Corinium Museum, Cirencester; Anglo-Saxons

“Mrs Getty”; the Richest Burial

This display is a reconstruction of the richest grave at Butler’s Field, Lechlade at the time of inhabitant’s burial. It is the grave of a woman, 25-30 years old, whom the archaeologists nicknames “Mrs Getty” because of the wealth and number of her grave goods. The grave dates to the 6th century AD and is one of the richest Anglo-Saxon graves ever found in Britain. 

Her face has been forensically reconstructed from the actual skull, so you are looking at the face of a real Anglo-Saxon woman. Her clothes, jewellery and the objects laid around her have been recreated from the evidence that survived. While organic remains such as wood and textile have rotted away, small traces can sometimes be seen ‘fossilised in the corrosion of metal objects. The real objects found in the grave can be seen in the case.

Mrs Getty’s grave is not typical of those at Butler’s Field. It is only one of two in the cemetery to include a wooden coffin, and the stone packing around the coffin may have been to dissuade grave robbers. The sheer number and richness of her objects indicates that she was of high status within the community.

image 1; photograph of the grave in situ
image 2; photograph of the  reconstruction
image 3; pair of gilded saucer brooches, ‘great square-headed’ brooch
image 4; copper-ally ‘scutiform’ (or shield-shaped) pendant, pair of spiral finger rings, crystal bead, pair of silver tubes, glass hair beads
image 5; string of miniature glass and gold-in-glass beads, amber bead necklace, pair of blue glass and gold-in-glass beads
image 6; beaver tooth pendant, bone spindle whorl, iron knife
image 7; copper-alloy toilet set, bone comb, iron buckle

mr-saxons-beard  asked:

Okay so last night I had a dream about John Simm and I thought you'd like to hear it... so my mom and I were taking a trip to Manchester and we see John Simm go into his house and my mom says "Why don't we just knock on the door and get an autograph?", and I told her that would be invading his privacy, but she did it anyways and then I ended up making him blush and be adorable because I told him Human Traffic is my favorite movie and he's amazing in everything (especially DW)

I commend your dream-self for being respectful of dream-John Simm’s privacy (even if your dream-mum was less restrained haha). And I also second with your assertion that he is amazing in everything. Thanks for sharing!

Telecom High School Part 13

Jeon Jungkook x reader

This AU is inspired by the SK telecom featuring BTS

Genre: Angst, School life, Gender bender, fluff, strong language,

{ Previous } { Next }


You are a new student at Telecom high school. Your mom suddenly had to move and her job offered you several school options and you filled out many forms to see what school you would get in. All the schools were living schools, which meant you would be living on campus.

After a few weeks of waiting you received only one letter back telling you were welcomed to Telecom High.  Your mother and you were super excited for this great opportunity, for this was a really nice school and you would have everything paid for.

Another week passed and you received your new school uniform. You wanted to question why the outfit you received wasn’t “girl like” but you figured because it was such a professional school that this was how everyone had to dress; so you didn’t question it.

Putting the outfit on was a little difficult because you didn’t really know how to work the tie. But after several trials and errors; you got the hang of it. You smiled at yourself in the mirror and didn’t really notice that your boy-cut short hair made you look like a boy. But honestly that didn’t really matter to you, you were too excited for this amazing offer at this great school….

Boy were you wrong…

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THE SAXONS | The year that never was mix {listen}

E.V.O.L | marina & the diamonds; Happy Together | Filter; Our Perfect Disease | The Wombats; Love is Blindness | Jack White; Serial Killer |Lana Del Rey; Heavy In Your Arms | Florence + The Machine; Supermassive Black Hole | Muse; How | The Neighborhood; R U Mine? | Arctic Monkeys; When I’m Small | Phantogram; Tear You Apart | She Wants Revenge; Kill & Run | Sia

{the saxons | harry & lucy famix

sorry, there's already been a black, female doctor (and there's nothing you can do about it)

Whatever you feel towards Martha Jones as a character, love her or loathe her, you can’t ignore the fact that she was a milestone character for Doctor Who, both for the revival series and the series as a whole. She was the first full-time companion of colour, the first female companion of colour and the first revival Companion with siblings - still is, in fact. Her series (series three) also marked the return of the Master, an increased focus on both the Time Lords and the effect the Time War and the destruction of Gallifrey had had on the Doctor.

However, there’s more to it all than that. I posit, that over the course of series three, Martha Jones was deliberately developed as a character to become a human equivalent of the Doctor.

