i keep thinking about this and honestly i want a good guy graves to have had a muggle wife that no one knew about. I’m thinking she was a nurse in The Great War, so she’s seen her fair share of trauma. Anyhoos, she’s been trying to find wizard folks for months to report her husband as missing. But she can’t get access to MACUSA because the doors change to that of a normal bank the second she walks through them. So she takes to watching the crowds that flock to Mary Lou. She notices the way Credence moves, recognizes it. She and Credence strike up a kinship. She tells him that her husband’s gone missing, and that if he sees anything mysterious or witchlike, he needs to tell her. Report back to her. They work to solve the mystery of where her husband’s gone.
And then one day, out pops her husband from the bank, but wait, it’s not him. He doesn’t recognize her. at all. and whammo something is definitely wrong. She’s smart though so she immediately pretends she got confused. Mistook him for someone else. and then it’s left to her and credence, two muggles (not quite) to find out the truth.
in regards to Grindelwald finding out about Graves having a family i like to think that Graves has two separate living spaces. one that’s a strict bachelor pad for work (acts as his cover since having a No Maj for a spouse is illegal) and then his actual flat with his wife.
Sorry i’ve thought about this a lot haha
oh my god… i love this??????
mrs. graves could become a maternal figure to credence. they could bond while mourning their mutual love.
After the bit in Raising Steam where Moist internally comments on Vetinari’s ability to stand in a room full of people without being noticed I can’t stop wondering if Vetinari is a male witch
Like I know in Night Watch his incredible concealment abilities are put down to his study of camoflauge but what if he’s actually just mastered that thing that Tiffany and Granny Weatherwax do? I mean teen!Vetinari even mentions practising standing completely still an Tiffany mentions standing completely still as something that she has to do in order to do the trick initially
And there’s no denying that the man has a true mastery of headology
I just can’t stop imagining Vetinari watching the city through Borrowed rats
The balance trick applied to the whole city, the Patrician unmoving in the middle while the balance of power slowly spreads evenly between the Watch and government facilities and guilds and private businesses and so many races balance together
(Vimes can tell where he is in the city through the soles of his feet and doesn’t realize that Vetinari can too, he can feel the whole city beneath him, his steading that is built on itself)
He might not do pills and potions on and individual basis but he took a whole city that was sickening and made it better by, in his own mildly tyrannical way, getting people to help each other and to help themselves
(and he knows as well as Granny Weatherwax that there’s a difference between being popular and being essential)
An early (maybe even the first, don’t remember) episode of the Beetlejuice cartoon sticks with me for an amazing sequence, in which Lydia enters her room, recites an incantation, and summons the ghost himself. So powerful is the magic surrounding this spectre that the sky outside suddenly darkens and thunders, furniture vanishes or transforms, her clothing is altered into a witchlike shawl, the walls stretch and windows distort, and most impressive, her entire bedroom gains about a story and a half of height while apparently sinking into the earth, cavernous and dungeonesque. All this, because she wanted to hang with her buddy.
That sequence of animation was really amazing (the glow on her shawl! the sucking, tearing windows! so cool!), and the transformation of the scene is so striking, but what gets me every time is that it all basically boils down to a girl calling up her friend to hang out.
Something about that arrangement is just so much fun to me. I’d love to watch something like that again. The balance between everyday life and wild adventures, and between Lydia having things under control and being swept away completely; all that really struck a chord. And man that one sequence was so incredibly cool.
You know what? Let me link it.
And here’s the cartoon’s OP just because I can.
That incantation is genuinely spine-tingling even today, and the transformation of her world at the name of her ghostly friend is still so impressive, and, if I remember correctly, what follows is a ghost in a striped suit floating down to the ground to music and dancing with her, and then they just talk for a bit?
I don’t know why this resonates so much. I’m trying to think of a parallel in some other story I enjoy. Nothing else really somes to mind. Maybe that’s why I like it. It’s just such a unique interaction and it’s so fascinating to watch. And maaaaaan that one scene is justso cool.
Jim Parsons to Star in Warner Bros.’ Magic Comedy ‘Man-Witch’
The 'Big Bang Theory’ star also will produce the film.
The Big Bang Theory star Jim Parsons is making a rare foray into movies.
The actor is in talks to star in Man-Witch, a long-gestating comedy set up at Warner Bros. Parsons also will develop the project and work behind the camera, joining Neal Moritz as a producer.
The move rejuvenates the project, which Warners first picked up as a pitch in 2005 for a reported $750,000 against $1.5 million. Todd Phillips was looking to direct it before he took on The Hangover, and it had Jack Black and Zach Galifianakis attached to star at certain points in its development.
The story tells of a schoolteacher (Parsons) who abruptly discovers he’s got witchlike powers. A coven of real witches takes him in, promptly sending him to “witch school,” where he is the lone adult, surrounded by little girl witches-in-training.
Parsons made an appearance in the horror movie Visions, which was released this year, but for the most part he eschews films due to his work on Big Bang. Among his handful of feature credits are Zach Braff’s Wish I Was Here (2014) and The Muppets (2011).
Parsons is repped by CAA, Principal Entertainment LA and Gang Tyre.
In sixteenth-century visual conventions, furthermore, nipples became ‘another paired element of feminine decore, like earrings or false eyelashes,’ cosmetically reddened to contrast more sharply with the artificially whitened face and breast. Even with such changes in erotic signification, however, the beautiful breast throughout the Renaissance and the baroque period was always 'delicate and minimal.’ Heavy, sagging breasts, Hollander remarks, 'are shown to be characteristic of ugly old women and witches.’ Images such as the one wrinkled breast with its long nipple which is bared by Albrecht Dürer’s witchlike allegorization of Avarice, an obvious inversion of the visual trope of the single bared breast of the idealized female figure, imply that having heavy, sagging breasts is shameful. […] Thus, though it was much more visible than the reproductive organs, perhaps because it was more visible, the breast is not protected, semiotically or discursively, from the negative effects attaching to the bodily changes of reproduction. The breast, by virtue of its great 'sympathy’ with the womb, becomes implicated in the mysterious changes and events that made the womb so threatening and unstable an environment. Like the womb, the breast was thought capable of housing bizarre objects: Culpeper cites the authority of Lemnius for breasts containing 'hair, stones, and worms.’ Gynecological texts narrate stories of women pissing milk and lactating menstrual blood; they elaborate the conditions, such as immoderate desire, which trouble milk. And Joubert even compares milk to semen, 'the benign excrement, as the substance of semen is that of members.’ Even nipples are subject to distinctly problematic semiosis. According to Joubert, they were popularly thought to be telltale signifiers of socially critical changes in a woman’s sexual status or age. He denies that they are, but Culpeper confidently reports that nipples are 'blew in them that give suck; black in old women; and in them that have known Venery, it is natural, and red as a Strawberry.’ Discoloration of the nipples, moreover, is a reliable sign of disorder in the womb.
Gail Kern Paster, The Body Embarrassed: Drama and the Disciplines of Shame in Early Modern England