I know all I can do right now is talk about the Renora scene on the airship but can we please talk about the renora scene on the airship? But most importantly..REN’S EXPRESSIONS.
When he first looks at her, he looks a little unsure but then his face gradually turns into a soft expression.
It’s like Ren made the realization that he loves Nora (although, he probably realized that earlier when Nora pushed him under the building…or earlier than that but it’s now more apparent that the Grimm that killed his parents is dead and that’s A LOT off his shoulders and mind).
AND THEN HE STARTS MOVING HIS HAND TO HOLD HER HAND AND UGH THIS SCREENCAP DOESN’T DO ENOUGH TO CAPTURE HIS GROWING SMILE. ONE MILLION BLESSINGS TO THE ANIMATION TEAM FOR SAYING SO MUCH WITH JUST THE TINIEST LITTLE MOVEMENTS OF HIS FACE.
NORA’S INITIAL REACTION IS SO PURE AND CUTE AND EVERYTHING I EVER NEEDED. (And Ren’s face is just…wow…have you ever seen him more serene with the world because I haven’t)
And then Ren puts his hand on-top of Nora’s and Nora holds up his hand and I can just see her examining it like “he really put his hand on my hand”. The way they readjust their hands just kills me in the best way.
NORA’S EXPR/ESSION HERE IS EVEN PURER THAN THAT LAST ONE AND IT JUST SCREAMS “REALLY?”. Like, she’s looking at him to make sure what’s happening is really happening…that he might have the same feelings for her that she’s felt for him for so many years.
AND HE JUST CONFIRMS EVERYTHING SHE’S THINKING (AND HE /KNOWS/ SHE’S THINKING) BY GIVING A LITTLE NOD/CLOSING HIS EYES.
THAT LOOK RIGHT THERE I WILL TALK ABOUT THIS LOOK ALL DAMN DAY, WEEK, YEAR, AND CENTURY. THAT IS LOOK IS LOVE.
I thought this entire scene did an amazing job of developing their relationship and taking it beyond being close friends/crushes with just the smallest details in the animation. A kiss would have amazing and gladly accepted, but I thought their expressions and body language did soooo much more than what a kiss could have done here (besides, there’s plenty more time for kisses in the next volume ;)).
Art summary of 2016: my style stagnated for most of the year, mostly because I was quite busy with school and life, and I only began to improve a little bit near the end of the year. My goal for next year is to learn more about colours, since right now I’m just picking randomly from the colour wheel purely based on what I’m feeling at the moment.
Cheers! Thank you all so much for your support, and I sincerely hope you have a really great New Year. :)
Summary: Alexander Hamilton arrives on Washington’s doorstep in distress and disarray feeling like just another worthless kid in the system. He’s certain that the Washington’s house will be no different from the others he’s been to. Usually a chatterbox who always speaks his mind, Alex decides it’s best to keep his mouth shut and his head down as he navigates his new life with the Washingtons, their adoptive son, Lafayette, and Lafayette’s amazing friends, one of whom may be working his way into Alexander’s heart. As much as he wants to move forward, he’s haunted by his past. Can Alexander face his demons or will they ruin him once and for all?
Personal Comment: Amazing. Read it. I am not usually a fan of modern AUs cause I am a massive history nerd, but I mean just read it. 10/10 would recommend.
Summary: It’s been two years since Alexander’s popular parapsychology blog helped him crowdfund his way to America and into college. Now, after graduating early, he finds himself accepted into the most prestigious parapsych grad program in the world. He’s going to study and hunt ghosts under the tutelage of George Washington, just like he predicted in his ten year plan. What he didn’t predict was stumbling into the best friendships he’s ever had and falling in love, but he can’t say he’s complaining. (AKA the one where they’re all grad students ostensibly studying ghosts, but mostly having a lot of feelings.)
Personal Comment: This fic. This fic right here. Okay I read all 100k words of this in like one day and it gave me so many feelings Jesus I love this fic so much omg. Just read it. Seriously. Read it.
Summary: How many disastrous blind dates do you have to go on before you inevitably fall in love with the waiter that stays behind and talks to you after every one? Alexander was pretty sure this wasn’t Herc’s original plan.
Personal Comment: Amazing, just amazing. Funny and cute and I’m gushing. It made me smile and squeal and jump up and down. Just really, really, really, wonderful.
Summary: Eight years after the war ends, Hamilton finds his old compatriot and lover John Laurens, very much alive but without possession of his memories. Eliza takes charge, as she did eight years previous.
