they cast a spell

angerenard  asked:

Also, we know that the "Bête Noire" is a forbidden spell... But for this 'law' to exist, there had to be experiments to determine if the spell is safe or not, and to forbid it. And for them to know that it needs a Bravery Soul to invert its trait, to then create the Bête Noire too... So it means that technically someone already had casted a Bête Noire spell BEFORE Betty right?

Indeed, for a fact to be known and written down, someone had to have done it in the first place, is just logic.

Don’s stress it too much though, that’s not important rn

“mad-eye” moody: hey, can i put all my 14 year old students under the imperius curse?

dumbledore: alastor, you know that curse is strictly forbidden, and is one of the worst spells a witch or wizard could ever cast!

“mad-eye” moody: so is that a yes, or…?

dumbledore: of course, lmao

10 Fun Facts About Barbara Steele by Kimberly Lindbergs

Barbara Steele became a cult film icon thanks to her memorable roles in a number of low-budget horror movies, but her filmography also includes critically acclaimed art films and interesting British dramas. FilmStruck and Criterion Channel subscribers can currently stream four of Steele’s best movies and when viewed together they become a wonderful, rowdy and wild introduction to one of my favorite actresses and her small but impressive body of work.

I suggest kick-starting your viewing party with Basil Dearden’s neo-noir crime drama SAPPHIRE (’56), which includes Barbara Steele in one of earliest and briefest screen appearances playing a young college student whose friend has been brutally murdered. Follow that with Mario Bava’s Gothic horror classic BLACK SUNDAY (‘60) starring Steele in the dual role of Asa Vadja, a 200-year-old Moldavian Princess accused of practicing witchcraft and vampirism, and Katia, her much younger and gentle-hearted ancestor. The third film I recommend is Fellini’s autobiographical 8 ½ (’63) where you can see Steele dancing her way into cinema history and last but not least, finish with Volker Schlöndorff’s anti-fascist creed YOUNG TORLESS (’66). In the final film, Steele portrays a seductive prostitute who propositions students at a boy’s boarding school.

Her transgressive filmography isn’t for the timid or easily shocked, but adventurous audiences will find it especially rewarding. Unfortunately, Steele’s roles were often brief, ephemeral moments that haunt her fans, and you’re left wondering why she wasn’t given more screen time or additional opportunities to showcase her talents. 

To accompany Steele’s films, I thought I’d compile a list of fun facts about the actress to spark your interest and spur your imagination. 

