#may maxfield
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The amazing acting in Stranger Things Season 4 ♡
(inspired and dedicated to)
#strangerthingsedit#stranger things#stranger things spoilers#stranger things 4#eddie munson#joeseph quinn#noah schnapp#will byers#may maxfield#sadie sink#joseph quinn#gaten mazzarato#caleb mclaughlin#millie bobby brown#dustin henderson#lucas sinclair#stranger things season 4#stranger things volume 2#strangerthings#st 4 vol 2#st#*myedits
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i saw someone talk about how el must have thought she was dying when she got her first period. but, logically, brenner must have subjected her and the other female numbers to a procedure so that they wouldn’t have to worry about that stuff. and much like the red room, that stuff mainly being a child, but also just having a period and all the problems that comes with it. it makes it easier to run tests on someone when their internal hormone levels remain at a constant rate.
i also assume that the plan was to use the numbers, or future numbers as weapons. we know the us government thinks that’s who is behind the murders in hawkins. why would they think that if they didn’t know the real truth of why brenner was doing what he was doing.
#stranger things#eleven#jane hopper#millie bobby brown#rainbow room#dr. brenner#dr brenner#will byles#noah schnapp#mike wheeler#finn wolfhard#dustin henderson#gaten mazzarato#lucas sinclair#caleb mclaughlin#may maxfield#sadie sink#jim hopper#joyce byers#steve harrington#robin buckley#nancy wheeler#johnathan byers#eddie munson
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Winter’s Calm
may you meet yourself
in this here
in this now
may you dream yourself
in a cloak of stars
in a winter’s calm
jk
artist -Maxfield Parrish
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"The problem is that no matter how we define sexual identity, behavior, or desire, we very rarely define it ourselves. Instead, we inherit definitions.
We inherit sexual scripts, sexual expectations, and sexual identities. We may immerse ourselves in -- or resist -- these trappings of sexual identity, but we very rarely consider creating them ourselves.
Moreover, we inherit certain definitions of sex whether or not we authentically relate to them. We inherit family sitcoms parented almost exclusively by straight couples. We inherit religious backgrounds with strongly gendered narratives about who's meant to have sex, with whom, when, and how. Acknowledging this is not merely crooning a country song of "society, you done me wrong." Acknowledging the cultural scripts around sex allows us to recognize the ways they've influenced us and -- if we see fit -- to resist their impact.
Asexual space facilitates this process because it operates differently -- albeit in relationship to -- the dominant sexual scripts. The assumptions of sexuality can be off-putting. They tend to be based on other assumptions -- about gender and heterosexuality, for instance -- that don't sit well with many of us. (In fact, they tend to be connected to sexist, cissexist, and heterosexist messages that don't really need to sit well with us.) Still, when these definitions don't comfortably reflect our identities, they can make it that much more difficult to envision what would.
Asexuality starts with different assumptions. It presumes the absence of desire -- it centers sexuality at 0, rather than at a given but vague or unknown X-factor -- and members of the ace community define within (or against) that assumption. Although in some cases, asexual individuals feel no interest in sexual or romantic activity of any kind, in other instances, they build on the "no desire" assumption to identify specific, complex webs of interest: I'm asexual but I masturbate. I'm asexual but I feel sexual interest in specific circumstances. I'm asexual but I like to kiss.
Employing these kinds of caveats adjusts "asexuality" to fit one's specific experience of sex. The term becomes a blueprint for shaping an identity based on personal desire, rather than social scripts."
(from Sp[ace] Exploration: What Sexual People Can Learn from Asexual Communities by Mary Maxfield Brave)
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[Image: The Venetian Lamplighter (1924) by American illustrator Maxfield Parrish (1870-1966) for an Edison Mazda Calendar.]
* * * *
“May it be a light to you in dark places, when all other lights go out.”
- J.R.R. Tolkien, The Fellowship of the Ring
[The Smart Witch]
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Leslie Howard and Norma Shearer in Romeo and Juliet (George Cukor, 1936)
Cast: Norma Shearer, Leslie Howard, John Barrymore, Edna May Oliver, Basil Rathbone, C. Aubrey Smith, Andy Devine, Conway Tearle, Ralph Forbes, Henry Kolker. Screenplay: Talbot Jennings, based on a play by William Shakespeare. Cinematography: William H. Daniels. Art direction: Cedric Gibbons, Frederic Hope, Oliver Messel, Edwin B. Willis. Film editing: Margaret Booth. Music: Herbert Stothart.
