I finally finished these!! I’ve spent the past week working on several things at once, but finally got my drawing project done~ Out of desire to re-design outfits for some of the Gotham villains, I drew them like fashion sketches (you can google what i mean) complete with modeling poses for fun~
though this took me a while, i’m very happy with how they turned out! I hope you guys enjoy my outfit designs (the only old one being Riddler’s; i’m kind of settled on it); you can click to get a better look at them! each outfit incorporates inspiration from their canon outfits combined with some sort of ‘fashion flair’ and were fun to create
(please don’t repost or use w/o permission, and leave my description; thanks!)
Hey guys i made up this theory which contains spoilers from city of heavenly fire and lord of shadow, both by the amazing Cassandra Clare. SO BEWARE I WARNED YOU ! . . It’s about how the seelie queen will use the black volume of the dead if julian gives it to her. So as we all know the seelie queen promised julian that she knows how to break the parabatai bond between him and emma using that book. But we can all agree that she IS a totall bitch and she will only agree to something like that if she will benefit from using the book. So what if, she wants that book to bring Sebastian Morgenstern back? Wtf ikr..but hear me out, i think she will use the book to try and resurrect Sebastian but she will end up bringing Jonathan Morgenstern back (who was Sebastian during his last moments when he no longer had demon blood). And we have seen this with Malcom, to bring Annabel back he needed Blackthorn blood. Soooo she will do the ritual and since she wants to bring a Morgenstern back from the dead she will need another Morgenstern’s blood..aka Clary AAAAA just like Malcom she will assume that she needs to kill her. So she will and clary will die. And in LOS clary told emma that she has dreams about standing next to her dead body (clary believes she Will die soon so it is possible)… So after that Jonathan will be resurrected. And personally i believe that ash is Sebastian’s son, but the last time Sebastian and the seelie queen were together was in COHF, which means that it was 5 years in shadowhunter time and possibly about a year in faerie time..so i dont think she got pregnant in COHF, i think she did after Jonathan was resurrected. Ash is their son, but since Jonathan has no demon blood and since Cassandra Clare said that ash is not necessarily evil its possible that its true.. I hope its not going to happen 😭 and if i got something wrong please correct me!
Julian and Emma get married, but Julian takes Emma’s last name to keep the Carstairs alive. They have a kid, and they name him James in honor of Jem Carstairs, Emma’s distant relative. They nickname their son Jem, too.
Meanwhile, Clary and Jace are about to have their second kid. They name him William in honor of Jace’s great-great-great-grandfather, William Owen Herondale. They nickname their son Will.
As luck has it, Jem and Will become close friends, and, later, parabatai. Neither look like who they’re named after, but they sure as hell act like it. Will is a goofy little troublemaker while Jem is more tame, less rowdy. They make the perfect pair of parabatai. What’s even worse is that they even sound exactly like the originals.
When the boys are in their late teens, they finally meet the famed warlock, Tessa Gray. She hears them before seeing them, tearing up because it’s her two lovers, almost reincarnated into these two young men. One is her descendant, while the other is her second lover’s distant relative.
She lets herself get close to these two, but doesn’t tell them who she is. They just think that it’s a coincidence that her name is Tessa. She only tells when she sees the boys caught in a love triangle. They both love the same girl. Will loves her against his will, but Jem loves her quietly, knowing that he is head over heels. It’s only then that the two boys know her story.
I always thought about working in a kitchen. I love cooking but it is more about the energy and the heat of being in a kitchen that I am drawn to , I do not know why but I would love to give that a go. I adore it.
Hi there, Paul has said that Hey Jude was a hopeful message to Julian Lennon. I've often wondered if he ever told John the song was about/to his son? and if so, what was his reaction? Thanks, Niall
If Paul ever did tell John explicitly that it was for/about/to Julian, he’s never related it as such to the press, as far as I can recall. It’s certainly possible, although I would contend that a straight discussion about Julian between John and Paul would have been more likely to go wrong than right, what with John being John - i.e. laden with protracted issues of insecurity, possession, and entitlement, which compounded when it came to Paul especially - and harbouring his (not entirely unfounded) suspicions of Julian preferring Paul over him well into the mid-70s, as this early-spring 1975 interview w/ Francis Schoenberger indicates:
SCHOENBERGER: How is it for an 11-year-old boy to have John Lennon as a father?