  1. Barbara Steele was born on December 29, 1938 and raised in the British seaport town of Birkenhead near Liverpool. Her parents encouraged her artistic pursuits and she studied dance, piano and acting at a young age but she was especially fond of the visual arts and longed to become a professional painter. A few other well-known Birkenhead residents include the Academy Award-winning actress Glenda Jackson (WOMEN IN LOVE [’69], THE DEVIL IS A WOMAN [’73], HOPSCOTCH [’80]) and Targon Egerton, the 28-year-old star of KINGSMAN: THE SECRET SERVICE (’15) and KINGSMAN: THE GOLDEN CIRCLE (’18). 
  2. Her interest in the visual arts and antiques drove Steele to study painting at the Chelsea College of Arts in London and in Paris at the Sorbonne. During this period, she was reportedly befriended and seduced by future film director Donald Cammell (PERFORMANCE [’70], DEMON SEED [’77], WHITE OF THE EYE [’87]). Steele has told interviewers that she “wanted to be Picasso” but fate had other plans for the aspiring artist. 
  3. To make money while she was an art student, Steele sold copper jewelry and antique prints from a pushcart. During weekends, she could be found peddling her wares to passersby on London’s Portobello Road where she supposedly earned a reputation as a “shrewd dealer.” 
  4. Steele was persuaded to become an actress after she was spotted by a director while painting sets for a stage production of Bell, Book and Candle in Glasgow, Scotland. The director was so taken by Steele’s otherworldly beauty that he encouraged her to audition for the role of Gillian the witch after the star of the play fell ill. The character of Gillian was made famous by Kim Novak who appeared in the film adaptation, but Steele would eventually become a star in her own right after playing another witch; the black-hearted Asa Vajda in Mario Bava’s Gothic horror classic BLACK SUNDAY.
  5. After a brief career on stage and some modeling jobs, Barbara Steele was discovered by talent agents from Rank Organisation. They signed her on the spot but the British studio didn’t seem to know what to do with the budding actress so they sold her contract to 20th Century Fox. In Hollywood, Steele was put through a torturous star-making routine that involved dying her dark locks blond and pinning her ears. When it was over she was cast alongside Elvis Presley in FLAMING STAR (’60) but after some heated disagreements with costumers and director Don Siegel, Steele reportedly stormed off the set. Soon afterward the historic 1960 Screen Actors Guild and Writers Guild of America strikes shut Hollywood down and during the interim Steele decided to return to Europe.
  6. According to Steele, Mario Bava first spotted the actress in a photoshoot she did for a 1958 issue of Life and was struck by her saturnine beauty. Later, while pursuing a stack of acting resumes from the William Morris Agency, he decided to cast the saucer-eyed ingénue in BLACK SUNDAY, a role that made her a horror icon and earned her the nickname “Queen of all Screams.” .
  7. Two of Barbara Steele’s most famous paramours were actors Anthony Quinn and Peter O’Toole. Steele’s affair with Quinn is rumored to have lasted for years and occurred while he was married to Katherine DeMille, the daughter of Cecil B. DeMille. Steele’s romantic fling with O’Toole was short-lived but passionate and roused the attention of the paparazzi who relentlessly pursued the couple in Italy. The situation reached a fever pitch in 1964 leading to a violent altercation between O’Toole and a photographer who had momentarily blinded Steele with his camera’s flash. Steele and O’Toole were both subsequently arrested and questioned for hours by the Italian police but they were eventually let go. Afterward, the authorities attempted to press assault charges against O’Toole but he managed to avoid arrest with the assistance of his stunt double. 
  8. During the span of her career Steele collaborated with many talented directors besides Mario Bava such as Basil Dearden, Roger Corman, Riccardo Freda, Antonio Margheriti, Michael Reeves, Volker Schlöndorff, Louis Malle, Jonathan Demme and David Cronenberg. Despite the impressive scope of her filmography, Steele regularly singles out her work with Federico Fellini in 8 ½ and talks about the Italian filmmaker in glowing terms. In a forward she wrote for the book Fellini: The Sixties, Steele described what it was like to work with the acclaimed director explaining that: “Everyone who worked with him felt they shared a private secret with him — that he and he alone could mirror their souls like a great, slightly ironic Buddha.” 
  9. Steele’s only marriage has been to the screenwriter James Poe. The couple were together for nearly ten years between 1969-1978 and they had one child. Poe died in 1980 and today he’s best remembered as the man who wrote or co-wrote a number of Academy Award-nominated screenplays including AROUND THE WORLD IN 80 DAYS (’56), CAT ON A HOT TIN ROOF (’58), LILIES OF THE FIELD (’63) and THEY SHOOT HORSES, DON’T THEY? (’70). 
  10. The actress has often been a reluctant interviewee and is known to frequently tell tall tales, forget facts and spin entertaining yarns. She most likely does so in order to keep herself occupied while having to answer the same questions over and over again from dull-headed reporters or worshipful fans like yours truly. With that mind, any or all of these “fun facts” could be white lies so enjoy them but don’t assume they’re written in stone. Barbara Steele is an enchanter who weaves her own unique kind of magic and she has certainly cast a spell on this writer.

I reckon there’s going to come a time in SVTFOE where in battle Star goes Full Butterfly™ and hands her wand to Marco because she doesn’t need it, but they could use more magic on their side

anonymous asked:

unsupported/unpopular headcanon?? snape has a really pretty singing voice. anyone who had the luck to come across him singing a few bars of some random song would do a double take and then stare on in awe. of course no one in the wizarding world would ever get to hear it post-war, but it was different for the people living in the muggle village where he resides in hiding. shortly after he'd moved in, wounds still sore after battle, there'd been break-and-enter attempt on his cottage. of course--

pt 2: of course, severus acted on reflexes (post war/spells cast immediately if someone so much as breathed wrong), and cast a hissed sectumsempra on the poor muggle teen who had no idea what hit him, fortunately. snape was quick to sing the counter curse (canonically resembling a lullaby), and a few kids (who were kid siblings to the teen who’d been cursed) rushed in on severus, to try and stop their dumbass brother, cradling their sibling and singing softly.–

pt 3: after the whole thing cleared up and the locals got over the initial apprehension, the kids’ parents hosted a housewarming party as an apology. the youngest had shyly asked if he could sing again. sev, feeling really guilty about casting the spell in the first place, complied, and sang a few bars, and then prompted to sing the song to completion by what now seemed to be a small group of listeners. sev later on sees a few kids at his doorstep, and for the first time ever it isn’t unpleasant