If Shakespeare's Juliet could be played, as it was in its first performances, by a boy, then why shouldn't she be played by 34-year-old Norma Shearer? Truth be told, I don't find Shearer's performance that bad: She lightens her voice effectively and her girlish manner never gets too coy. It also helps that William H. Daniels photographs her through filters that soften the signs of aging: She looks maybe five years younger than her actual age, if not the 20 years younger that the play's Juliet is supposed to be. I'm more bothered by the balding 43-year-old Leslie Howard as her Romeo, though he had the theatrical training that makes the verse sound convincing in his delivery. And then there's the 54-year-old John Barrymore as Mercutio, who could be Romeo's fey uncle but not his contemporary. In fact, Barrymore's over-the-top performance almost makes this version of the play a must-see -- we miss him more than we do most Mercutios after his death. Edna May Oliver's turn as Juliet's Nurse is enjoyable, if a bit of a surprise: She usually played eccentric spinsters like Aunt Betsy Trotwood in David Copperfield (George Cukor, 1935) or sour dowagers like Lady Catherine de Bourgh in Pride and Prejudice (Robert Z. Leonard, 1940). In the play, the Nurse rarely speaks without risqué double-entendres, but most of them have been cut in Talbot Jennings's adaptation, thus avoiding the ridiculous spectacle of Shakespeare being subjected to the Production Code censors. (Somehow the studio managed to slip in Mercutio's line, "the bawdy hand of the dial is now upon the prick of noon.") Some of the other pleasures of the film are camp ones, such as Agnes deMille's choreography for the ball, along with the costume designs by Oliver Messel and Adrian, which evoke early 20th-century illustrators like Walter Crane or Maxfield Parrish. No, this Romeo and Juliet won't do, except as a representation of how Shakespeare's play was seen at a particular time and place: a Hollywood film studio in the heyday of the star system. In that respect, it's invaluable.
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Stark Raving Sane: My Heart
Posted June 25, 2023
Archived from EAOnline
My Heart Is A Weapon Of War: This isn’t meant to be me, but once the cheek heart goes on, it looks oddly suspicious.
Dearest Inmates,
The secret is out. Well, one of them. This will be a year of secrets revealed, and the next year as well, because I’m absolutely brilliant at keeping them it turns out, and they’ve been piling up like logs at a witch burning (that took a turn!).
Oh! The secret! Right. Ahem. New art collections, paintings this time (although sculptural mixed media using medical materials is still my favorite because burning plastic gives off such delicious fumes), and it was only after working on these new bits for absolute ages that I realized I’ve been channeling my childhood love of surrealist/fantasy/magical-realism-ish artists like Maxfield Parrish that I used to escape into, and it’s thrilling the return to innocence (albeit short-lived) that an age-appropriate retirement from social media can inspire. It was only today that I learned that Max was actually mixed-media-ing all over the place! He would often cut out photographs and other images, paste them to his canvas, and paint over them.
To see more of the creature above plus other new pieces, and find out how you can snag a Limited Edition giclée print, tappity here:
MY HEART IS A WEAPON OF WAR - FINE ART GICLEE PRINT
I love you.
P.S. You may find me coming out of Instagram retirement, we’ll see if an Ozzy needs to be pulled, but should that occur, it would be a semi-retirement, as I would only be popping in occasionally to quietly share art/music/movies and such—for anything more titillating, you’ll have to bookmark this blog.
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Spider-Man Read-Through 022: The Master Plan of the Molten Man... and Dracula is also there (ASM 132-133, GSSM 1)
MASTERPOST
In this duo, we see an old friend... or two. And then, we meet a vampire. OoOoOh~!
I really enjoy the Molten Man's new design! Gorgeous cover.
It may be January in the Marvel-verse, but we're in May 74, publication-wise!
Liz is back! Hasn't been seen since issue 30, which explains why I keep mistaking Betty and her.
I don't know why, but I remembered this specific (and very ugly) maid. Poor lady.
Anyway, Raxton is hot, there I said it, we can get on.