Episode by episode, Martha’s character arc takes her from being a driven medical student and companion to the Doctor, to being off on her own, defeating the Doctor’s boyfriend arch nemesis - the Master - and becoming the Doctor in her own right. This is done through references, parallels, costuming, and character/story arc development. Though these parallels are far more thought out during series three and have a deliberate beginning, middle and ending, Martha’s reappearances in five episodes of series four (The Sontaran Stratagem/The Poison Sky, The Doctor’s Daughter, The Stolen Earth and Journey’s End) also draw further parallels between her and the Doctor and even foreshadow the events of the series four finale.

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I’d like to say, re: the whole RTD vs. Moffat science in Doctor Who that the technobabble isn’t the important part. I see people comparing the two showrunners’ use of it, but that’s really a tiny part of the larger issue.

As an artist who is training to work in the industry as a visual storyteller, I’ve been taught to be objective, even if it hurts.

I have dissected things I love because in learning why something doesn’t work because by doing so, one learns what does. I am more interested in becoming a stronger storyteller than I am interested in maintaining my little bubble of denial that all the stories and characters I love are not problematic.

Does that mean I no longer like those stories and characters? No, absolutely not, but I will never argue with someone who also objectively and diplomatically points out these problems just so that I can happily pretend they don’t exist.

If you’re someone who doesn’t want to be that objective about things you love, that’s fine, but that does not give you the right to be rude to or about people who are comfortable enough to. I see this far too often by fans who take criticism on DW personally. It can be personal to you without you taking it so personally.

It’s not a discussion of intelligence or taste, but many fans seem to take it that way.

RTD is not flawless, no artist or storyteller is.

However, RTD and those under his management during his run wrote stories with meaningful themes that were character-driven, either as standalone pieces (Midnight, The Doctor’s Daughter,) or as arcs with specific outcomes in mind (Bad Wolf, Torchwood, Mr. Saxon, Medusa Cascade, etc.) Many of his stories reached us through reflections and truths of humanity and changed our lives; I can say unequivocally that RTD’s Doctor Who changed my life and I will tell you, objectively, why.

The story always came first, and regardless of the believability of the scifi-ence that took place at times in order to facilitate it, it became believable because of the way in which we were sold on what is happening both to and between the characters as they interacted with each other. This happened so effortlessly because they were written as very real people in very emotionally-real situations, even if the literal situations or settings were often otherworldly.

In many ways, this is Storytelling 101. This is the most important reason that we care about telling them in the first place. If stories can effectively capture and express part of the vast spectrum of the human experience, even if they are set in outlandish and otherworldly settings, then we can empathize. We can connect.

We will connect whether we want to or not.

If something is well-written and contains the elements required for us to realistically empathize, it will happen. So to those who complain that those who like RTD only dislike Moffat because he’s not RTD: please stop trying to insult fans by making excuses for writing that is objectively poor by using this as if it were some kind of defense. The writing does not become better simply because you have a subjective opinion of it.

Doctor Who under Moffat’s run has failed again and again to give us characters who achieve a realistic level of depth. You can like these characters, no one is telling you what to enjoy, but many fans will never fail to try to automatically “fill in the holes” to justify their own reasons for liking something so much. We’ve all done this at some point in our lives.

As much as I would have wished for Amy, Rory,  even River to be given a realness, something genuine and flawed in more than superficial, half-baked ways or ways necessitated by the current story, it didn’t happen. 

These unreal characters were written into equally unreal stories, where they reacted unrealistically and experienced unrealistic outcomes that usually included a lack of true and lasting consequence.

Moffat is touted as being a writer that does terrible things to his characters, but those “terrible things” mean very little when the characters they happen to don’t react to them like real people. A character displaying powerful emotions doesn't equate to a well-written one. I really can’t say this enough. What use are characters that don’t react the way you or I might, or the way any other human being might?

The entire point of the Story Concept and why it meant anything to us in the first place begins to disintegrate. We can no longer connect, only observe in a detached manner the bits of humanity that remain in what has become essentially just a caricature.

I grieved as I observed the show that changed my life begin to wither away. After the departure of the Tenth Doctor, I was so saddened that I was ready to move on into Matt Smith’s era because moving forward would ease the pain. The Doctor is a character whose essential nature is based in change. I was not someone spiteful to see David Tennant replaced. Unfortunately, the quality of what followed was objectively worse from a technical storytelling standpoint no matter how much I wished it weren’t. I marathoned most of the DW episodes from Eccleston to Smith, so I didn’t even have a waiting period to possibly spend feeling nostalgic or ruminating and coming up with subjective excuses as to why I preferred RTD’s run to Moffat’s.