this is great

You are the moon while I am just a star, and I don’t mean the sun for my light is just dim compared to yours. You are someone I always look up to, someone who I ended up liking…or loving unexpectedly. Your smiles just make me crazy, making the butterflies residing within me in chaos. How I would love to talk to you but even such a simple thing, I can’t for you are too high to reach. I am contented staring at you, wishing and hoping that somehow, you would turn your head at me. Everything slows down for I am transfixed just by meeting you. I am in a constant trance, your spell casted too strongly. I don’t know what to do anymore for you are just too much. You keep on giving me the unnecessary adrenaline. I know I am in love and sadly, I remain as a mere star, waiting to be noticed. You are the moon after all, orbiting around somebody else while I stand on the sidelines, smiling all by myself. How I wish we could share a smile together. That one knowing smile. How I really wish.
—  c.i.j. // out of my league
Casting Spells Headcanon

When wizards become powerful enough to not need their cards anymore, the monsters (or objects such as the Celestial Calendar) that were summoned from those cards severs their bonds with the wizard, which allows the creatures to be free, and for the wizard to recreate the card spells with their very own raw magic.

This is very difficult to do, so it’s rare to find a powerful wizard who can recreate all of their spells from scratch.

Now when the wizard creates their magical creature for battle, they have a bond as if they’re One. The wizard’s eyes glow in correspondence to the creature’s, all matching their school of focus (Storm’s glowing purple eyes, Myth’s yellow etc). They are connected, which means that the wizard now completely controls it and it makes for easier battles since it knows exactly what to do.

However, there are drawbacks to such an ability. Every injury and bruise inflicted on the monster is lashed out onto the wizard as well, and they can feel all the pain and suffering that comes along with it. When a monster that they’re controlling dies or fizzles out of existence, they feel lightheaded with a chance of fainting.

So doing this without experience in a fight with, say, Grandfather Spider? And the monster fizzled out? They’re fucked.

Okay, this is pretty obvious, but I just have to write it down.

We all know now Marco can do magic with Star’s wand. We actually always knew that anyone can cast spells - anyone from Mewni. We saw Ludo and Lobster Claws take over the wand, they are both Mewni monsters. But what about humans from Earth? Magic itself seems to exist everywhere (unless we are yet to see a world where it doesn’t belong, but whatever), but the nature of magic can be different. For example, in the world of the witcher monsters, elves and even humans (according to elven lore) appeared in this dimension after a misterious cataclysm called the Conjunction of the Spheres. The first human wizards were those who learned to harness the power of primordial Chaos. So in this universe the magic is literally everywhere - in the ground, in the air, in the water, and to become a sorcerer one must learn to gather it and use for no matter what purpose. Many universes propose a similar explanation of magic. In many universes becoming a magician is something only few can do. In some universes a tool is required to channel its owner’s own magic (the Harry Potter universe), but a wizard without wand is basically helpless - as is a muggle with a wand.

To sum up this long and tangled text: magic is usually everywhere and accessible to gifted people or the gifted people are its only source. In the SVTFOE universe the nature of magic is not yet clear to me. Star’s wand is a tool that clearly only helps to focus the magic of all member of the Butterfly family since they all can very well manage without it once they find a source of magic within themselves. Other creatures from Mewni can use magic with wand bit are helpless without it. How on Earth does it work then? Could they all do magic without wand if somebody could just teach them? No answer here. The world of magic where Star was summoned because she wanted to is also a mystery to me. This storyline is definitely to be developped further because it doesn’t give any answers (but the way, if Toffee is to return, he would be very much interested in getting there again although I still can’t see his motivation and if he is dead for good that’s bad because it means we had an antagonist who was evil just BECAUSE).

Given all this, Marco is either a part of royal family (in which case Daron what the heck) or all humans can use magic, but the last version just doesn’t agree with me. He was so freaking good! Sure he couldn’t reach Star through the all-seeing-eye spell’s portal, but isn’t he still rather advanced? All we need now is for Janna to grab the wand so we could confirm or debunk this theory. Or for Star to be involved in a deadly situation one more time so that Marco could “dip down” and find his own source of magic.

The moons on Marco’s cheecks look like a proof of his royal birth but how could this be? Furthermore, only the women of the Butterfly family seem to have these marks. This plot twist eludes me, I have no explanation whatsoever. Sure I could invent a dozen of theories including Queen Moon cheating on King Riven with an earthling, secretly giving birth to a male half-blood prince and hiding it on Earth (heck, I need an artist to redraw the scene from Harry Potter when Petunia discovers a boy by her frontdoor but with Marco’s parents finding a boy with glowing moons on his cheeks), but what’s the point? I guess we’ll just have to wait and see.