When I first saw those panels, I thought it was exactly like how Romita would draw Liz... then I checked the credits again... and it's him! His soapy style is gorgeous as ever. Peter says she never got on with MJ, but given that MJ appeared for the first real time in #42... I don't know what he's on. The art of the retcon!
Ned, who's investigating the maid's intel on Raxton, almost dies as Raxton (actually the Molten Man) makes his room explode. I like that Ned (and the rest of the cast) are more involved! I miss them.
The Molten Man has apparently not been seen since #35, which checks out. It's the occasion for the artists to put gold, which is a shade we don't see so much.
Look, is this a safe space? Can I say what's on my mind?
The feet are really nice. I'm not particularly into feet (I know, TMI) but I'm really impressed by how it looks good. And the rest of Raxton's body is obviously quite well-done too. I'm not saying that Spider-Man comics made me gay, but they sure aren't beating the allegations.
Ned is very badly aged, but I like the damsel in distress look.
Raxton's radiation has a bad influence on Peter's metabolism, and he might very well die by the next issue...
Oh, who are we kidding?
In the readers' letters, it seems like Gwen's death has now mostly been forgiven, and someone is praising MJ--and she deserves it!
Even men want to see more of Peter! I'm afraid the situation isn't exactly adapted, however.
As a matter of fact, Spidey has already planned to party in a sauna with another man. Better luck next time!
(I love those smoke effects.)
Liz reveals that Raxton is her brother, which I completely forgot about.
We rarely see that kind of comedy, hahaha.
So. Um. It's a classic story of Spidey kind of being a jerk. Um. So Liz's brother is dead. For now. Maybe. Oof.
In the comments, there's also people talking about Russia's attack on Ukraine. Gerry Conway's run is really provocative, huh! I'm kind of loving it. His shaking of the status quo, not the attack.
I wonder if we'll get to see Liz's reaction :(
I'll do Giant-Size 1 later, it's currently more than 3 am. Hey, do you know what we'll get next time? A big batch... and Harry's big moment as, you know, the, the...!
Oh, you'll just have to wait!
______________________________________________________________
And here's the late addendum of Giant-Size Spider-Man #1!
I'm into that, actually!
So May's dying again (isn't she always?) and Peter needs to get her a vaccine. Ross Andru thus entertains us with a brilliant perspective shot.
Their homoeroticism never fails. Reading the summary of Marvel Team-Up 23 actually was a treat, because I finally got the answer to a years-old question of mine: did Iceman really rob a bank in the first few pages of this issue?
No, he didn't, folks!
Yes, you're getting a ton of screenshots for this part, since I know there's no more issue in this batch after this one.
Anyway, Dracula... Could you please breed me?
To me, Peter and Dracula crossing paths was like, an interplanetary event. It gave me chills. In fact, it still does and I think I should write Peter/Dracula smut now so thank you to the whole team, you've made a mess out of my brain, ARE YOU HAPPY?!? (It is 3 am.)
At least three factions are out there to find Maxfield, either to kill him (Dracula), use him for bartering (the Whisperer and Simian), and naturally Peter just wants to heal his aunt.
I remember that exact cosplay!!!! Funny what the brain remembers and doesn't. Sir, if you thirst so much, maybe I could come to your aide. You just need to ask. Okay, that's actually optional.
The Whisperer's men have a run in with Dracula and think he's Maxfield, which totally offends Dracula. As revenge, he decides to homosexualize his assailants.
Muahahaha.
The writing team then attempts to gaslight me into thinking Dracula isn't hot as fuck.
They're not doing a good job, I can tell you.
A woman is attacked by Dracula, Peter hears her, alerts the captain, who makes Dr. Maxfield come... and Simian follows them.
The fake Hawkgirl attacks one of them and is knocked unconscious. They escape with the man, Peter escapes too...
I'm all giddy!!!!!! Don't know why, but I love that "oh it's not the end yet... or rather, at all! I'm loving this romp. It's a complete joy.
In a great feat of misdirection, Simian and his men find Spider-Man... but actually, he's just a rando in a costume! That's funny and foreshadowed (given that everyone's in a costume anyway). And if I remember, this isn't the only misdirection...
The guy on the right is a fun one.