Personal Comment: Okay, fix it fics are my life and soul and this one is just so wonderful and perfect. I mean a fix it fic and someone coming back to life, sign me the fuck up.
Word Count: 47,675 (Complete, but there’s a sequel on the way)
Summary: “District Four’s tributes! Elizabeth Schuyler and Alexander Hamilton!”, Lee shouted into the microphone and Alexander reached out to take Eliza’s hand without prompting. “Happy Hunger Games, and may the odds be ever in your favor!” People were still watching them. Eliza’s hand was clutching his, though her face betrayed no emotion. Alexander swallowed and, once Lee was done, pulled her into a tight hug. “Smile for the cameras, Betsey,” he murmured, using the nickname only he had for her, “We won’t let them know we’re scared.”
Personal comment: A Hunger Games AU, I went in not knowing what this was going to be like and I was blown away. Like better than the actual thing blown away. 10/10 would recommend.
Summary: John and Alex think making out will help relieve stress, but John can’t get over what society has taught him, especially when he starts enjoying it too much. John’s perspective.
Personal Comment: Some trigger warnings: internalised homophobia, Christian specific homophobia, time period homophobia. Yeah so this isn’t the happiest of things, but read the rest of the series. It is wonderfully written.
Word Count: Ocular (adj): of/or connected with the eye He was in the eye of the storm. He was surrounded by the calmness of it, by the void of the tempest. He was wrapped and swaddled in the quiet. The tranquil air insulated him from the force of the wind and hail. He had been protected by the shield of it, and it gave him strength to outlast.
Personal Comment: Remember how I said fix it fics are my life and soul, I lied, historical lams is my life and soul. I blame knee breeches and cravats. Actually, this historical fic is my life and soul. I read it again, and again… wait… I’m just going to read it again.
Okay! The next post will be Jamilton (Alexander/Thomas Jefferson), and I’ll link it here. If you have any lams fics you want me to read, then just submit the link here!!
What the Hell is Modern Architecture? Part Two: Mid-Century Madness
Hello friends! It’s everybody’s favorite time of the 20th century, kudos to Mad Men.
For the purpose of this post, Mid-Century starts in the late 1930s and goes through about 1960. While the 60s were integral to the concept of “Mid-Century Modernism” to people who shop at Design Within Reach, it really belongs to the period known as Late Modernism, which will be the subject of next week’s post.
Where we left off with our beloved modernists two weeks ago, World War II was just starting. Coincidentally, it turns out dictators really like columns and stuff (who knew), and so Mies van der Rohe and Walter Gropius fled to the US where they responded to the hostile takeover of their countries by committing a benevolent takeover of the major American universities.
Though the architecture of fascism was overwhelmingly traditional, (with the exception of Italian Futurism) modernism has still been deemed “fascist” by the ill-informed for over fifty years. Go figure.
The Second World War had a major impact on the field of architecture. For one, it destroyed previous socioeconomic orders, and the horrific use of technology to commit so many heinous atrocities undermined its central position in the previous ideas of technocratic utopia. The machine for living in had a bad taste in its mouth, now.
In addition, in Europe, the destruction of so many urban communities during the war left a vacuum for housing projects, many of which failed and most of which were completely insensitive to people’s aesthetic needs post-tragedy.
But I’m getting a little ahead of myself. One of the pinnacle struggles of midcentury was the battle to continue old norms (the International Style of 1920s Europe) and to pave new frontiers. Meanwhile, in non-western countries, this prewar architecture spread like wildfire, partially as a reaction against the 19th century traditionalism they inherited from colonialism. In countries like Finland, Brazil, and Mexico, there was considerable effort to balance new modern aesthetics with national identities and climates.
But back to the Bauhaus babes: Gropius (and later Marcel Breuer) were both invited to teach at Harvard, effectively ending that school’s history of Beaux Arts classicism.
Gropius’ arrival did something else for American architecture: with the exception of Richard Neutra & Co. on the west coast and Wright in the Midwest, American architecture was relatively stale innovation-wise on the East Coast, and bringing Gropius in kickstarted architectural change in that region.
Gropius’ students, sick of the rather boring eclecticism of the time, flocked to hear the new European ideas, including future stars Paul Rudolph (my personal bae), IM Pei, and Philip Johnson, who would all go on to be icons of Late Modernism (and to some extents, its scapegoats.)
Enter the Saarinens
Meanwhile in the Midwest, where actual progress happened in lieu of lectures, the Finnish-born architect Eliel Saarinen and his son, Eero, effectively kickstarted the aesthetics of the mid-century. Eliel, a figure of the previous generation, shifted his attention to American design late in life, but Eero seemed to have been born into the American jet-set ideal.