P.S. Thank you ever so much in case you managed to read the whole text

2

Feeling bored as usual, Ashley randomly casts an spell upon one of her many flowers for her own amusement. It began growing into a monstrous plant; and after its growth phase, it elongated its worm-like tongue and started feeding her its nectar. The nectar was surprisingly fattening, she grew more and more with each forced gulp. 

Her clothes couldn’t handle her body growing, so they tore off. And soon, her whole mansion couldn’t hold her for long. Under its destruction, Ashely was exposed to the twilight air, and the cold winds of the night. However, the plant continued feeding her.

This is Ashely from the WarioWare series. I already drew a hyper-fat Mona Lisa before (I’ll post that here soon), so I decided to draw Ashley super-fat as well (I could’ve done this for Halloween back in October, but my Shadow Queen pic was good enough).

This is loosely based off of a story I read on Writing.com by Chubby Chimaera.

Charging/Activating Sigils

Originally posted by mistyawe

(Copied from my grimoire)

  • Place on paper, burn it
  • Draw on bread, toast it
  • Trace with crystals
  • Use your own energy (touch, breath, proximity)
  • Sew on clothing, wash them
  • Place in front of music speakers
  • Let it sit in a sunny place
  • Bury in the earth*
  • Use prayer
  • Dissolve in water/hold under running water
  • Set as phone lock screen, charge phone
  • Tape to window on full moon
  • Meditate
  • Hold near fire
  • Throw into wind*
  • Add a drop of blood*
  • Carve into candle, let it melt
  • Draw with honey at the bottom of a mug, activate with hot drink
  • Draw on flag, leave in wind
  • Trace in dust, blow it away
  • Use crystal grid
  • Draw with cooking oil, cook
  • Draw on foggy windows/mirrors
  • Trace using water, let it evaporate
  • Carve in soap, wash body
  • Utilize storm energy
  • Use light
  • Draw on beach, let the ocean take it
  • Use charging board
  • Draw on rock, throw it in a river*
  • Carve into wax, melt it (for wax melters)
  • Draw on self, take a shower
  • Use glow-in-the-dark paint
  • Place on shoes, utilize the energy of walking
  • Draw in the air with energy, push through it
  • Take a picture, charge device
  • Hold to your pulse point/s
  • Speak to it
  • And many, many things I did not list here.

*Make sure you are being safe and/or eco-friendly!

SALTWATER SCHOOL:  Casting a Circle for Beginners

Originally posted by thewitchystuff

Witchlings and Baby Witches, gather ‘round to learn how to cast a simple Circle.  You may be wondering, “Why do we cast Circles?” and that can be easily answered!  Most of the time, we cast Circles to create a sacred space where our spellwork and rituals can be conducted.  There are other various reasons, but you can discover that with time, research, and practice.  For this lesson, we are going to focus on creating that sacred space for you.

THINGS TO CONSIDER BEFORE CASTING A CIRCLE

**Circles can be cast alone or with others.  If you are participating with other witches, you may want to print them off a “script” of what will be said and done that way everyone can participate.  Change “I” in the script to “we”, “me” to “us”, and so on and so forth.

**Circles can be cast indoors and outdoors.  However, I do caution you not to cast Circles without getting the permission of the person who owns said space, home, property, etc.  

**You can decorate and dress up for your Circle casting.  Using the appropriate colors, plants, stones, and meaningful objects can aid in powering your Circle.  This, however, is not necessary.

**Decide in advance what will be done in the Circle.  Make a plan of what you want to do inside your circle, whether it worship, prayer, spellwork, or meditation.  Don’t feel rushed and take your time.  

**Music may be used to accompany the Circle casting and rituals.  I typically choose songs that don’t have words.  (I get distracted easily by music.)

**Feel free to customize these words and tailor them to fit your own practices.  You can substitute “walls and floors” with “foliage, stones, and ground” if you are casting outside.  Names for Gods and Goddesses may be used in place of “Lord and Lady.”

**There is no right way to cast a Circle.  There are many traditions that different witches use.  Find what you like, experiment and customize your circle casting ritual.

**NOTE**  This is just one example of how to cast a Circle (one I used when I was just starting out.)


TOOLS FOR CASTING THE CIRCLE

Candles, incense, matches (or a lighter), representations of the four corners, decorations, an athame (ceremonial knife) or wand. 