Meanwhile, Dracula is just as uncomfortable watching Babylon's first 10 minutes as I was. (It's a great movie, go watch it.)
Great mise-en-scène! The Whisperer has trapped the guy, but a bat follows... and hits Simian with its gay ray. Hurray!
Gosh, Dracula is such a girlboss. "I have been harassed--attacked--INSULTED..." Iconic.
Dracula eventually escapes, convinced that he just threw Maxfield overboard... but Spidey caught fake Robin Hood!
And thus, the biggest twist arises!
What a girlboss too.
And that's how it ends. A stellar issue! Loved it.
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Prometheus
By Lord Byron (George Gordon)
Titan! to whose immortal eyes
The sufferings of mortality,
Seen in their sad reality,
Were not as things that gods despise;
What was thy pity's recompense?
A silent suffering, and intense;
The rock, the vulture, and the chain,
All that the proud can feel of pain,
The agony they do not show,
The suffocating sense of woe,
Which speaks but in its loneliness,
And then is jealous lest the sky
Should have a listener, nor will sigh
Until its voice is echoless.
Titan! to thee the strife was given
Between the suffering and the will,
Which torture where they cannot kill;
And the inexorable Heaven,
And the deaf tyranny of Fate,
The ruling principle of Hate,
Which for its pleasure doth create
The things it may annihilate,
Refus'd thee even the boon to die:
The wretched gift Eternity
Was thine—and thou hast borne it well.
All that the Thunderer wrung from thee
Was but the menace which flung back
On him the torments of thy rack;
The fate thou didst so well foresee,
But would not to appease him tell;
And in thy Silence was his Sentence,
And in his Soul a vain repentance,
And evil dread so ill dissembled,
That in his hand the lightnings trembled.
Thy Godlike crime was to be kind,
To render with thy precepts less
The sum of human wretchedness,
And strengthen Man with his own mind;
But baffled as thou wert from high,
Still in thy patient energy,
In the endurance, and repulse
Of thine impenetrable Spirit,
Which Earth and Heaven could not convulse,
A mighty lesson we inherit:
Thou art a symbol and a sign
To Mortals of their fate and force;
Like thee, Man is in part divine,
A troubled stream from a pure source;
And Man in portions can foresee
His own funereal destiny;
His wretchedness, and his resistance,
And his sad unallied existence:
To which his Spirit may oppose
Itself—and equal to all woes,
And a firm will, and a deep sense,
Which even in torture can descry
Its own concenter'd recompense,
Triumphant where it dares defy,
And making Death a Victory.
Maxfield Parrish ~ Prometheus (1919)
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Julia Lillard (American, b.1955)
digital collages:
I Wish I May
Send in the Clowns
Viewfinder
Weiner Roast
Cranky Child
Imminent
The Squeeze
A Secret Place
Thank you Maxfield
The Bath
Warpaint
Untitled - At some point in my life, I stopped being afraid of the dark and learned to embrace it. Now, I prefer it.
A Lesson in Uncertainty - Reality doesn’t exist until we measure it. Without the presence of the human mind, the physical universe may exist in a kind of superposition — an infinite range of possible modes of occurrence. Which is to say, it doesn’t exist at all as a “physical” universe unless the human mind is present. From this quantum perspective, the human mind, our consciousness, creates and sustains what seems like a universe much vaster and older than, as well as independent of, ourselves.
https://www.facebook.com/jlillardart
http://instagram.com/julialillardart
https://julialillard.tumblr.com/
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do u have any OP oc fanfic recs? I love ur story so much and it's such a shame we don't have more like it!