Saarinen the Younger established his reputation when he won the competition to build the 1947 Jefferson National Expansion Memorial in St. Louis, Missouri aka:
The 1950s were a period of (highly idealized) prosperity and optimism (despite the constant threat of nuclear winter) with a focus on scientific progress and good ol’ American ingenuity.
It was said ingenuity that enabled new methods of construction, including the wall of glass. One of the pinnacle examples of this progress and optimism was the General Motors Technical Center in Warren, Michigan begun by Saarinen the Elder and finished by Saarinen the Younger in 1948.
It was in this building that the processes of American manufacturing, management, and industry were canonized in architectural form - the building, seemingly weightless, floats above a green, minimal lawn.
Meanwhile, Mies van der Rohe, was spending 1939-1956 building the new campus of the Illinois Institute of Technology. Mies was very fond of the craftsmanship of American steel manufacturing, and used the steel beam as a way to articulate his functional ideals with a finesse like no other.
The glass box of the Institute’s Crown Hall was fervently egalitarian in that it was supposed to be good for anything and everything, and neutral to the concept of place and the specificity of internal function.
(The irony of Mies’ buildings and their honesty of expression, is that the fire code of the time required that steel be surrounded by fireproofing, and therefore the steel visual on buildings such as Crown Hall, is, in fact, a decorative effect, something not lost on later theorists such as Robert Venturi.)
Mies’ seminal work of the period was the famous Farnsworth House (1945-51), where he applied the cool sleekness of his academic and industrial buildings to residential design.
Perhaps Mies is most infamous in the long run for his tall skyscrapers, the most famous of which is the Seagram Building (New York City, 1954-8), which he designed with the help of Gropius acolyte Philip Johnson.
The building owes its debts to Sullivan, who over half a century before, used appearance to express the ideal of its structure, an idea Mies evolved into “lying in order to tell the truth” - his steel frame hid within it wind bracing and other engineering necessities; the mullions separating the windows are applied, rather than structural necessity.
While Mies’ aesthetic would be elevated to the epitome of American corporate style, it continued in the tradition of the Deutsches Werkbund of early modernity, which believed that industrial technique should be worn on the sleeve of architectural form.
Unfortunately, the Miesian ideal was taken up by countless (often garbage) imitators, which reduced his finesse to mere uniformity, resulting in the endlessly replicating “glass box downtowns” of the 60s and 70s. The criticisms of later theorists that Mies left out the messiness of life within the glass structure, weren’t entirely invalid, but much of the time the ad nauseum replication of glass boxes are the faults of Mies’ imitators rather than Mies himself.
Meanwhile, in Brazil and Finland
Brazil and Finland are perhaps the most notable of the nations to have adopted modernism after the pre-war German-French-American trichotomy, because their national architectural figures have contributed so much to the architecture of the time.
Brazil’s strongman, Oscar Niemeyer, was born in Rio de Janeiro, and studied architecture at the Escola Nacional des Belas Artes. His architecture was heavily influenced by Le Corbusier, and featured a heavy use of reinforced concrete. Niemeyer was a believer in constructing “monuments” - architecture that stood out from its surroundings, and the concept that architecture should be infused with social idealism.
Niemeyer’s most famous buildings were those built for the deal city of Brazil’s new capital, Brasilia. Built with Socialist ideas, such as the government owning apartments and leasing them to employees, and that the common worker and the top officials would share the same public spaces, the project, which was constructed hundreds of miles out in the middle of nowhere, aimed to bring a higher quality of life to a rural region.
Unfortunately, his leftist politics resulted in his exile from Brazil, when Castelo Branco usurped the previous president and made Brazil a dictatorship until 1985. Oh well.
In Finland, home of the Saarinens, the architect Alvar Aalto was quietly straight killingit at modern architecture. Unamused by the cold corporatism of the endlessly replicating glass box, Aalto and his contemporaries sought to infuse the vernacular traditions of their country, pre-industrial rusticism, and environmental consciousness with the sleekness of modernism.
(This was easier to achieve in the Nordic countries, where rabid industrialization had not yet ruined natural resources such as timber.)
Aalto’s remarkable sensitivity to his clients and their anticipated behavior within his dwellings combined with his keen sense of place made his architecture successful during a time dominated by the necessity of post-war building making (in place of lasting architecture.)
The sensitivity to the Earth, and the desire to embed his buildings fully into their environment (rather than make them objects on the lawn as was the modern tradition in Europe at the time), set Aalto apart from his contemporaries, and deeply inspired many young architects of midcentury, most notably Louis Kahn.