JOHN: It must be hell.
SCHOENBERGER: Does he talk about that to you?
JOHN: No, because he is a Beatle fan. I mean, what do
you expect? I think he likes Paul better than me… I have the funny
feeling he wishes Paul was his Dad. But unfortunately he got me…
(In a similar vein, insert Paul’s off-the-record emotional outpouring to Hunter Davies after John’s death about John not allowing him to hold baby Sean as applicable here.)
As far as John’s side of things goes, mere months after the release of ‘Hey Jude’ he relates an exchange he had with Paul about the song’s intended subject, with John thinking it was about him, and Paul insisting it was about himself. From John’s Rolling Stone interview w/ Jonathan Cott (November 23rd, 1968):
COTT: In “Hey Jude”, as in one of your first songs, “She Loves You”, you’re singing to someone else and yet, you might as well be singing to yourself. Do you find that as well?
yeah. Well when Paul first sang “Hey Jude” to me – or played me the
little tape he’d made of it – I took it very personally. “Ah, it’s me!” I
said. “It’s me.” He says, “No, it’s me.” I said, “Check,
we’re going through the same bit.” So we all are. Whoever is going
through that bit with us is going through it, that’s the groove.
COTT: Was “Hey Jude” influenced – perhaps unconsciously – by mantras?
it’s nothing conscious – you mean the repeat at the end? I never
thought of that, but it’s all valid, you see. I mean we’d just come back
from India. But I always related it to some early Drifters song or “You’d Better Move On” or Sam Cooke’s “Bring It On Home To Me” or “Send
Me Some Loving” – it has that feeling.
A few years later, John reveals (or at least acknowledges) in his song-by-song commentary for Hit Parader in April 1972 that it was (at least originally) intended for Julian, which could mean either that he’d gleaned it from an interview Paul had done in the interim or had heard it personally from Paul himself, assuming he hadn’t always known to begin with:
Paul. That’s his best song. It started off as a song about my son Julian
because Paul was going to see him. Then he turned it into “Hey Jude”. I
always thought it was about me and Yoko, but he said it was about him
JOHN: ‘Hey Jude’ is Paul’s. It’s one of his masterpieces.
SHEFF: Do you have anything – was that one where he came and said, “Listen to this song”?
JOHN: I don’t think I had anything to do with it. Ask him! [laughs] I don’t feel
as though I had anything to do with it. He said it was written about
Julian, my child. He knew I was splitting with Cyn and leaving Julian,
then, and so he was driving towards [Kenwood] to visit me, or Julian. I
think it was just to see Julian, to just sort of say hi to him, ’cause
he’d been like an uncle, you know – he was always good with kids. And
he’d come up with ‘Hey Jude’.
But I always heard it as a song to me. If you think about it, Yoko’s
just come into the picture – he’s saying, “Hey Jude.” “Hey John.” I
mean, so now I’m sounding like one of those fans who’s writing things
into it, but you can work – you can hear it as a song to me. Although
it’s also a song about him and [Francie] Schwartz at the time, too. Uh,
but you hear “lies a chip on your shoulder” [sic] and all those things,
[which] I always took personally, because I was the one with a chip on
me shoulder. And “go out and get her,” you know, and forget everything
else. So subconsciously I take it that he was saying, “Go ahead.” On a
conscious level, he didn’t want me to go ahead. So subconsciously, he…
The angel in him was saying, “Bless you.” The devil in him didn’t like
it at all. Because he didn’t want to lose his partner.