hi! thank you for the kind compliment, but i haven't read fic in a long time. if you’re still interested in stories/media/concepts that feel similar to how i write, here’s a brief list of my influences: piranesi by susanna clarke, the queen's thief series, a gentleman in moscow by amor towles, the literature and history podcast, the manga of irie aki, wong kar-wai films, hbo's succession, poetry (basho, mary oliver, mahmoud darwish, pablo neruda), anne carson, the wolf hall trilogy, the pillow book by sei shonagon, beowolf translated by maria dahvana headley, the circle of magic series, nabokov's essays, the webcomic kill 6 billion demons, li ziqi's farm vlogs, thomas flight's film analysis on youtube, nanette by hannah gadsby, maxfield parrish, yoshida hiroshi, matias bergera, peter pan (the 2003 movie), princess arete, the anime studios 4C and science saru, and beloved childhood mystery novel about a rodent watchmaker called time stops for no mouse
may you find something beautiful in here :-)
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ִ ۫ ּ ִ ۫ ˑ 𓄼 ࣪⠀ ִ ۫ ּ ֗ ִ ۪ ⊹ ˑ ִ ֗ ִ ۫ ˑ ᳝ ࣪ 𓄹 ⊹ ᳝ ࣪⠀. ִ ་ ּ
ִ ۫ ּ ִ ۫ ˑ 𓄼 ࣪⠀ ִ ۫ ּ ֗ ִ ۪ ⊹ ˑ ִ ֗ ִ ۫ ˑ ᳝ ࣪ 𓄹 ⊹ ᳝ ࣪⠀. ִ ་ ּ
I may be the writer
But you'll always be the words
- Ben Maxfield
💙I had to create something for this glorious day(17 March 2023) he went back to this look 😍💙🤍
🤍All pics not mine but all edited by me, edit also by me ( @hissweetdarling )
💙Please do not repost/screenshot and repost without credit.
#HisSweetDarlingaeshetics#tom hiddleston edit#tom hiddelson#tom hiddleston aesthetic#thiddlestonedit#marvel cast#Tom Hiddleston blue and white aesthetic
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I may be the writer
But you will always be the words.
Ban Maxfield.
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Marie Déa and Alain Cuny in Les Visiteurs du Soir (Marcel Carné, 1942)
Cast: Arletty, Alain Cuny, Marie Déa, Fernand Ledoux, Marcel Herrand, Jules Berry. Screenplay: Jacques Prévert, Pierre Laroche. Cinematography: Roger Hubert. Production design: Alexandre Trauner. Film editing: Henri Rust. Music: Joseph Kosma, Maurice Thiriet.
Alexandre Trauner's sets and costumes for Marcel Carné's Les Visiteurs du Soir were based on the Très Riches Heures du Duc de Berry, although I was more reminded of the work of early 20th century illustrators like Walter Crane, N.C. Wyeth, and Maxfield Parrish, who were also influenced by that celebrated 15th-century illuminated manuscript. Trauner was not credited for his work on the film however. He was a Jew in occupied France, and the credit went to a "front," Georges Wakhévitch, just as, little more than a decade later, blacklisted Americans working in Hollywood were forced to hide behind their own fronts. The story of the making of Les Visiteurs du Soir is almost as interesting as the film itself.Not only was some of the behind-the-scenes work done sub rosa, to fool the Nazis and their collaborators, even the film's attempts to display luxury were thwarted by real-life conditions. Although the film was given a generous budget, the costuming was hindered by a shortage of suitable fabric, and in the banquet scenes the food had to be treated with an unpleasant substance to keep the extras and the crew from gobbling it down between takes. Even so, because the film deals with the manipulations of emissaries from the devil to the court of a French nobleman, it was taken to be a kind of allegory of the German invasion of France, and the devil played by Jules Berry to be a satirical representation of Adolf Hitler. The director and the screenwriters denied that was their intent.The film was a big critical and commercial hit in a France starved for movies -- films made in America and Britain were banned -- and while it's not on a par with Carné's 1945 masterpiece Children of Paradise, it remains a classic. Arletty is superbly seductive as Dominique, although it's doubtful that anyone would ever mistake her for the boy she pretends to be for part of the film. Trouser roles are always a problematic convention, but Arletty's "boy" looks to be in his 40s, which she was. As her fellow emissary, Alain Cuny is suitably dashing, and while Marie Déa is not quite the peerless beauty the screenplay wants her to be, the doomed love affair of Anne and Gilles gives an otherwise rather chilly film some warmth. But the film is stolen by Jules Berry as the devil, camping it up amusingly, at one point literally playing with fire. As a fantasy film, Les Visiteurs du Soir doesn't have the consummate style of Jean Cocteau's Beauty and the Beast (1946), to which it is sometimes compared, but its moods are darker and its story may be deeper.
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im an idiot-
i read Max Mayfield as May Maxfield 😶
GWKAU LMAO 😭
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