BASIC CIRCLE CASTING

1.  Ground and center, and then lay out where your Circle will be cast.  This doesn’t have to be physically marked, but I have seen people use cord, chalk, and candles.  (Note: using lit candles can be dangerous.  Please take precautions when doing this.  We don’t want anyone or anything getting hurt.)  I used to create a small altar at the direction North with representations of the four elements.

2.  Light incense and candles, and make your announcement:  The Circle is about to be cast and I freely stand within to greet my Lady and my Lord.

3.  Take one candle in hand and begin walking the Circle.  Here, we are acknowledging the Four Quarters (North, South, East, and West.)  We will stop at each direction and call out the corresponding greeting found below.  For this, we will walk deosil around our Circle.  To move deosil is to move in a clockwise (or sunwise) direction.  Once you have finished acknowledging the directions, return to North.

–North:  I call upon Light and Earth at the North to illuminate and strengthen the Circle.
–East:  I call upon Light and Air at the East to illuminate and enliven the Circle.
–South:  I call upon Light and Fire at the South to illuminate and warm the Circle.
–West:  I call upon Light and Water at the South to illuminate and cleanse the Circle.

4.  Return the candle to its rightful place and raise the athame or wand into your hand facing North.  Call out:  I draw this Circle in the Presence of the Lady and the Lord that They may aid and bless me in my work.

5.  Lower the athame or wand and walk deosil once more around the Circle, envisioning a blue light shoot out from the Circle’s boundary.  Call out:  This is the boundary of the Circle, around me, through walls and floors, above me and below me as a sphere is the Circle cast and consecrated to the Lady and the Lord that They may work with and through Their child, (your name/Craft Name).  This Circle is charged by the power of the Ancient Ones!  Only love shall enter and leave.

Begin your ritual, spellcasting, meditation, or any other word you wish inside the Circle.  Within it, you will be protected.  However, a word of caution: if you are a witchling, make sure you do not over exert yourself inside the Circle.  Casting any magic can make anyone grow weary or tired, so be aware of how much energy you are expending.  Like any magic, it takes time and practice.  When you have finished your work, you will open your Circle.


OPENING THE CIRCLE

6.  Take the athame or wand in hand both hands facing North.  Call out:  Lord and Lady, I have been blessed by Your sharing this time with me; watching and guarding me; guiding me here and in all things.  I came in love and I depart in love.

7.  Raise the athame or wand high in the air in salute.  Call out:  Love is the Law and Love is the Bond.  Merry did I meet, merry do I part, and merry will I meet again.  The Circle is cleansed.

8.  Kiss the flat of the blade or the tip of the wand.  Here, we will bid farewell to the Quarters and move widdershins.  Widdershins, which can be spelled withershins, widershins, widderschynnes, appears to come from German and Lowland Scottish. In German, widersinning means “against the senses”, that is “not the usual”, or “against the grain.”  For our purposes, it means to move counter-clockwise.  So, we will go from North to West, South, and East.  As you move, this would be the time to blow out candles if they are how you laid out your Circle.  Once you have finished saying goodbye to the Quarters, return North.

–Depart in peace, Elemental Earth.  My blessings take with you!
–Depart in peace, Elemental Water.  My blessings take with you!
–Depart in peace, Elemental Fire.  My blessings take with you!
–Depart in peace, Elemental Air.  My blessings take with you!

9.  Raise your arms into the air with athame or wand in hand.  Call out:  Beings and powers of the visible and invisible, depart in peace!  You aid in my work, whisper in my mind, and bless me from the Otherworld.  Let there ever be harmony between us.  My blessings take with you.  The Circle is cleared!

10.  Take the athame or wand in hand, and move widdershins once more around the Circle, calling out:  The Circle is open yet the Circle remains as its magical power is drawn back into me.  The Circle has been cleared.  My ritual has ended.

11.  Place athame or wand aside, and take a seat on the floor (you may also lie on your back.)  Close your eyes and focus on grounding excess energy by touching your palms to the floor.  Let the magic in the room (or outdoors) disperse and settle.  Take a few deep breaths, open your eyes, and begin cleaning up your space.


I hope all of you find this helpful.  Again, Circle casting can be completely tailored and customized for your needs, and you don’t have to cast one this way.  It is meant to be a resource for those just starting out.  If you have any questions, you can reach me via ASK or by messaging me.

Blessings, little ones!

Other lessons in the Saltwater School series:  Making Your Own Tarot Workbook