RTD overlays technobabble on top of a meaningful story. Doctor Who is a scifi show, so we will always expect to hear explanations we’ll never actually understand, because that isn’t the point.

We don’t need to understand how any of the scifi-ence works as long as it’s believable. It’s believable as long as the cause and effect structure of the explanation lines up with what we believe has been necessitated by the events, both literal and emotional, of the story.

When technobabble is thrown at viewers in Moffat’s series, many will find themselves upset at its lack of realism and attempting to reconcile it with what they’re seeing (or more than likely, what they’re not seeing) because the story has failed to make sense or feel real. This is usually because they story ends up being convoluted, asking more questions than it answers, or attempting to superficially pull our heartstrings with a “sad situation” that is often over-the-top and reminiscent of fiction written by inexperienced writers that haven’t yet understood effective story structure or how to arrange points of emphasis.

What’s happening currently with Clara (Kill the Moon) is being declared an improvement, but one has to wonder if it’s just another development to be later forgotten, as many similar outbursts by other Moffat characters have fizzled out to be replaced by the trend of no-consequences. Either that, or it could become one of the superficially emotional situations. I hope that it’s neither, because there’s nothing I want more than for this show to mean something to me again.

So, in short, it’s easy to feel incensed by scifi-ence when it becomes the icing on top of a cake that’s had the leavening, milk and eggs left out of it.

Like a recipe, writing a story requires a formula. Princples of storytelling and character archetypes exist because they work. That feeling of utter satisfaction after watching a movie or a show or reading a book is the result of proper application of those agreed-upon guidelines that are mostly invisible to the reader or viewer until they look for them. 

So don’t get distracted by which showrunner used technobabble better, because you may have preferred the flavour of of icing on the cake you had 4 series ago, but perhaps instead of complaining about the icing you should be more upset about how disappointing and inedible your favourite cake has suddenly become, or something.

@masterfulxrhythm - liked for a starter from Jim Moriarty.

Jim Eyed the man that stood in his office.
Now there was nothing wrong with the man himself…
Tho he did boggle the mind slightly that the future prime-minister
and current minister of defence was standing before him.

Sitting, fingers linked together, he studied him for a moment longer before gesturing for him to take a seat in the chair in front of his desk.

“I would have assumed that a man like yourself would have already been warned about me and my organisation By Mr Mycroft Holmes…
yet here you are, Harold Saxon, Future prime-minister of Great Britain,
In my office.” Jim smirked ever so slightly.

Do tell me Mr Saxon… What brings you here, because i know that you would have had to go deep into the internet to find me… and i doubt you need help with the election, as i know that its going very well for you.”

He could feel his Tiger watching the other man from where he stood leaning against the wall to the Left of his desk. Always ready he was and very loyal.
His own personal live-in house cat.

what went wrong with doctor who series seven? (part one)

(part two)  (part three)

The latest Christmas special, the Time of the Doctor proves it. There’s no way to sugarcoat it, series seven was probably the creakiest run of Doctor Who episodes since the show hit its nadir in the 1980s. It hasn’t just been noted by tumblr fans or reviewers for the sci-fi section of websites; casual fans when asked just didn’t warm to Clara - “she’s cute but doesn’t do anything,” “she’s just there to be pretty for the doctor” and “she’s the impossible girl but the doctor does everything.” These are genuine complaints from fans who aren’t on tumblr; some watch the show religiously whilst others are more casual viewers. So what went wrong with series seven? Was it the split in episodes? Was it the departure of Gillan and Darvill, both of whom had magnificent chemistry with Matt Smith? Is it the (apparently) gargantuan boner Steven Moffat has for convulsion, paradoxes and overcomplicated plot threads?

Let’s have a look shall we, and ask - what went wrong with doctor who series seven? And then, how do we fix it?

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As part of my protest of the 2012 Presidential Election, as well as my Doctor Who fandom, I have decided to do the only logical thing: vote Saxon! I encourage you to do the same, and to encourage others to follow suit, as well.

So I watch Doctor Who on Netflix.

You know how on Google Chrome you can see your most visited websites, and they all have pictures?

Well, originally my picture for Netflix was just the homepage.

And then it turned into this:


And also my brothers’ math books:

I may be a teeny, tiny bit terrified.