back that part of herself she killed to survive, that belief that she’s worthy of his love. He will start to come back to himself, little by little, and in that same way, come back to her.

I also believe, that, in the end, when they leave the Framework, Fitz is going to see the bruises on Jemma’s neck and go FULL OUT TERMINATOR ON FITZBOT’S ASS.

It’ll be like May vs May but with less nightgowns and more sparks!

Can we talk about how in La La Land, at the beginning of the film, Mia’s outfits are bright colors and youth and cheeriness and like she’s putting on the characters she plays, and Seb starts off in his comfy brown suit and is all chill and laid back and still scrappy;

and halfway through the film he starts to wear the hot flashy modern stuff the band label tells him to, and she’s got this weird mixture of business class meets suburbia meets her colorful self because she’s a mess of who’s and what’s;

and at the end, he has slipped back into his simple comfy brown suit as he returns to his love for jazz, and her wardrobe is completely grown up as she has become the success her dreamy self hoped for???

Padmé’s Picnic Gown

@soulwing3​ requested a costume analysis. As I mention in this post, I chose to highlight the meadow picnic dress because it references Guinevere/Camelot:

On the left is “God Speed” by Edmund Blair Leighton (1900), on the right is “Queen Guinevere’s Maying” by John Collier (1900). While the Leighton is not specifically Guinevere, it is a maid and her knight in the era of chivalry. Both these artists are Pre-Raphaelites and they depict a fantasy version of historic record turned legend. Here are a few more examples:

Keep reading

jupiterhyde  asked:

I was reading an interview with Danny Masterson where he talked about how he actually asked for Hyde's belt buckles to be specially made for the character, he also said in another interview that the eyeball ring and the same boots in every episode were his ideas. Why do you think he made those decisions? You can see his ear's perforations in the show, wouldn't it had been easier to have Hyde wear earrings too?

I knew about the belt buckles, he mentions something similar in that mexican interview he did a few years back in Mexico City. I didn’t knew about the boots and the ring, do you have a source? Sounds interesting.

Now your main question. I think the costume department and DM decided against the earrings because of the time the show is made. It was not only uncommon for males to wear them, but it was also dangerous as hell to get them. Same with tattoos.

And as for the boots, the ring and the rest of his clothes, don’t you feel like it suits Hyde? Because I do. Something I really love about the show is how everyone’s clothes actually fit them in more than one way. Their clothes speak a lot of who they are. 

Hyde’s clothes aren’t fancy and some times they are discolored and old-looking (funny enough, until he starts dating Jackie), which tells you about his upbringing and background before he is taken by the Formans, and even then, he does dress different from the family, whose clothes are more… nice looking, to say something.

He also wears comfortable clothes that speak about his preference to easier ways and search for comfort. His home-life was his biggest discomfort since he was a kid, so the lighter he is, the better. It also speaks of his desire of not wanting to carry too much, not only because he doesn’t have much, but because he already has the world on his shoulders.

Which reminds me of something important about his outfit, his sunglasses.

The sunglasses aren’t just a cool accessory to his image. He has this hard and badass exterior that looks even cooler with his sunglasses and his big car, and all that jazz. But, in reality, the shades are there for a reason he probably didn’t tought of when he started to wear them.

I believe he started to because he is a stoner. His eyes would betray him in front of adults that may call him out for his drugged state. The glasses allow him to mantain that a secret, especially in quick sight.

But as he grow older, so did the way he put himself apart from the rest of the world, and the glasses became part of the Zen, part of his protections. He uses them to cancel the rest of the world from his, so no one will know what he truly is saying.

Some JH fans say that they like it when Hyde take off his glasses because his face, his eyes, are very expressive. Hyde doesn’t know how to act without his sunglasses, and he allows little people to know about it, Jackie being one of the few that are allowed to see him like this.

In other words, clothes are as important as any profile to create a character. It talks about their personalities, their lives and their education. And the costume department of That ‘70s Show did a great job with it and their characters.

loki costume meta

Way back when the first promo pictures came out with Loki in the yellow cape and we were all scratching our heads, I made a prediction that the yellow was going to be a visual indicator of Loki’s allegiance. Then the first trailer came out, which showed Loki flipping his knives on the bridge in a green cape, and I thought this was even more likely. And now that the movie’s come out, I think I was right!

In Sakaar, he is wearing blue and yellow, which are not “Loki” colors. This is when his allegiance is uncertain. He’s definitely been buddying up to the Grandmaster, he makes wagers against Thor, he activates Valkyrie’s PTSD, and he eventually tries to betray Thor yet again.

When he shows up on Asgard as its “savior” is the first time we see him in his own colors, black and green. Thor has finally gotten through to him at least a little bit, and his loyalties from this point on are solidly with Thor/Asgard. He’s back to his own colors and he’s back to “himself.”

4

PadMay Day 21. Favorite Revenge of the Sith Costume

In a way, this dress is the culmination of the other three costumes I chose. Like her handmaiden disguise in The Phantom Menaceit’s simpler than the senatorial gowns she wears in the film. While still clearly aristocratic, it’s a linen in a subdued color with minimal accessories and styling. Like her meadow dress in Attack of the Clones, it borrows from Arthurian fantasy silhouettes. The last image – which, incidentally, is probably my favorite Anidala kiss but I didn’t post it for Anidala Week as it does not actually happen in the film – could easily be rendered as a pre-Raphelite painting of Guinevere and Lancelot. And like her counselor dress in The Clone Wars, this is dark and heavy, with an air of sadness. And it has a very similar style.

I love the dark blue, that can read black, which hints at mourning and twilight and a galaxy and romance about to be consumed by darkness.