My candid take on things: At that point in his life and their partnership, John wanted and needed to believe ‘Hey Jude’ was permission writ by Paul to proceed wholeheartedly into his new partnership with Yoko and to make a conclusive break with his old life in order to begin a new one; it would have done his conscience no good at all to consider Paul bereft in the aftermath, and in the more poisonous interpretation of their symbiotic relationship he needed Paul to be the weaker one for himself to be stronger. (Although on a certain level I believe the thought of Paul being in a weaker position in comparison to and directly because of John and what John did was also something alien and so profoundly uncomfortable for John that he could only cope with it by 1) lashing out even more and exacerbating the circumstances, 2) projecting his own guilt upon Paul and other people around him, and/or 3) avoiding it entirely and retreating into denial.)
My decidedly candid take on things: John rather fancied and indeed preferred the idea that Paul’s “masterpiece” and “best song” was about him and not his son, because hey, who was his first/best/only/foremost creative partner and influence? Not Julian, that’s who.
(In any case, I’ll have to go through my Beatles cache again to see if there are any Paul interviews pre-1972 which mention Julian in conjunction with ‘Hey Jude’; I’ll edit this post accordingly if something crops up.)
While going over some of my notes from LOS, I realized how similar Julian and Malcolm Fade are-I think as readers we tend to overlook the bad things or cruel/dangerous things that Julian does because he’s labeled as the protagonist. Its hard to remember the no one is the villain in their own story *Mara dyer reference* For example, if any of you have read the Young Elites trilogy by Marie Lu, you’d find yourself often feeling hatred towards those who-in your typical YA Fantasy book-would be the heroes simply because you’re seeing from the point of view of the villain. Similarly, I’d like to think that if we’d gotten TMI (or at least the last three books of TMI) in Sebastian/Jonathan’s point of view, I could have better understood him-ignoring, of course, his inexcusable actions such as attempted rape. But what I’m trying to say is that I could easily see Julian being a Malcolm in the future, or even if we just read from a different perspective. I just didn’t notice it earlier because I get to see from his point of view and understand why he does what he does. But in LOS, we got small pieces from Malcolm’s journal, which allowed me to sympathize with him. And as Jia Penhallow said, I got an explanation-definitely not an excuse. Anyways, here are some similarities I found between Julian and Malcolm (some are more obvious than others):
-Both were involved in forbidden love
-Both made a deal to get the black book for a powerful figure in Faerie for their loved one/s
-Both were wronged by the Clave because of hatred towards Downworlders (Julian for Helen and Mark/Malcolm for being a warlock)
-Both are seen as manipulative and lie often for the one/s they love (Julian all throughout LOS most prominently in the Unseelie Court Scene and Malcolm to the Blackthorns and other shadowhunters)
-Both are willing to do whatever it takes in order for their loved one/s to survive, this includes necromancy (let’s be honest, when it comes to the Blackthorns or Emma I don’t think we can officially cross raising the dead off our list of our “Things Julian Will Do to Keep His Family Safe ™” list)
-Both were related in someway to the Blackthorns (its a stretch, but its something)
-Both seem to have this air of calm cruelty-unfeeling yet feeling too much at once. If you were an outsider, looking in, then you wouldn’t be able to tell that they were threatening someone’s life any more then you would be able to tell that they were talking about the weather
-Most importantly, both are fueled by good intentions. Malcolm, though we tend to overlook it-for good reason, has relatively good or understandable intentions. He lost the one person he loved deeply and he wanted to bring her back. Julian wants to keep his family safe. Both think of things as a “the ends justify the means” type of situation, when really that’s not the case at all. But we all know the saying- “good intentions pave the path to hell.”
In conclusion, I find Julian Blackthorn to be one of the most interesting and dark character (aside from maybe Sebastian Verlac/Jonathan Morgenstern) that Cassandra Clare has written. Definitely one of the most scary and shudder-worthy male “protagonist” in any Shadowhunter novel I’ve read. I found this very surprising-yet I can’t help but think how unique the idea is. As most YA male protagonist is someone with a cruel facade and a good heart. It makes me most intrigued to realize Julian is someone with a good facade and a somewhat cruel heart. Well done, Cassie Clare, for creating the most in depth, unique, and interesting character I’ve read about in a while.