But that’s not why y’all came here. Y’all came here for this:
On the Pop Side of Things: What Most People Think of When They Hear “Mid Century Modern”
While Gropius lectured, Mies built his boxes, Wright got weird with the Guggenheim, Aalto and Niemeyer led their countries as pioneers, and Corbu hid in Europe (butthurt that he was used for his input on the design of the United Nations building but never received the official commission- basically, he got catfished by the UN) the endless sprawl of the suburbs inched across the US, and the Federal Highway Act paved the way for a new way of life: sitting in the car a lot.
What most people associate with mid-century modernism are the “retro” vibes of the 50s - the Eames rocker, the fanciful signs, and the space-age hotels. What they don’t realize is that much of this beloved imagery existed outside the architectural canon, in the realm of folk or commercial architecture.
Suddenly, the world of motels, supermarkets, diners, and more sprung up seemingly overnight. The architecture of this time was designed to get people’s attention, and not much more - which is perhaps why it is so endearing. Originating from Southern California, this style was known as “Googie,” “Space Age,” and “Atomic Age” architecture, inspired by the events that transpired as part of the Space Race, and the pop culture surrounding the events of the Cold War.
Also originating in California, the ideal of the Mid-Century Modern House was canonized in the Case Study Houses (built for Arts & Architecture Magazine, made famous by the photographs of Julius Schulman), the houses of Richard Neutra, and the affordable tract home plans put together by architects such as Joseph Eichler, and Palmer & Kilmer.
It makes sense that such architecture originated in California, a state that adopted the automobile with a fervent efficiency and built its best-known city of Los Angeles around it.
The unique decor made by companies like furniture giants Knoll and Herman Miller, fit right at home in such adventurous houses. Herman Miller hired the famous duo Charles and Ray Eames to design many lines of chairs and other furniture which have become iconic in and of themselves.
Photo: Wikimedia Commons, Public Domain
The Eames’ designs took the functionalism of modernism and infused it with fanciful coziness which became instantly appealing. The Eames’ chairs dared onlookers to sit in them, and were designed to excel at their purpose: to be sat in. These attributes, along with the slick futuristic design, have made Eames-design furniture timeless and highly desirable, even today.
While the Eameses were the most famous of the mid-century designers, the work of architects such as Eero Saarinen, and designers like George Nelson and Isamu Noguchi, should not be left out as well:
The fanciful nature of Mid-Century Modern design has seen a resurge in recent years, as younger generations delight in its charming simplicity and thoughtful execution for the first time.
Mid-century was the period during which American corporate zeitgeist, pop culture, and technological innovation reached its peak in the public eye. However, a new generation of architects were coming of age, whose sculptural monumentality would send a wave of dissent through the world of modernism, thrusting it into the period known as Late Modernism.
Which is what we’ll get to next week!
I hope you enjoyed this week’s post on Mid-Century Modernism! I’m sorry I couldn’t post an ugly house this Thursday, as it was Thanksgiving and drama was high. Trust me, the upcoming Michigan Monstrosity is well worth the wait.
As a side note, for all of you who submitted a logo proposal to me, I am going through the entries (all 200 of them) and will select a winner soon, so stay tuned!
i thought i’d written this up on here before, but i can’t find it. so let me tell you my favourite story about my time in oxford.
my college library is a converted church (with graveyard still attached). and it closed at about 1am every night, but they let people keep working in the vestry – where there were… i think six desks? – overnight. i was not very good at doing my work at anything other than the absolute last minute, and would fairly often end up in the vestry the night before an essay was due.
it was grim. honestly i do not miss it.
the highlight of those nights was when i allowed myself a break to go out to buy a burger from the kebab van that was on the other side of the high street. the nearest kebab van was ahmed’s. kebab vans in oxford are serious business (there are few kebab shops, and they’re mostly not near the colleges, where the first and third-year students often live in). i just looked ahmed’s up to check i was spelling his name right and found this amazing painting of the van!!
anyway. so one night in – i guess it was probably april? i think it was in my final year, and not too long to go before exams – i walked out to the kebab van. it was 2am, or maybe 3am. a weeknight – maybe a tuesday – and there was nobody around. too late for other people taking study breaks, and maybe the people who were out clubbing weren’t coming back yet. i felt like i and ahmed and the other guy who worked in his van were the only people alive.
and then an entire band of men turned up in full 16th century regalia.
i think maybe one or two of them had musical instruments with them, but not all of them. they stood there. they didn’t seem to think that they were doing anything unusual. i guess for them, it wasn’t. nobody else came by. nobody said anything except to order some food.
i thought: am i hallucinating??? what is happening???
i always ordered a cheeseburger at ahmed’s, and as it wasn’t a busy night they didn’t already have any cooking, so i stood by the van for a good five minutes while it cooked, just watching these men, who seemed like time-travellers, solemnly order their kebabs. none of them had phones out or anything. nothing broke the illusion except the situation we were in. it honestly felt like time was collapsing. like we had all been pulled out of the timestream and were just chilling here together. it wasn’t april whatever, 3am, 2011. it was no time, no place. The Kebab Van At The End of Time.
they just seemed like people from the past who wanted to get something to eat. an eternal constant. and the guys in the van were as nonchalant about it as the men themselves were. yeah, we get sixteenth century people through here all the time.
Each Sunday, post six sentences from a writing project — published, submitted, in progress, for your cat — whatever.
through Prax’s veins. He leans in and presses his mouth hard to
Amos meets him. The
kiss is slow and fierce, like a wave crashing in slow motion – the
hard press of their lips peaking and then breaking, in one long
moment, into something deep and open-mouthed. Heat rushes through
Prax, sensation after sensation, Amos’s lips, his tongue, his hand
pushing up into Prax’s hair.
London and the Culture of Homosexuality -- Masterpost
I’ve finished the book London and the Culture of Homosexuality, 1885-1914 by Matt Cook. We’ve learned a lot along the way and now that it’s finished, I thought I’d compile everything into one post for easier access.
Without further ado, fymagnificentwomen is happy to announce our first themed week!
No matter the outcome of the next episode, Gevherhan Sultan will surely remain a favorite among those who love her character. She may not be involved in power games, but her inner struggle to move forward, find happiness, and fall in love again, all while facing social constraints and conflicted loyalties, has captured the hearts of many fans. Her journey shouldn’t end here.
Regardless, we want to encourage fans to share their love for Gevherhan next week by producing content related to her character; this may be in the form of gifsets, edits, screencaps, videos, fanfiction, meta, etc.We have no set schedule planned or day-to-day prompts, but we’ve posted some ideas here to get you started. Content featuring Aslı Tandoğan or Çağla Naz Kargı (the actress who portrayed young Gevherhan) is also welcome, and will be featured in this event. .
Share your contributions in the tag #gevherhanlove so we know about it! All Gevherhan-related material posted and reblogged next week will be marked by this tag. (if we happen to miss your post and you feel it should be shared, please shoot us a message).
[ A less-official sister event is currently happening on Twitter; we encourage you to appreciate Gev by tweeting in the #muhteşemyüzyılkösem tag. Details here. ]
After a century of undisturbed silence, a forgotten princess emerges from the famous ruins of Hyrule Castle. Princess Zelda has returned, and an even greater task than containing Calamity Ganon arises before her; rising her kingdom up from the ashes and restoring it to glory in an age of peace and prosperity.
So, mistake or whether a deliberate
misrepresentation of history – is still wrong. Here is the rest of 4 more
Ottoman history canons:
5. The eunuchs in the Magnificent
Century were negatively shown: almost ugly old uncles that look even uglier
than normal men. On the other side, the real history shows that eunuchs were
handsome and feminine young men. Medicine shows that the absence of
testosterone would make castrates look feminine.
“They present a handsome
appearance, they have a clean, meticulous look, and their clothes are
elegant.” the Arabian traveler Ibn Battuta
told of eunuchs of Medina.
“His frame is unnaturally long
and lean, especially the arms and legs”
is what R. Burton said of black eunuch. It was common for eunuchs to be tall.
And lastly an account of arabic poet
Al-Jahiz, a little humorous, but still, from the words of a boy-lover he
mentions the beauty of eunuchs that even surpasses women’s looks!
That moment when you reference Billy Wilder’s movie heavily in your show but you
never intended to repair the homophobic offence that was made to him even when you have the power to do it,
and instead mock it and use it to attract a queer audience without any intention of respecting their need for representation. Oops. Awkward.
hey you guys, it’s been so long since I’ve posted something here. Most of you won’t even remember me but yeah that’s okay bc I don’t log in here in like centuries lol. I just wanted to thank you all for another 1k of followers, you guys are so amazing and I can’t believe people are still following me and rebbloging me [and not sending as many messages as I would like to receive, lmao] even though I don’t post in here anymore. thank you so much, hope yall are okay. bye!
tsukishima is a little shit. yamaguchi is a little shit. they are little shits together and i could not be more pleased. friends that you can safely be a little assholey with together are the best ok? those are the friends that stay together forever.